“Celebrating Unoriginality”

“CELEBRATING UNORIGINALITY”

Many people love to praise FOX science-fiction series, “THE ORVILLE” to the sky. Many praise it for being the epitome of the “traditional aspects” of the STAR TREK franchise. Even more so than the latest entry of the latter, “STAR TREK DISCOVERY”.

I have my suspicions on why so many love to praise “THE ORVILLE” to the detriment of the CBS Access series. I suspect that both sexism and racism are two of the reasons behind this sentiment . . . especially in regard to the leading lady of “STAR TREK DISCOVERY”. However, there is some aspect or style of “THE ORVILLE” that makes me understand why many others would make this claim about the series being “traditional Trek”. Unfortunately, I do not think this aspect has proven to be beneficial to the FOX series.

How can I be anymore blunt? To me, “THE ORVILLE” is basically a remake of the second Trek series, “STAR TREK NEXT GENERATION”, but with a touch of leading actor Seth MacFarlane’s style of humor. I just wish the series could be different. Offer A DIFFERENT STYLE in its presentation of episodes. It had recently occurred to me that “NEXT GENERATION” reminded me a lot “STAR TREK THE ORIGINAL SERIES” than any of the other Trek shows. In terms of format and the style of shows, it is almost seems like a remake or continuation of the 1966-69 series. Perhaps this is not surprising considering that the 1987-94 series, along with “THE ORIGINAL SERIES”, was created by Gene Roddenberry. This could be a reason why it seems more beloved by the franchise’s fandom and producers, save for the first series.

My recent viewing of “THE ORVILLE” made me suspect that it pretty much repeated what “NEXT GENERATION” had done in terms of storytelling and format. Although both shows were willing to explore the different quirks and minor flaws of its main characters, both seemed hellbent upon portraying Humans as generally more superior than other alien races. Both shows seemed willing to put humanity on a pedestal. The Moclus race, as personified by the Lieutenant Commander Bortus character, bears a strong resemblance to the Klingons of the 24th century. And Bortus seems to be another Lieutenant (later Commander) Worf. Even the relationship between MacFarlane’s Captain Ed Mercer and Adrianne Palicki’s Commander Kelly Grayson almost seems like a re-hash of the Commander William Riker and Counselor Deanna Troi relationship, as portrayed by Jonathan Frakes and Marina Sartis in “NEXT GENERATION”. And yet, the Trek shows that followed “NEXT GENERATION” seemed to be willing to offer something different.

“STAR TREK DEEP SPACE NINE” was set on a space station and possessed a narrative structure that very slowly developed into a serial format by its third season. “STAR TREK VOYAGER” featured a crew traveling alone on the other side of the galaxy that comprised of Starfleet officers and crewmen, Maquis freedom fighters, an ex-convict/former Starfleet officer, two aliens and a former Borg drone. Superficially, “STAR TREK: ENTERPRISE” seemed a lot like “THE ORIGINAL SERIES” and “NEXT GENERATION”, but it was set a century before 1966-69 series – during the few years before the establishment of the Federation, and it featured a serialized narrative about a major war during its third season. “STAR TREK DISCOVERY” proved to be a Trek series that has been serialized since its first episode. More importantly, its main character IS NOT a star ship or space station commander.

The Trek shows that had followed “NEXT GENERATION” have been more willing to explore the uglier side of the Federation, Starfleet and Humanity; than the first two series. This has been especially apparent in “DEEP SPACE NINE”“VOYAGER” and “DISCOVERY”. And aside from “VOYAGER, the Trek shows that followed “NEXT GENERATION” have been willing to utilize a serialized format – something that many fans seemed to lack the patience to endure lately. Most of this criticism toward a serialized narrative has been directed against “DISCOVERY”. However, I personally find this ironic, considering that the other Trek shows have used this narrative device with the same quality as the other shows. At least in my eyes. I suspect that this heavy criticism toward “DISCOVERY” has more to do with the show’s lead than its writing quality. Even “VOYAGER” has been willing to serialized some of its episodes on a limited scale, especially during its mid-Season Four.

Officially, “THE ORVILLE” is not a part of the Trek franchise. Why does it feel that it is? And Why does it have to feel like it? Because its creator and star, Seth MacFarlane, had this need to pay homage to “NEXT GENERATION”? Or even “THE ORIGINAL SERIES”? Why? Some advocates of “THE ORVILLE” have pointed out the series’ style of humor and the fact that it features a LGBTQ couple. However, “DISCOVERY”, which had premiered during the same month and year, also features a LGBTQ couple. And previous Trek shows and movies have featured or hinted LGBTQ romance and/or sexuality in the past – namely “DEEP SPACE NINE” and the 2016 movie, “STAR TREK BEYOND”. Even television series like “BABYLON 5” and “BATTLESTAR: GALACTICA” have featured or hinted LGBTQ issues. But more importantly, both shows, along with “FARSCAPE” and others in the science-fiction genre have managed to be completely original both style and substance. Why did MacFarlane feel he had to literally copy “NEXT GENERATION” when other Trek shows have managed to be more original? The only aspect of “THE ORVILLE” that I truly find original is its occasional use of twisted humor. And even that has appeared even less during the series’ second season.

This is what I find so frustrating about “THE ORVILLE”. One, I feel that it is basically “traditional Trek” disguised as another science-fiction franchise. Even worse, it seems like a close rip-off of “STAR TREK NEXT GENERATION”. I see nothing complimentary about this. I find it sad that so many people do. And I find it even sadder that so many people are willing to put “THE ORVILLE” on a pedestal for . . . what? For the series’ lack of originality? Because these fans want to cling to the past? This is just sad. No . . . not, sad. Pathetic. At least to me.

 

Favorite Episodes of “STAR TREK DEEP SPACE NINE” Season Three (1994-1995)

Below is a list of my favorite episodes from Season Three of “STAR TREK DEEP SPACE NINE”. Created by Rick Berman and Michael Piller; the series starred Avery Brooks as Commander Benjamin Siesko:

FAVORITE EPISODES OF “STAR TREK DEEP SPACE NINE” SEASON THREE (1994-1995)

1. (3.26) “The Adversary” – The Federation’s Ambassador Krajensky informs newly promoted Captain Benjamin Sisko that there has been a coup on Tzenketh. During the journey to Tzenketh, Sisko and the crew discover that a Changeling from the Dominion may be hiding aboard and sabotaging Deep Space Nine’s only ship, the U.S.S. Defiant. Lawrence Pressman guest-starred.

2. (3.09) “The Defiant” – Commander William Riker of the U.S.S. Enterprise shows up unannounced and the station’s second-in-command, Major Kira Nerys shows him the Defiant, where he reveals his true motives for coming to Deep Space Nine. Jonathan Frakes and Tricia O’Neil guest-starred.

3. (3.21) “The Die is Cast” – Former Cardassian spy-turned-tailor Elim Garak reluctantly tortures Odo for information to prove his loyalty to his former mentor, Enabran Tain, as a joint Tal Shiar/Obsidian Order attack on the Founders in the Omarian Nebula is underway, without Starfleet’s involvement. Paul Dooley and Leland Orser guest-starred.

4. (3.11-3.12) “Past Tense” – A transporter accident sends Sisko, Dr. Julian Bashir, and Lieutenant Jadzia Dax back to Earth’s dark past in the 21st century, a time just before the Bell riots, a violent civil disturbance in opposition to Sanctuaries which are controlled ghettos for the dispossessed. Bill Smitrovitch, Jim Metzler and Clint Howard guest-starred.

5. (3.19) “Through the Looking Glass” – Sisko is kidnapped and forced to impersonate his deceased mirror universe counterpart in order to convince Jennifer Sisko to defect to the Terran Rebellion. Felecia M. Bell and Tim Russ guest-starred.

Honorable Mention: (3.24) “Shakaar” – Vedek Kai Winn, who has become a political leader on Bajor, needs Kira to convince the former resistance leader Shakaar, now a farmer, to return soil reclamators needed elsewhere in Rakantha, which used to be Bajor’s most productive agricultural region. Duncan Regehr and William Lucking guest-starred.

Favorite Television Productions Set in the 1930s

Below is a list of my favorite television productions (so far) that are set in the 1930s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1930s

1. “Agatha Christie’s Poirot” (1989-2013) – David Suchet starred as Agatha Chrsitie’s most famous sleuth, Hercule Poirot, in this long-running series that adapted her Poirot novels and short stories.

2. “Moviola: The Scarlett O’Hara War” (1980) – Tony Curtis starred as David O. Selznick in the second episode of the miniseries, “Moviola”. The television movie featured Selznick’s search for the right actress to portray the leading character in his movie adaptation of “Gone With the Wind”.

3. “Edward & Mrs. Simpson” (1978) – Edward Fox and Cynthia Harris starred the 1978 adaptation of the events leading to the 1936 abdication of King Edward VIII of Great Britain. The seven-part miniseries was based upon Frances Donaldson’s 1974 biography.

4. “Mildred Pierce” – Todd Haynes directed and co-wrote this television adaptation of James M. Cain’s 1940 novel about a middle-class divorcee, who struggles to maintain her family’s position during the Great Depression and earn her narcissist older daughter’s respect. Emmy winners Kate Winslet, Guy Pearce and Emmy nominee Evan Rachel Wood starred.

5. “Upstairs, Downstairs” (2010-2012) – Heidi Thomas created this continuation of the 1971-1975 series about the Hollands and their servants, the new inhabitants at old Bellamy residence at 105 Eaton Place. Jean Marsh, Keely Hawes, Ed Stoppard and Claire Foy starred.

6. “And Then There Were None” (2015) – Sarah Phelps produced and wrote this television adaptation of Agatha Christie’s 1939 novel. Craig Viveiros directed.

7. “The Last Tycoon” (2016-2017) – Billy Ray created this television adaptation of F. Scott Fitzgerald’s unfinished novel about a Hollywood producer during the mid-1930s. Matt Bomer starred.

8. “Indian Summers” (2015-2016) – Paul Rutman created this series about the British community’s summer residence at Simla during the British Raj of the 1930s. The series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Walters.

9. “Damnation” (2017-2018) Tony Tost created this series about the labor conflicts in the Midwest, during the Great Depression. Killian Scott and Logan Marshall-Green starred.

10. “The Lot” (1999-2001) – This series centered around a fictional movie studio called Sylver Screen Pictures during the late 1930s. The series was created by Rick Mitz.

Favorite Television Productions Set During the U.S. CIVIL WAR

Below is a list of my favorite television productions set during the U.S. Civil War: 

FAVORITE TELEVISION PRODUCTIONS SET DURING THE U.S. CIVIL WAR

1. “The Blue and the Gray” (1982) – This three-part CBS miniseries focused on the experiences of two families linked by two sisters – the Geysers of Virginia and the Hales of Pennsylvania – during the U.S. Civil War. John Hammond and Stacy Keach starred.

2. “Copper” (2012-2013) – Tom Fontana and Will Rokos created this BBC America series about an Irish immigrant policeman/war veteran who patrols and resides in New York City’s Five Points neighborhood during the last year of the U.S. Civil War. Tom Weston-Jones, Kyle Schmid and Ato Essandoh starred.

3. “North and South: Book II” (1986) – James Read and Patrick Swayze starred in this six-part television adaptation of John Jakes’s 1984 novel, “Love and War”, the second one in John Jakes’ “North and South” Trilogy. David L. Wolper produced and Kevin Connor directed.

4. “Gore Vidal’s Lincoln” (1988) – Sam Waterston and Mary Tyler Moore starred in this two-part miniseries adaptation of Gore Vidal’s 1984 novel about the 16th U.S. President during the U.S. Civil War. Lamont Johnson directed.

5. “The Young Riders” (1989-1992) – Ed Spielman created this ABC television series about six riders who rode for the Pony Express between 1860 and 1861. Ty Miller, Josh Brolin and Anthony Zerbe starred.

6. “Class of ’61” (1993) – Steven Spielberg produced this ABC television movie about a few West Point graduates who found themselves on opposite sides of the U.S. Civil War. Dan Futterman, Clive Owen and Andre Braugher starred.

7. “Mercy Street” (2016-2017) – Lisa Wolfinger and David Zabel created this PBS series that followed two hospital nurses on opposite sides, at the Mansion House Hospital in Alexandria, Virginia during the U.S. Civil War. Mary Elizabeth Winstead, Hannah James and Josh Radnor starred.

8. “Lincoln” (1974-1976) – Hal Holbrook and Sara Thompson starred in this NBC six-part miniseries about the life of the 16th U.S. President. George Schaefer directed.

9. “The Million Dollar Dixie Deliverance” (1978) – Brock Peters starred in this Disney television movie about an escaped Union soldier who flees to the Union lines with five Northern children who had been snatched and held as hostages by Confederate soldiers during the war. Russ Mayberry directed.

10. “For Love and Glory” (1993) – Roger Young directed this failed CBS pilot about a wealthy Virginia family disrupted by the older son’s marriage to a young working-class woman and the outbreak of the U.S. Civil War. Daniel Markel, Tracy Griffith, Kate Mulgrew and Robert Foxworth starred.

NORTH AND SOUTH: BOOK II” (1986) – Episode Five “December 1864 – February 1865”

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“NORTH AND SOUTH: BOOK II” (1986) – EPISODE FIVE “December 1864 – February 1865” Commentary

“NORTH AND SOUTH: BOOK II” finally reached its home stretch in Episode Five, the penultimate episode. Well . . . almost. Beginning several weeks after the end of Episode Four, Episode Five continued the miniseries’ portrayal of the Civil War’s last year for the Hazards and the Mains. It also put three or four subplots to rest.

Episode Five opened with George Hazard still imprisoned inside Libby Prison in Richmond, Virginia. The episode also continued with Madeline Main’s efforts to feed Charleston’s poor and war refugees, Charles Main and Augusta Barclay’s wartime romance, and the survival of Mont Royal’s remaining inhabitants. Episode Five also closed several subplots that included Stanley and Isobel Hazard’s war profiteering, Elkhannah Bent and Ashton Main Huntoon’s plot against Jefferson Davis’ administration, and Madeline’s relationship with former officer Rafe Beaudine.

This episode featured some excellent dramatic moments. Lewis Smith certainly shined in his portrayal of Charles Main, who had hardened considerably after three-and-a-half years of war. This was especially apparent in scenes that included Charles’ reluctance to help his cousin Orry Main rescue George Hazard from Libby Prison, his cold-blooded killing of a Union prisoner, his attempt prevent fellow scout Jim Pickles from deserting and his emotionally distant attitude toward lady love Augusta Barclay and her manservant, Washington. Another well acted scene featured Brett Main Hazard and Semiramis’ encounter with former Mont Royal overseer, Salem Jones. Watching Erica Gimpel point a shotgun at Tony Frank, considering their characters’ past history, brought a smile to my face. I also enjoyed the poignant scene between Brett and her mother, Clarissa Main, while the latter painfully reminisced about the past; thanks to Genie Francis and Jean Simmons’ performances. And both James Read and Jonathan Frakes knocked it out of the ballpark in the scene that featured George’s confrontation with Stanley and Isobel over their war profiteering. They were supported by fine performances from Wendy Kilbourne and Mary Crosby.

But another truly superb performance came from Terri Garber, who got a chance to portray Ashton Huntooon’s increasing doubts over Elkhannah Bent’s scheme against Davis. This was especially apparent in one scene in which Ashton silently expressed shame over her willingness to prostitute herself to a potential contributor for Bent’s plot. She received fine support from Jim Metzler as her husband James Huntoon and Patrick Swayze as Orry Main. But I felt that Philip Casnoff’s Bent nearly became slightly hammy by the scene’s end. Even Lesley Anne Down and Lee Horsley managed to shine as Madeline and the infatuated Rafe Beaudine. But I must admit that I found one of their later scenes slightly melodramatic.

Yet, despite these dramatic gems, I was not particularly impressed by the writing featured in Episode Five. I had a problem with several subplots. One, I had a problem with the subplot involving Stanley and Isobel’s profiteering. It made me wish the screenwriters had adhered to author John Jakes’ original portrayal of the couple in his 1984 novel, “Love and War”. I felt this subplot had ended with a whimper. It was bad enough that George had killed Stanley and Isobel’s partner in a bar fight. But aside from the dead partner, the only way the couple could face conviction was to confess. And I found it implausible that a remorseful Stanley would still be willing to do that after receiving an earful of angry insults from George. Very weak.

Episode Five also allowed Madeline and Bent’s subplots to interact for the purpose of killing off Rafe Beaudine. Frankly, I found the idea of Bent traveling from Richmond to Charleston for more funds . . . only to be told to seek hard cash from“the Angel of Charleston” – namely Madeline. The latter recruited a retired stage actress portrayed by Linda Evans to impersonate her and discover Bent’s plans. And what was Madeline’s next act? She left her boarding house (in the middle of the night) to warn . . . who? The script never made it clear about whom Madeline had intended to warn. Why? Because her night time task was interrupted by Bent, who had recognized the stage actress. And before Bent could lay eyes upon Madeline, Rafe comes to her rescue. What can I say? Contrived.

I also found Bent’s scheme to get rid of Jefferson Davis and assume political and military control of the Confederacy rather ludicrous. Audiences never really saw him recruit any real political support for his scheme . . . just money from various wealthy Southerners. The screenplay never allowed Bent to make any effort to recruit military support for the weapons he had purchased. In the end, I found the entire subplot lame and a waste of my time.

And finally, we come to the efforts of “Madeline the Merciful” to find food for Charleston’s poor. Personally, I found this subplot ludicrous. Madeline did not bother to recruit other women from Charleston’s elite to help her. And I suspect some of them would have been willing to help. I also found this subplot extremely patronizing. Again, it seemed to embrace the“savior complex” trope to the extreme. The subplot seemed to infantilize all social groups that were not part of the city’s white elite or middle-class – namely fugitive slaves, working-class whites and all free blacks. I found this last category surprising, considering that the screenwriters failed to acknowledge that not all free blacks were poor. In the end, this entire subplot struck me as a white elitist fantasy that Julian Fellowes would embrace.

The production values featured in the episode struck me as top-notch. Both director Kevin O’Connor and the film editing team did excellent work for the actions scenes in Episode Five. I found myself impressed by the scenes that featured George’s escape from Libby Prison, his bar fight with Stanley and Isobel’s profiteering partner, Bent and Rafe’s fight in Charleston and the former’s encounter with Orry and the Huntoons back in Virginia. More importantly, Robert Fletcher continued to shine with his outstanding costume designs, as shown in the following images:

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Yes, Episode Five featured some fine dramatic moments and performances. It even featured some solid action scenes. But . . . I was not particularly happy with most of the subplots. I also found the ending of one particularly subplot rather disappointing. No one felt more relieved than me when Episode Five finally ended.

“NORTH AND SOUTH: BOOK II” (1986) – Episode Four “April-November 1864” Commentary

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“NORTH AND SOUTH: BOOK II” (1986) – EPISODE FOUR “April-November 1864” Commentary

Episode Four of the 1986 miniseries, “NORTH AND SOUTH: BOOK 2” picked up at least seven to eight months after Episode Three left off. The miniseries arrived at a point in which the Civil War began to embark upon its last year. And yet, the miniseries itself had reached its mid point. I found it odd that producer David Wolper, director Kevin Reynolds and the production’s screenwriters would portray the war’s last year (in reality, eleven months) within three episodes. Oh well.

The episode began with a strong sequence that featured George Hazard’s capture by John Mosby’s Rangers, while he and his men were transporting artillery guns and units to the front. The episode would return to George’s travails as a prisoner of war at Libby Prison in two more sequences. This first half hour also featured the beginning of Charles Main’s affair with Augusta, Billy Hazard’s return to the Sharpshooters’ regiment and the Battle of the Wilderness. Episode Four also portrayed the marriage woes of Ashton and James Huntoon, along with Elkhannah Bent’s attempt to woo Huntoon into his conspiracy against Confederate President Jefferson Davis; Madeline Main’s first meeting with former army officer Rafe Beaudine and her efforts to raise food and money for war refugees in Charleston; and Virgilia Hazard’s feud with her nursing supervisor, Mrs. Neal.

I have mixed feelings about Episode Four. I did not harbor a low opinion of it, as I did Episode Two and Episode Five. But I did not love it. I thought it began on a strong note with George’s capture and the Battle of the Wilderness. It also ended on a strong note with George’s experiences at Libby Prison and Virgilia’s troubles with Mrs. Neal. I must admit that I had a problem with the episode’s second act. Aside from the interesting scene that featured George’s arrival at Libby Prison and the revelation of the state of the Huntoon marriage, I had a bit of a struggle staying awake. One again, the 1986 miniseries managed to provide a battle sequence interesting enough to maintain my interest and impress me at the same time. Director Kevin Connor did an excellent job with this sequence by shooting it in a documentary style that gave it a stark and realistic look. And he was aptly supported by Jacques R. Marquette’s photography. For once, Marquette’s hazy photography served the narrative very well. The episode also benefited from Robert Fletcher’s lovely costumes, as shown in the images below:

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I found General Ulysses Grant’s angry response to his staff’s fears over Robert E. Lee, following the Wilderness battle particularly enjoyable. What is interesting about this moment is that it actually happened. And I noticed that actor Anthony Zerbe not only used Grant’s actual words, but also improvised a few words into the speech. Actually, I felt it was the episode’s highlight, thanks to Zerbe’s performance. Another positive aspect of Episode Four turned out to be Ashton and James Huntoon’s marriage woes. Terri Garber and Jim Metzler did an excellent job of conveying how Ashton’s infidelity, Huntoon’s political failures and the war had put a toll on a marriage that had been loveless from the start. The venomous conflict between Virgilia Hazard and her supervisor, Mrs. Neal proved to be very interesting, thanks to Kirstie Alley and Olivia De Havilland’s excellent performances. I found both ladies unsympathetic, until Mrs. Neal decided to harass Virgilia, while the other was having trouble staying awake after long hours of work. I found the older woman’s attitude simply bitchy. I also noticed that despite Mrs. Neal’s accusations of Virgilia’s poor ministrations to Confederate patients, the miniseries failed to substantiate her claims. And I found myself wondering if Mrs. Neal simply disliked Virgilia for the latter’s abolitionist leanings and marriage to a former slave.

Kirstie Alley had another chance to shine in a sequence that involved Virgilia’s reconciliation with none other than Orry Main, who had been injured and captured by Union troops. No only did Alley give an excellent performance in this poignant sequence, but so did Patrick Swayze. I also have to give kudos to both James Read and Wayne Newton for the crackling hostility they managed to produce between George Hazard and his Libby Prison tormentor, Captain Thomas Turner. In fact, I never thought I would say this, but Newton made a damn fine villain. He nearly put Philip Casnoff, David Carradine and Terri Garber to shame. His performance certainly gave the Libby Prison sequence a creep factor that I found very effective. And if you look carefully, you might find actor Billy Drago (of “THE UNTOUCHABLES” fame) as one of the Union prisoners.

I do have several problems about this episode. One, I wish that Charles and Augusta’s affair had begun a lot sooner than three years after they first met. In other words, I wish the screenwriters had followed Jakes’ original portrayal of their relationship. I believe this could have given Charles and Augusta’s affair more depth and paced a lot better. The portrayal of their affair developed into a major problem in Episode Six. Their affair began in the aftermath of one of the battles during the Wilderness Campaign. And for the likes of me, I could never understand what Charles was doing there, while wearing a heavy overcoat in the middle of May. The screenplay never explained why he was there.

Then we come to the problem of Billy’s return to his regiment after deserting for nearly ten months (he departed right after the Gettysburg battle in July 1863 and returned to his regiment either in late April 1864). The consequences he paid for deserting were ridiculous. Billy received a lecture from Colonel Hiram Burdan, passed over for a promotion to captain and threatened with court martial if he ever deserted again. What on earth were the writers thinking? Billy should have faced a court-martial or forced to resign his commission for being absent without leave for nearly ten months. Whoever had written this episode must have been completely ignorant of military protocol . . . or smoking something. And what was Berdan’s excuse for his leniency toward Billy? He needed all available men. Hogwash! This was the spring of 1864, when the Union Army’s ranks were literally swollen for the remainder of the war, despite desertion. No other TV show, novel, play or etc., would have featured such a major writing gaffe. Then again, you never know. And why was Berdan still in command of the Sharpshooters in this episode? By keeping Berdan as Billy’s commanding officer in this episode, the writers committed a historical gaffe. Berdan had decided to leave the Union Army by the late winter/early spring of 1864.

On the other hand, I found Madeline Main’s efforts to help the poor – refugee slaves, free black and poor whites – in Charleston rather noble and dull as hell. Madeline’s first husband, Justin LaMotte, had contemptuously given her the nickname – “Madeline the Merciful” in the first miniseries. I hate to say this, but after viewing the beginning of this story line in Episode Four, I found myself sharing his contempt. Her actions were admirable, but I feel the writers went too far in portraying her in a noble light. Quite simply, one could easily accuse Madeline of harboring a savior complex – one that struck me as incredibly pretentious. This sequence also introduced a young former slave named Michael and his mother, who came from Tennessee. I really had a problem with this. Why on earth would Tennessee slave refugees head deep into Confederate territory, when they could have easily ended up in Union held cities like Nashville, Memphis and Vicksburg? However, this sequence featured a young Bumper Robinson as Michael, who managed to act circles around Lesley Anne Down (as if that were possible). And it also introduced the delicious Lee Horsley as a disgraced army officer-turned-wastrel named Rafe Beaudine, who came to Madeline’s aid against a band of scavengers. Horsley and Lesley Anne Down managed to create a sparkling screen chemistry that nearly put all of the other on-screen romantic pairings to shame.

In the end, Episode Four proved to be a mixed bag. It featured some excellent dramatic scenes and a well-shot battle sequence that helped me maintained my interest. On the other hand, it also featured some questionable writing that left me shaking my head with disappointment. It was not one of my favorite episodes, but was certainly not a disappointment either.

“NORTH AND SOUTH: BOOK II” (1986) – Episode Three “September 1862 – August 1863” Commentary

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“NORTH AND SOUTH: BOOK II” (1986) – EPISODE THREE “September 1862 – August 1863”

I have mixed feelings about Episode Three of “NORTH AND SOUTH: BOOK II”. Fortunately, most of my feelings are positive. This episode featured the Battle of Antietam, the Battle of Gettysburg, and a major schism in the Main family, regarding Madeline Main and her two sisters-in-law – Brett Hazard and Ashton Huntoon. But there was still certain aspects of this episode that I did not find particularly appealing.

I found the first half of this episode to be rather dull. Those reading this article would find this statement surprising, since the Battle of Antietam was featured in this first third of the episode. But I did. Following President Abraham Lincoln’s Emancipation Proclamation, one of the Mains’ slaves, Jim, decided to take matters into hands and run away. Unfortunately, he was caught and killed by the Mains’ former overseer, Salem Jones. I will admit that the reaction to Jim’s death proved to be slightly interesting, thanks to the excellent acting by Erica Gimbel, Beau Billingslea and especially Forest Whitaker; who portrayed Semiramis, Ezra and Cuffey. I was especially impressed by Whitaker’s performance as he conveyed Cuffey’s bitterness over being owned by the Mains. However, I found Brett and Madeline’s presence at Jim’s funeral to be a touch patronizing. But that is merely a private opinion.

Now, I had no problems with Kevin Connor’s direction of the Battle of Antietam. I believe he did the right thing by keeping the battle solely focused upon Billy Hazard and Charles Main. This allowed their brief reunion to be not only surprising, but dramatic. But I do have one major quibble about this particular sequence. How did Charles and his fellow officer, Ambrose Pell go from being cavalry scouts to leading large bodies of infantry troops on the field? If the miniseries had earlier included a small band of scouts under their command, I could see them leading these men into battle. But large bodies of infantry troops? Were the officers of these troops dead? And what kind of troops were they leading? Infantry or dismounted cavalry? I found this kind of inconsistent vagueness very irritating. The Battle of Gettysburg was better handled . . . somewhat. Considering it was one of the major conflicts of the war and fought in the same region – Southern Pennsylvania – as the Hazards’ hometown of Lehigh Station, I was surprised that the screenplay did not focus too highly on it. The battle was simply used as a literary device for the reunion of George and Billy Hazard and an excuse for the latter to go AWOL and see Brett.

The second half of Episode Three turned out to be a big improvement. Most of the slaves left Mont Royal and I did not blame them one bit. Orry’s reaction to their departure was interesting, considering how “BOOK I” had established his slight aversion to slavery. More importantly, his character came off as increasingly conservative. I found this surprising, considering that in the novel, “Love and War”, his views on slavery and racial relations had become slightly more radical. I found that little moment in which Orry bid his mother Clarissa Main good-bye, following his furlough, rather lovely and touching, thanks to the performances of Patrick Swayze and Jean Simmons. But I have mixed feelings about Billy’s decision to go AWOL in order to see Brett in South Carolina. Frankly, I found it disturbing. I do not blame him for missing Brett. But if the writers had not sent her to South Carolina in that ridiculous story line in Episode 2, she would have remained in the North and Billy would not have went AWOL. And his decision to head for South Carolina will prove to be troublesome for Episode Four‘s plot. I am also remain dumfounded by George’s position in the Union Army. During his reunion with Billy before the Gettysburg battle, he claimed that he had been transferred to field duty. And he was seen commanding artillery units. Yet, after the battle, he was seen attending another meeting with President Lincoln and his Cabinet. What the hell? The screenwriters really screwed up this time.

The episode’s second half, Ashton Main Huntoon’s appearance at Mont Royal really stirred things a bit. I found it to be the episode’s most enjoyable segment. Before I explain why I enjoyed it, I have to say a few words regarding Ashton’s reason for visiting her home – namely to confront Madeline about her African ancestry and drive her from Mont Royal and Orry’s radar. If I must be frank, I found Ashton and Bent’s revenge against Orry by using Madeline’s family secret, a bit . . . anti-climatic. Frankly, I thought they could have exposed Madeline’s secret in a more dramatic and satisfying moment – like during a political party in Richmond (which happened in the novel) or expose the secret to the Mains’ neighbors. However, their act of revenge did result in a marvelous scene well acted by Terri Garber and Lesley Anne Down. Semiramis’ rant against Ashton, thanks to another great piece of acting from Gimpel, was nice touch, although a bit fruitless. But it was Brett’s confrontation with Ashton that really did justice to this episode. Kudos to Garber and especially Genie Francis. Francis also shared an excellent scene with Parker Stevenson, who as Billy Hazard expressed his growing discontent with the war.

There is one major problem with this sequence. When Ashton arrived at Mont Royal, she carried foodstuff for the plantation. This makes no sense whatsoever. Ashton was traveling from a state – namely Virginia – that had been ravaged by two years of war. The amount of foodstuff she was carrying from Virginia should have been rare. South Carolina, on the other hand, had been freed of any battles by 1863, aside from the Sea Islands and the forts off the coast of Charleston. There should have been plenty of foodstuff at Mont Royal, thanks to Madeline, Brett, Semiramis and Ezra.

Anthony Zerbe made his first appearance as General Ulysses S. Grant, whom George had traveled all the way to Tennessee to meet, on behalf of President Lincoln. Veteran stars James Stewart and Olivia De Havilland appeared near the end of this episode. Did anyone know that those two had once dated in the late 1930s? Anyway, Stewart gave a charming performance as Madeline’s Charleston attorney, despite his Midwestern accent. However, De Havilland’s portrayal as Virgilia Hazard’s field hospital supervisor, Mrs. Neal, proved to be more interesting and complex. I could not decide which character was more irritating – Virgilia’s arrogant disregard for Mrs. Neal’s advice, or the latter’s patronizing concern for Southern patients at the expense of the other patients and her unfounded suspicions that Virgilia was ignoring them. Both De Havilland and Kirstie Alley gave superb performances in their scenes together.

Although Episode Three had its flaws, I cannot deny that Kevin Connor did an excellent job as the director. But I believe he was ably supported by the miniseries’ crew. Once again, Jacques R. Marquette’s photography provided a good deal of color and style to this episode – especially in the Battle of Antietam sequences. Jospeh R. Jennings continued his excellent production designs, ably transforming viewers back to the United States of the early 1860s. I could say the say about Robert Fletcher’s costume designs. I was especially impressed by his wardrobe for Maude and Isobel Hazard, along with Ashton Huntoon, who ended up being the best-dressed character of the episode. Below are examples of Fletcher’s work:

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Despite a some quibbles and a dull first half hour, Episode Three was an improvement over Episode Two. I was surprised by the number of excellent dramatic moments and first-rate acting in this episode. Also Kevin Connor’s direction of the Battle of Antietam and Gettysburg struck me as pretty damn good. I could say that Episode Three was the highlight of the 1986 miniseries. But I do not believe I would go that far.