Top Ten Most Depressing “STAR TREK VOYAGER” Episodes

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TOP TEN MOST DEPRESSING “STAR TREK VOYAGER” EPISODES

Below is a list of what I believe to be the top ten (10) most depressing or darkest ”STAR TREK VOYAGER” episodes: 

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1. ”Memorial” – Chakotay, Tom Paris, Harry Kim, and Neelix begin to experience strange visions after an away mission. Voyager’s crew discover that the four had earlier encounter a war memorial that convey memories of a past military massacre. (Season 6)

2. ”Course: Oblivion” – After B’Elanna Torres and Tom Paris get married, subspace radiation causes the crew and their ship to disintegrate. (Season 5)

3. ”Tuvix” – A transporter accident merges Tuvok and Neelix into a new person. (Season 2)

4. ”Deadlock” – A duplicate Voyager is created after it passes through a spatial scission, after the original ship tries to evade a Vidian ship. (Season 2)

5. ”Prey” – Voyager rescues a Hirogen survivor who tells them a new kind of prey is on the loose – namely a stranded Species 8472 trying to return home. (Season 4)

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6. ”Hunters” – A transmission from Starfleet Command gets held at a Hirogen relay station and Janeway sets course to retrieve it, along with letters from home for the crew. (Season 4)

7. ”Extreme Risk” – B’Elanna Torres purposely puts herself into increasingly more dangerous situations, in order to deal with her survivor’s guilt over the destruction of the Maquis. Meanwhile the crew decides to build a new shuttlecraft, the Delta Flyer. (Season 5)

8. ”Friendship One” – The crew is sent on its first mission by Starfleet in years: to find a lost probe from Earth’s past that has endangered a planet in the Delta Quadrant. (Season 7)

9. ”Thirty Days” – Tom Paris disregards orders by helping an aquatic world and pays the price for his actions. (Season 5)

10. ”Mortal Coil” – Neelix dies in an attempt to sample proto-matter from a nebula. Seven-of-Nine revives him using Borg nanoprobes, but Neelix finds it hard to adjust to resurrection, especially since he has no memory of an afterlife of any kind. (Season 4)

What are your choices?

Top Ten Favorite Movies Set in the 1860s

Below is my current list of favorite movies set in the 1860s: 

TOP TEN FAVORITE MOVIES SET IN THE 1860s

1. “Lincoln” (2012) – Steven Spielberg directed this highly acclaimed film about President Abraham Lincoln’s last four months in office and his efforts to pass the 13th Amendment to end slavery. Oscar winner Daniel Day-Lewis, Oscar nominee Sally Field and Oscar nominee Tommy Lee Jones starred.

2. “Shenandoah”(1965) – James Stewart starred in this bittersweet tale about how a Virginia farmer’s efforts to keep his family out of the Civil War failed when his youngest son is mistaken as a Confederate soldier by Union troops and taken prisoner. Andrew V. McLaglen directed.

3. “Angels & Insects” (1995) – Philip Haas directed this adaptation of A.S. Byatt’s 1992 novella, “Morpho Eugenia” about a Victorian naturalist who marries into the English landed gentry. Mark Rylance, Kristin Scott-Thomas and Patsy Kensit starred.

4. “Class of ’61” (1993) – Dan Futterman and Clive Owen co-starred in this television movie about recent West Point graduates and their experiences during the first months of the Civil War. Produced by Steven Spielberg, the movie was directed by Gregory Hoblit.

5. “The Tall Target” (1951) – Anthony Mann directed this suspenseful tale about a New York City Police sergeant who stumbles across a plot to kill President-elect Lincoln and travels aboard the train carrying the latter to stop the assassination attempt. Dick Powell starred.

6. “Far From the Madding Crowd” (1967) – John Schlesinger directed this adaptation of Thomas Hardy’s 1874 novel about a young Victorian woman torn between three men. The movie starred Julie Christie, Alan Bates, Terence Stamp and Peter Finch.

7. “The Good, the Bad and the Ugly” (1966) – Sergio Leone directed this epic Spaghetti Western about three gunslingers in search of a cache of Confederate gold in New Mexico, during the Civil War. Clint Eastwood, Lee Van Cleef and Eli Wallach starred.

8. “Cold Mountain” (2003) – Anthony Minghella directed this poignant adaptation of Charles Fraizer’s 1997 novel about a Confederate Army deserter, who embarks upon a long journey to return home to his sweetheart, who is struggling to maintain her farm, following the death of her father. The movie starred Oscar nominees Jude Law and Nicole Kidman, along with Oscar winner Renee Zellweger.

9. “Little Women” (1994) – Gillian Armstrong directed this adaptation of Louisa May Alcott’s 1868 novel about four sisters from an impoverished, yet genteel New England family. The movie starred Winona Ryder, Trini Alvarado, Christian Bale and Susan Sarandon.

10. “The Beguiled” (1971) – Clint Eastwood starred in this atmospheric adaptation of Thomas Cullinan’s 1966 novel about a wounded Union soldier who finds refuge at an all-girl boarding school in 1863 Mississippi. Directed by Don Siegel, the movie co-starred Geraldine Page and Elizabeth Hartman.

“A Family Scandal in the ‘NORTH AND SOUTH’ Trilogy”

“A FAMILY SCANDAL IN THE ‘NORTH AND SOUTH’ TRILOGY”

I love John Jakes’ “NORTH AND SOUTH” Trilogy. Honestly, I do. I love it so much that I have copies of the novels published between 1982 and 1987 that make up the trilogy. I love it so much that I have also copies of the television adaptations (1985-1986; 1994) of the novels, produced by Wolper Productions. Unfortunately, the trilogy has a few narrative problems. And I feel that one of its biggest problems centered around a particular painting. 

I am referring to a certain painting that hung inside an expensive New Orleans. This particular painting depicted a beautiful young woman, who also happened to be one of the prostitutes that worked there. This particular prostitute was favored by the bordello’s owner. More importantly, she left the bordello and her profession in order to marry one of her customers. Despite her European ancestry, this woman was the granddaughter of an African-born slave. She also happened to be the mother of one of the “NORTH AND SOUTH” Trilogy’s main characters – Madeline Fabray. And she eventually became the mother-in-law of three other main characters.

Before I continued, I want to say a few words about the painting of Madeline Fabray’s mother that was created for the first two miniseries, 1985’s “NORTH AND SOUTH: BOOK I” and 1986’s “NORTH AND SOUTH: BOOK II”. I did not find it impressive. Look at that dress worn by the painting’s subject. It looks cheap and tacky. Not even a high-priced prostitute like Madeline’s mother would wear such a dress. Even worse, the dress and hairstyle worn by the subject failed to reflect the right decade. Madeline Fabray had been born in the mid-1820s. This meant that her mother must have been a prostitute between the late 1810s and early 1820s. The hairstyle and dress worn by Madeline’s mother seemed to reflect that the painting had been created between in the mid-1840s and early 1850s – at least two to three decades after Mrs. Fabray’s death. Wolper Productions really made a mistake in allowing this painting to serve as an image of the late Mrs. Fabray. But the story that surrounded both the character and the painting struck me as a lot more problematic. And the trouble began in John Jakes’ 1982 novel, “North and South”.

In 1846, two years after her marriage to South Carolina rice planter Justin LaMotte, Madeline Fabray LaMotte had traveled back to her hometown of New Orleans to care for her dying father. Before he finally passed away, Nicholas Fabray informed his daughter that both she and her mother were of mixed blood. One of Madeline’s ancestresses was an African-born slave, which meant the late Mrs. Fabray was one-fourth black and Madeline, one-eighth. Shocked by this revelation, Madeline kept this secret to herself for years, until she finally confessed it to her lover and husband’s neighbor Orry Main – one of the novel’s two main characters – after she left her brutish husband in the late winter of 1861. Despite his initial shock, Orry took the news rather well and eventually married Madeline, following Justin’s death during the early months of the Civil War.

Unbeknownst to Madeline and Orry, an Army officer named Elkhannah Bent had already learned about her mother’s background . . . former profession. Bent first met Orry during their years at West Point. Orry, along with his best friend, Pennsylvania-born George Hazard, became Bent’s enemies. When they nearly caused his expulsion from West Point, he vowed to get his revenge. He nearly got Orry killed at the Battle of Churubusco, during the Mexican-American War. Neither the Hazards nor the Mains had heard about Bent for years, until they learned he was the immediate commanding officer of Charles Main, Orry’s younger cousin, in Texas during the late 1850s. Either in 1858 or 1859, Bent visited Charles’ quarters for a talk and spotted a photograph taken at a picnic held at the Main family’s estate, Mont Royal. Among the subjects in the photograph were Madeline and Justin LaMotte. Bent seemed taken by Madeline’s looks. In January 1861, Bent was recalled back to the War Department in Washington D.C. During his journey from Texas to the East Coast, Ben visited an expensive bordello in New Orleans – the same one where Mrs. Fabray had worked some decades ago. There, he spotted the infamous painting inside the office of Madam Conti, the bordello’s owner. Bent learned from Madam Conti that the painting’s subject was not only of mixed blood, but also a former prostitute who had married well. Noticing the physical similarities between Madeline LaMotte and the painting’s subject, Bent ascertained that the two women were related. For reasons that still amaze me, he decided that this bit of knowledge could serve as a weapon against Orry Main.

In the 1984 novel, “Love and War”, Bent returned to New Orleans about a year-and-a-half later, during the second year of the Civil War, and stole the painting, jeopardizing his Army career. Realizing that he no longer had a military career, Bent deserted from the Union Army and journeyed toward Richmond, Virginia – the capital of the Confederacy. Nearly two years later, he managed to find and acquaint himself with one of Orry’s younger sisters, Ashton Main Huntoon. Bent had chosen well. Orry’s vain and unpleasant sister had estranged herself from the Main family, following her attempt to arrange the murder of her brother-in-law, Billy Hazard, for rejecting her years earlier for younger sister Brett. Once Bent had revealed the infamous painting, along with Madeline’s family history, to Ashton; the latter revealed everything to guests at a private reception that included Confederate Senator Judah Benjamin of Louisiana and Christopher Memminger, a South Carolinian resident who was serving as a Secretary of the Treasury for the Confederate States. Orry’s superior, General John H. Winder had “requested” that he send Madeline away from Richmond. Orry sent Madeline to the Hazards’ home in Lehigh Station, Pennsylvania and resigned his position at the War Department before assuming a field command toward the end of the Overland Campaign in June 1864.

The adaptations of the 1982 and 1984 novels – 1985’s “NORTH AND SOUTH: BOOK I” and 1986’s “NORTH AND SOUTH: BOOK II” – took a different spin on the tale. One, Madeline did not learn the truth about her mother from her father until 1854, ten years following her marriage to Justin LaMotte. She told Orry about her secret some three months later, leading him to insist that she leave Justin and accompany him to the North. However, events involving Madeline and a secret abortion for a pregnant and still single Ashton Main led to the end of Orry’s plans. Madeline more or less became a prisoner of her husband for nearly six-and-a-half years. Justin LaMotte died during the summer of 1861 and a few months later, Madeline and Orry became husband and wife.

As for Elkhannah Bent, his discovery of the painting also unfolded differently. In the television version, Bent (who was an amalgamation of the literary Bent and a character named Lamar Powell), was visiting New Orleans in 1856 or 1857, when he met Ashton’s new husband, James Huntoon. He was in New Orleans to give a pro-secession speech. The pair, along with two other men, proceeded to Madam Conti’s bordello. When James removed his wallet from his jacket, a photograph of his and Ashton’s wedding reception fell from his wallet. The photograph contained the bridal pair, the Main family and a few guests that included Justin and Madeline La Motte. Apparently, this was not Bent’s first visit to the bordello. While waiting for one of the madam’s prostitutes to finish with a customer, Bent and Madam Conti had refreshments in her private office that contained the painting of Mrs. Fabray. While the madam told Bent about the painting’s subject, he quickly surmised that Mrs. Fabray and the Mains’ neighbor were blood related. Some four years later – between the end of “NORTH AND SOUTH: BOOK I” and “NORTH AND SOUTH: BOOK II” – Bent managed to acquire the painting. Only neither miniseries revealed how he did it. I can only make the assumption that he had purchased it from Madam Conti. In Episode 2, Bent revealed the painting to Ashton, who had become his lover. Instead of revealing Madeline’s secret to Richmond society, Ashton used her knowledge of the painting and Mrs. Fabray’s past to blackmail Madeline into leaving Orry and Mont Royal for good. Two years later, days after the war ended, Madeline and Orry reconciled in Charleston.

Superficially, there seemed to be nothing wrong with the narrative regarding Madeline’s mother and the painting in both Jakes’ novels and the television miniseries. Superficially. However, both the novels and the miniseries revealed a major blooper. Why on earth did Elkhannah Bent went out of his way to get his hands on that painting? Why? In both the 1982 novel and the 1985 miniseries, Madeline was revealed to Bent as the wife of a neighboring planter. Neither Charles Main in the novel or James Huntoon in the miniseries knew about Madeline’s romantic connection to Orry. Which meant that Bent was not aware of this relationship, as well. In both the novels and the miniseries, Bent did not find out about Madeline and Orry’s relationship until after he got his hands on the painting. so, Why would Bent risk his professional career in “Love and War” to steal the painting featuring Madeline’s mother, if he was unaware of Orry’s emotional connection to her daughter? Or pay good money to purchase the painting (which is my theory, by the way) in the television adaptations?

I wish I could say that matters got better in the third act of Jakes’ trilogy. But it did not. Another mystery regarding the painting manifested. In both the third novel, 1987’s “Heaven and Hell” and the third miniseries, 1994’s “HEAVEN AND HELL: NORTH AND SOUTH BOOK III”, the locals who lived in the same neighborhood as the Mains seemed aware of Madeline’s African ancestry and the profession of her mother. My question is . . . how? How did locals like her first husband’s cousin, Gettys La Motte discover her family secret in the first place? Who had spilled the beans?

In “Love and War”, Jakes had made a point of both Judah Benjamin and Christopher Memminger attending the reception where Ashton had revealed Madeline’s secret. However, Benjamin moved to Great Britain after the war and Memminger ended up in North Carolina, following his resignation as Secretary of the Treasurer in July 1864. Ashton, her husband James, and her lover Lamar Powell were forced to flee Richmond for the New Mexico Territory after Orry exposed their plot to assassinate the Confederacy’s president, Jefferson Davis. Lamar Powell killed James Huntoon before being killed by an Apache warrior upon their arrival in the Southwest. Ashton arrived in Santa Fe a few days later, stranded and without any funds. It took her at least four years to return to South Carolina. So none of the above could have revealed Madeline’s secret to the Mains’ neighbors. More importantly, Jakes never bothered to reveal how the news reached the South Caroline low country.

“NORTH AND SOUTH: BOOK II” told a slightly different tale. A year after Bent had exposed Madeline’s secret to Ashton, she used the knowledge to blackmail her sister-in-law into leaving Mont Royal for good. However, neither Ashton or Bent ever told another soul. The only other people who knew about Madeline’s mother were her former maid, Maum Sally, who was killed by Justin LaMotte back in 1856, during the debacle regarding Ashton’s unwanted pregnancy; Orry; and his mother, Clarissa Main. And none of these people told a soul. Not even Ashton or Bent, which I find surprising. Like Jakes, the screenwriters for the second and third miniseries never made the effort to set up, let alone reveal how the Mains’ neighbors learned about Madeline’s secret.

It is a pity that the storyline regarding Madeline and her mother was marred by sloppy writing. It had the potential to be one of the most interesting arcs in the entire saga, especially since it focused upon attitudes regarding miscegenation in the United States . . . attitudes that lasted for another century following the saga’s setting and still linger to this day. Oh well. There is nothing I can do about it. I suppose I can only regard it as a blooper and move on.

“STAR TREK BEYOND” (2016) Review

“STAR TREK BEYOND” (2016) Review

I might as well place all my cards on the table. I am not a fan of J.J. Abrams’ reboot of the “STAR TREK” franchise. I heartily dislike the 2009 movie of the original title. And I also dislike – to a lesser degree, 2013’s “STAR TREK INTO DARKNESS”. So when I learned there was to be a third movie in this new franchise . . . needless to say I was not enthusiastic over the news. 

The second thing I learned about this third TREK film, “STAR TREK BEYOND”, was that it was not directed by J.J. Abrams. Justin Lin, who had helmed the fourth, fifth and sixth “FAST AND FURIOUS” movies; served as director. And for once, Simon Pegg, who also co-starred as Chief Engineer Montgomery “Scotty” Scott, and Doug Jung served as the movie’s screenwriters; instead of Abrams’ usual scribes – Robert Orci and Alex Kurtzman. No disrespect to Abrams, Orci and Kurtzman, but I did not miss their presence in this production. If anything, I managed to enjoy the TREK reboot for the first time since it began in 2009.

“STAR TREK BEYOND” begins with the arrival of the U.S.S. Enterprise at the Federation Starbase Yorktown for new supplies and shore leave for the crew. Not long after its arrival at Yorktown, an escape pod drifts out of a nearby uncharted nebula. The survivor, Kalara, claims her ship is stranded on Altamid, a planet within the nebula. The rescue turns into an ambush when the Enterprise is quickly torn apart by a massive swarm of small ships. Krall and his crew board the ship, and unsuccessfully search for a relic called an Abronath that Kirk had obtained for a failed diplomatic mission. Krall captures and removes many crew members from the ship. Kirk then orders for the crew to abandon ship as the Enterprise’s saucer section hurtles towards the planet. After more crew members are captured, including Lieutenant Nyota Uhura and Lieutenant Hikaru Sulu, Kirk is forced to find those who have not been captured and find a way to stop Krall from carrying out his plans against the Federation.

If I must be honest, “STAR TREK BEYOND” is not perfect. I believe that it has a major flaw and it centered around the main antagonist, Krall. How can I put this? I found both his true identity and the reason behind his main goal – the destruction of the Federation with the use of a bio weapon – a bit on the lame side. Apparently, Krall was a former Human captain from the pre-Federation era named Captain Balthazar Edison, whose ship had crashed on Altamid. Believing the newly formed Federation had abandoned him, Edison and his surviving crew had used the technology of the Altamid’s natives to prolong their lives and mutate their physiology. I am sorry, but that seemed to reaching a bit. And the reason for Krall/Edison’s desire to destroy the Federation – the belief that the latter had deliberately abandoned him and his crew – definitely seemed a bit lame to me.

If the background of the film’s main villain and his reason to destroy the Federation seemed a bit lame, then why did I like this film? Whatever weaknesses that “STAR TREK BEYOND” had, I can honestly say that it lacked the multiple plot holes that marred 2009’s “STAR TREK” and that ridiculous final half hour from 2013’s “STAR TREK INTO DARKNESS”. The flaws for this film seemed minor in compare to the first two films. I also liked the fact that the characters seemed more mature and established in this movie. Even Krall seemed like an improvement over the first two villains. He did not engage in a convoluted plot that involved time travel. Nor was his character whitewashed and engaged in another ridiculously convoluted plot. Although Krall’s reason to destroy the Federation seemed a bit thin, at least his actual plot – involving the creation of a bio weapon – seemed to be on solid. And for that, I have to thank screenwriters Simon Pegg and Donny Jung.

I have to admit that when it comes to action sequences, the new STAR TREK movies never fail to deliver. There were a handful of sequences in “STAR TREK BEYOND” that definitely impressed me. First and foremost was the attack on the U.S.S. Enterprise by Krall’s fleet and the crash landing on Altamid that followed. Honestly, I feel that director Justin Lin really outdid himself in that particular sequence. I found the minor scenes featuring the Enterprise crew’s efforts to survive on Altamid very engrossing and once again, well handled by Lin. Now that I think about it, just about all of the movie’s actions scenes impressed me – including Kirk and the other non-captured crew members’ efforts to free those who had been captured, the Enterprise crew’s efforts to prevent Krall/Edison from using his new weapon to destroy the Federation’s massive space station, Starbase Yorktown; and Kirk’s final confrontation with the main villain. I also liked the fact that the movie’s two major female characters – Lieutenant Uhura and a castaway named Jaylah – also took part in many of the film’s action sequences. And both seemed more than capable of taking care of themselves.

“STAR TREK BEYOND’ marked a major improvement in the franchise’s characterizations. For the first time, the main characters seemed to be truly comfortable with each other. And all of them seemed to be more mature and believable as Starfleet officers. This especially seemed to be the case for Chris Pine’s performance as James T. Kirk. For the first time, I found it easy to see his Kirk as a worthy captain for the U.S.S. Enterprise. The prat boy from the 2009 and 2013 movies was gone. Zachary Quinto also seemed very comfortable in his role as the Enterprise’s First Officer, Commander Spock. I also enjoyed how both he and Karl Urban, who portrayed Medical Officer Dr. Leonard McCoy, managed to establish a strong and rather funny screen chemistry – something that I do not recall from the two previous films. Quinto’s Spock seemed even more comfortable than ever with Zoë Saldana’s Nyota Uhura. First of all, both had the chance to enact a private drama between Spock and Uhura that did not come off as forced. I find it hard to believe that I had once found the idea of a romance between the two as unbelievable.

The movie also featured solid performances from Idris Elba as the movie’s main antagonist, Krall aka Balthazar Edison, who managed to thankfully convey his character’s emotional nature without engaging in any histrionics. I also enjoyed one particular scene between Elba and Uhura that struck me as both tense and effective, thanks to the actors’ performances. I also enjoyed the performances of John Cho, who always managed to give a cool, yet wry portrayal of Lieutenant Hikaru Sulu; Anton Yelchin, whose Pavel Chekov seemed more controlled and mature than he did in the previous films; Simon Pegg, whose portrayal of Lieutenant-Commander Montgomery “Scotty” Scott seemed a great deal more controlled and still funny; and Sofia Boutella gave an intense and skillful performance as an alien castaway/scavenger named Jaylah with a grudge against Krull.

I understand that “STAR TREK BEYOND” had not performed well at the U.S. box office. Some critics claimed that the movie was not as good as the 2009 movie. When I heard that, I nearly coughed up a lung. Frankly, I think it is a lot better than the two previous films. I thought Justin Lin did a great job as the movie’s director. And he was ably supported by Simon Pegg and Donny Jung’s screenplay, along with a first-rate cast led by Chris Pine. As for why many moviegoers stayed away, I do not have the foggiest idea. What matters is my own personal opinion.

R.I.P. Leonard Nimoy (1931-2015)

R.I.P. Anton Yelchin (1989-2016)