Star Trek Picard: Season 3 is an Emotional Story about the Nature of Family

 

Captain William Riker (Jonathan Frakes) and Admiral Jean-Luc Picard (Sir Patrick Stewart) on the Bridge of the USS Titan. In the background are Jack Crusher (Ed Speelers) and his mother Dr. Beverly Crusher (Gates McFadden). (Paramount +)

Star Trek Picard's Final Season is Atmospherically Lit, with Superb Storytelling

"You're only ever really as good as those around you. Your crew become a part of you, complete you. They lift you up to accomplish the things you could never do alone." - Admiral Jean-Luc Picard, Season 3, Episode 4: No Win Scenario

"I have slaughtered countless enemies over the years, and considered sending their heads to all of you. But I was advised that was... passive aggressive." - Commander Worf (Michael Dorn) addressing his Enterprise crew mates, Episode 8: Surrender

The final season of Star Trek Picard, a show named after one of the franchise's most famous characters, succeeds in wrapping up The Next Generation crew's story with an emotional bang. Gone are the previous seasons' hesitation to use Starfleet ships with crews in full uniform. 

Those ships, namely the moodily lit USS Titan, serve as the backdrop for a season that is unmatched when it comes to Special Effects, Lighting, bringing beloved TNG characters back into the mix, and, most importantly, plot.

Season 3 does a deep dive into the nature of family. We learn that Admiral Picard and Dr. Beverly Crusher have a son who was born more than 20 years ago. As the story begins, a hunted Beverly sends Picard a desperate call for help on an encoded transmission that he accesses through his old Communicator Badge. Telling him to, "trust no one" she implores Picard to come to her aid.

Which, of course, he does.

We soon learn that Beverly and Jack are being pursued by a group of Changelings - beings who can imitate a person's appearance on sight. Their Captain Vadic (Amanda Plummer) has a special interest in capturing Jack. As we get to know his character, we learn that Jack is haunted by a Red Door in his mind that has vines creeping away from it, crawling underneath hallway floors and along the walls of his thoughts.

In one brief scene we see him shirtless, splashing water on his face, haunted by these visions. With a chest like that it's no wonder why everyone is pursuing him across the galaxy. The man is simply too attractive for his own good. 

: - )...

But I digress.

Admiral Picard and Jack Crusher have a drink together in a Holodeck version of Ten Forward - a bar that was part of the USS Enterprise NCC-1701-D. (Paramount +)

 

Episode 4: No Win Scenario is a crucial episode for both the plot twists and its' contribution to the theme of family. It opens with Picard and the crew of the USS Titan trapped in a gravity well that is pulling the ship ever deeper, slowly crushing it. It appears to be a hopeless situation.

Indeed, the episode must draw as an inspiration the famous Kobayashi Maru training simulation used at Starfleet Academy. Those who undertake the simulation are faced with an unbeatable enemy force and certain death. It has become shorthand for a 'no win scenario.'

Of course, through Picard, Dr. Crusher and Jack banding together and convincing other crew members, they get themselves out of the gravity well and manage to outmaneuver their Changeling enemies. Near the episode's end we see a flashback of a speech given by Admiral Picard to Starfleet Cadets. This flashback ends in the quote above - about how a real family lifts you up and encourages you to do your best work among them.

The family of Starfleet is based on shared ideas and values. In Scott Colura's excellent video for IGN he discusses why the Starfleet Uniform matters: "It's not just that Starfleet Uniforms should look cool when done right. They also mean something to these characters... The uniforms are indicators for the type of characters being portrayed. If you're wearing Starfleet red, gold, or blue you've basically outgrown the petty, selfish concerns of humanity (in the) 21st century. You stand for something more than yourself - you stand for principals like duty, honour, sacrifice & truth."

Contrasting with the Starfleet family in this Season's final episodes are the Borg. They are revealed as the main Antagonists - the mysterious entity that has been hunting Jack Crusher. For Jack has the Borg encoded into his very DNA. He is able to transmit Borg signals and temporarily control the bodies of non-Borg crew members.

In the series finale it is revealed that the Borg Queen (voiced by Alice Krige) has stayed alive after the Star Trek: Voyager 'Endgame' episode by cannibalizing the drones on her Cube. She survives by draining the life forces of others to buy herself time. The Queen delivers a terrifying and dark monologue to Picard as he works to rescue Jack from the Collective's clutches. 

Where in Starfleet the ideal crew lifts up individual members by encouraging and developing their gifts, with the Borg the life forces of the many are taken to serve the needs of an elite few. As Picard aptly points out after connecting himself to the Borg hive mind in order to free his son, the Borg represent not perfection, as they claim, but death.

Jack's rescue by Picard is easily one of the series' most potent emotional moments. It caps off a number of such moments in a well paced and written 10 episode run. 

A final note - Commander Worf easily steals every scene he is part of. The character's evolution into a kind of Zen Master who prefers pacifism over violence makes sense. And Worf's dry humour with a trademark deadpan delivery hits the mark almost every time.

For those who enjoyed the Star Trek: The Next Generation television series (1987 - 1994) or any of the feature films that followed (Star Trek: Generations, First Contact, Insurrection, etc.), you will find Season 3 of Picard a worthy sendoff to a beloved cast of characters.

Severance, a new Apple TV+ Series, is both completely Original and Electrifying

Helly R. (Britt Lower) and Mr. Milchick (Tramell Tillman) enjoy some 'Defiant Jazz' in Apple TV+'s electrifying series Severance.

With Severance, Ben Stiller has created a completely original Office Drama with hints of Science Fiction and Suspenseful Twists

"In the air the smoke cloud takes its form.
All the phones take pictures while it's warm.

Panopticom, let’s find out what’s going on.
Panopticom, let’s see where clues are leading.
Panopticom, won't you show us what's going on?
Panopticom - so how much is real?" - Peter Gabriel, Panopticom

Severance, Apple TV+'s excellent new series, was informed by Showrunner Dan Erickson's own experiences in the corporate world. As Erickson told Apple Insider, he had a string of office jobs including one in a, "weird little windowless office." He often thought to himself: "Man, I wish I could just totally not experience the next eight hours. I wish I could disassociate and just have it be 5:00 PM and suddenly I'm going home."

Actor and Director Ben Stiller, who directed and produced 6 episodes of the series, said the plot is, "reminiscent of certain workplace office comedies, but then it also had this other strange, dark undertone to it too."

The show's plot revolves around Lumon Industries, a multinational corporation that has pioneered the practice of Severance. This means employees who opt for the procedure have their work and home selves split through the effects of a microchip that is inserted into their Brains. A severed worker's 'Outie' has no idea of the nature of the work he or she does for Lumon, while their 'Innie' has no idea what their life above in the outside world is like.

Lumon Industries was founded by the mysterious Keir Egan, a corporate figure who inspires religious levels of devotion within the firm. The Bell Labs Holmdel Complex in New Jersey was used as Lumon's corporate offices for the show. The floor used for the series' severed workers has a mid-century architecture that gives Severance a feel of existing outside the boundaries of time. 

The Metadata Refinement Team are the show's core characters. Mark S. (Adam Scott), hilariously foul mouthed Dylan (Zach Cherry), defiant newcomer Helly R. (Britt Lower) and rules obsessed Irving G. (John Turtorro) spend their days pulling 'scary' numbers into electronic boxes while working on older computers in a very retro office setup. 

Their employer, it would seem, is up to something rather sinister. 

The team's supervisor is the absolutely terrifying Mr. Milchick (Tramell Tillman) who reminds me very much of the character of Love, a merciless Personal Assistant and Replicant, from Blade Runner 2049. Mr. Milchick doles out awards such as Melon Parties and Musical Experiences for Lumon employees who perform and stay on their best behaviour. Rule breakers are taken to the 'Break Room' where they must repeat a bizarre Mea Culpa with religious overtones until Milchick and his own boss, mid level Manager Harmony Cobel (Patricia Arquette) are satisfied.

Cobel lives next door to Mark S. in the outside world, where he knows her by another name and identity. She gets to spy on her star employee and worship at the altar she has created in her home for Lumon Founder Keir Egan.

The show's writing is solid, bordering on flawless at times. And the concept has been well developed and tested by the show's team of writers. Particularly enjoyable is the character of Burt G. (Christopher Walken), the head of Lumon's Optics & Design department. His office romance with Irving G., and how this in turn kindles a budding alliance between the 2 departments, is both moving and a hilarious send up of inter-office rivalries.

In Episode 3 (In Perpetuity) members of the departments encounter each other in one of Lumon's many bland, aggressively illuminated hallways. Dylan, who has been led to believe the Optics and Design employees were once involved in an attack against the Metadata Refiners, misses no opportunity to take a shot at Burt G. Observing the remnants of their 'Egg Drop Challenge' he remarks, "those Eggs look like shit!" as the teams part ways.

This is quite humourous because Dylan loves the meaningless perks that Lumon doles out for its' star workers - such as Finger Traps, hand drawn Caricatures, and Waffle Parties complete with Eyes Wide Shut overtones.

Season 1 of Severance ends with a nail biting cliffhanger as the Metadata Refiners work to, "burn (Lumon Industries) to the ground," to paraphrase the words of Irving G. The team has found a way to bring their work selves into the outside world,  thus setting the stage for a very exciting opening to Season 2, which has been confirmed by Apple.

Dune - A Hero's Journey

 

Denis Villeneuve's Dune is a solidly acted and well-paced adaptation of the 1965 Novel by Frank Herbert

 

Dune Tells the Story of a Hero's Journey - the Man Who Might be the Chosen One

"I must not fear. Fear is the mind killer. Fear is the little death that brings total obliteration. I will face my Fear. I will permit it to pass over me and through me. And when it has gone past I will turn the inner eye to see its' path. Where the Fear has gone there will be nothing. Only I will remain." - Frank Herbert, Dune, 1965

*

Canadian Director Denis Villeneuve's Dune is actually the second time that Frank Herbert's 1965 epic Science Fiction Novel has made it to the Silver Screen. The first time was in 1984 with David Lynch sitting in the Director's chair. There was also an aborted attempt in the 1970s' by French-Chilean Director Alejandro Jodorowsky which produced a script, "the size of a phone book," in Herbert's words.

A bit of background about the Novel before I dive into a review of the movie. Dune tells the story of Paul Atreides, Heir to the House Atreides. Paul's family is given control of the planet Dune, or Arrakis, by the Emperor of the Known Universe. The planet is of key strategic importance because it is where Spice is mined, a precious substance that facilitates Interstellar travel, and heightens the intellectual abilities of its' users, among many other uses.

Except this 'gift' of Arrakis is actually meant to lure the Atreides into a trap devised by their rivals, the villainous House Harkonnen. The Emperor is setting the Atreides up for a fall in order to maintain his own influence and power.

So rich in information is Herbert's book that it became used as a teaching aid in Universities for Architecture, Economics, and Political Science courses, among others. Herbert, no intellectual slouch, worked in his lifetime as an Investigative Reporter, Speechwriter and Researcher for a United States Senator, as well as a Ghostwriter before he went on to become an Author in his own right. He was also an Environmentalist who was decades ahead of his time in the measures he advocated.

Denis Villeneuve's Dune does several things right at once, which makes it a very good movie, though not without flaws. His choice of cast, selection of settings, and the amount of attention to detail in every frame make this a cut above most movie-going fare out there today. There is a lot of mood and atmosphere here, with the colours being an earthy palette of greens and browns on Arrakis, contrasting with shades of black and oily brown when the Harkonnens appear onscreen.

It is Dune's pacing, also evident in Blade Runner 2049, which makes this film stand out. The measured pace allows for details both large and small from the Novel to make it to the Silver Screen. Timothée Chalamet is an inspired choice to play Paul Atreides. Especially when we get to see him shirtless. He's a sexy and smart Hero for our time.

However, this is only Part One of the story. If Villeneuve's adaptation has a weakness, it appears in the last third of the film. This part felt to me like it was dragging on before reaching an ending. That said, I certainly hope Dune gets the Box Office revenue it needs in order for Part Two to be made. This is a solidly told story. 

I want to see how it ends.

*

Sky Gilbert's New Novel 'I, Gloria Grahame' and The Little Show at Chez BonBon

This past weekend on Sunday, October 24th, I was fortunate to attend the book launch for Canadian Theatre legend Sky Gilbert's novel I, Gloria Grahame. The Novel tells the story of shy, effeminate Professor Denton Moulton. In his head Moulton is really the long dead Movie Star Gloria Grahame. I am looking forward to reading my copy, as I'm sure it's filled with Sky's sharp observational humour. 

Also on the 24th was a performance of The Little Show, a Theatre Show featuring Keith Cole, Shaun McComb and Veronica Hurnik, with Stewart Borden on Piano. The show was very funny - particularly a sketch dealing with buying stuff off of Amazon to ease the emotional pain of a breakup. The piece went from Sad to Funny and back again. Everyone involved in the production did fantastic work.

For me, it was the first time I have attended a Book Launch and Theatre Show since the Covid-19 Pandemic began. Both events were well worth it. Judging from The Little Show, Sky Gilbert has some keen insights about the slightly absurd effects this Pandemic is having on modern society.

Equals is a Touching, Artfully Directed Love Story

In cool blues and greys, Drake Doremus's new film encourages you to, "Find Your Equal."

The tagline for Director Drake Doremus's new movie Equals challenges viewers to, "Find Your Equal." The script, written by Doremus and Nathan Parker (Moon) tells the tale of a future 'utopia' where physical contact and intimacy are forbidden. It stars Nicholas Hoult as Silas and Kristen Stewart as Nia, graphic designers affected by Switched On Syndrome (S.O.S.).

Nathan Parker knows a thing or two about writing stories set in cold, futuristic environments where the protagonists struggle with alienation and isolation. He co-wrote the script for 2009's Moon with Dunan Jones; another futuristic movie about a lonely miner extracting natural resources from the lunar surface.

Equals colour palette is all cool blues and greys. Meant to reflect the emotional distance and isolation enforced by this future world's Collective. From the background given it would seem that humanity nearly destroyed itself some years earlier. Survivors pegged human emotions as one of the prime culprits and sought to genetically eliminate them.

Silas and Nia work in the same office creating graphics and spoken word descriptions, respectively, for television programming. Silas works in the company's Speculative Non-Fiction department. In this world Silas, Nia and their co-workers wake up alone, take the subway to work alone - eyes focused on giant monitors - and spend most of their work days essentially alone tapping on enormous touchscreens.

Sustained eye contact is avoided and physical contact forbidden. As we learn in a public service announcement less than 10 minutes into the movie, some members of the Collective suffer from S.O.S. which is divided into 4 stages. Essentially their emotions are taking hold.

Equals is pointed social commentary that sticks it to corporate mandated conformity and a smartphone obsessed world.

After several lingering glances and much mutual pouty-lipped staring, Silas and Nia fall in love with each other. Silas has been diagnosed with Stage 1 S.O.S. and is soon ostracized by co-workers who give him his own mug and seat themselves far away at lunch. Just in case S.O.S. is contagious.

Nia is a Hider, someone who knows she has the condition and does not want to be diagnosed and labelled.

When Silas and Nia share the screen, the movie's colour palette warms up so they appear as actual flesh and blood humans to us. The contrast between people who can love and those who are loveless is obvious.

In one memorable scene Silas and his boss Leonard (David Selby) exchange words late at night after everyone else has gone home. Leonard is worried that Silas is developing a crush on Nia. As they talk Leonard's half of the screen remains icy blue and grey while Silas's outline is illuminated with colours that remind me of sunrise.

I love Equals because it affirms the power of touch, and of intimacy as being key to growing and fulfilling our potential. There are comparisons to be made between Equals and Abraham Maslow's Hierarchy of Needs.

First proposed in 1943, Maslow's Hierarchy is often represented graphically by a pyramid. According to the theory, human beings must have their deficiency or 'd needs' met before they can progress further. The most basic needs Maslow listed are: Physiological, Safety, and Love/Belonging.

Love and Belonging are about an individual's ability to be accepted as part of a group. If we don't fulfill our needs at this level, we risk being felled by depression and anxiety. Interestingly, in Equals there is overlap in the symptoms of anxiety & depression and the Collective's so-called Switched On Syndrome.

Our smart, attractive protagonists soon realize the Collective is trying (and failing) to suppress basic human needs.

At one point in the film, members of the Collective gather in a large atrium to view a spaceship launch on yet another giant screen. As children Collective members are told the answers to humanity's problems lie in the stars.

They might.

Or they may be just a kiss away to quote the Rolling Stones Gimme' Shelter.

Jupiter Ascending is Fun Winter Escapism that Left Me Wanting More

The villainous Lord Balem (Eddie Redmayne) views Jupiter, jewel of his empire, from a regenerative bath.

Eddie Redmayne Steals the Show in Otherwise Frustrating, Yet Imaginative, Intergalactic Opera

Jupiter Ascending, the newest offering from the Wachowski siblings who brought us The Matrix trilogy and Cloud Atlas is a fun science fiction opera that left me wanting more. There seemed to be a push and pull throughout as the movie jumped between action and the explosions that are that genre's bread and butter, to long conversations that only just touch on something deeper and more profound.

In Jupiter Ascending the audience meets Jupiter Jones (Mila Kunis) an immigrant born between continents under the sign of the planet Jupiter who makes her living scrubbing toilets and taking out other peoples' garbage. But like Cinderella, there's more in Jupiter's future than slaving day in, day out. Where the glass slippers gave Cinderella her path to a palace, Jupiter's genetic code is what singles her out for greatness.

You see, Jupiter is a "recurrence," a genetic identical of the dead mother of the Abrasax clan. This mother's 3 scheming children control planets which they harvest for genetic material that keeps them young and virile for lives spanning tens of thousands of years. The eldest of these children, Balem (Eddie Redmayne), wants Jupiter dead because, by simply existing, the Earth and other planets in Balem's inheritance will belong to her.

Balem's pursuit puts the plot in motion as Caine Wise (Channing Tatum) a spliced half human, half dog bounty hunter, rescues Jupiter from her would-be assassins.

You don't have to pay attention too closely to see that Jupiter Ascending is a critique of capitalism. Or at least the reality of human society as a pyramid with a select group at the top controlling most of the money and resources. In an early scene the Abrasax heirs are taking a walkabout on an empty, harvested planet. Balem, Titus (Douglas Booth), and Kalique (Tuppence Middleton) snipe at each other about their dead mother's inheritance and who took title to what planet.

Balem is the villain here, as well as the most interesting character in the movie. He speaks only in throaty whispers or full on drama queen screams. He loves his dear departed mommy, yet killed her for reasons unspecified. In perhaps his best line, Balem declares life to be, "an act of consumption." I left the theater wanting to know more about this thinner, more handsome version of Dune's Baron Harkonnen.

Here lies Jupiter Ascending's greatest weakness. Because it can't decide if it wants to be an action movie or a more philosophical, idea-based science fiction journey, we're robbed of character development. The Abrasax are all schemers, Jupiter is a naive woman constantly being saved by Caine, and Caine is the valiant gentleman who tries not to let on how much he loves Jupiter. All of the primary characters have one or two note personalities — there's no depth here, though the fact that some of them (particularly Balem in his final in person showdown with Jupiter) hint at depth in their speeches is frustrating. 

I suggest making time to watch the wonderful Mars et Avril, a Canadian sci-fi created in Quebec, to get a sense of what Jupiter Ascending might have been had the Wachowskis spent a little more time on character development and motivation. Mars et Avril manages to connect the planets with human intrigue and love. It is an immensely emotionally and visually satisfying film to watch. 

While the chase scenes and explosions are entertaining in Jupiter Ascending, by skipping on character development the audience ends up not giving a shit about the characters. What makes it even more frustrating is the groundwork is there. Background and context are given throughout.

I give the Wachowskis points for attempting something original and daring. The movie is fun winter escapism, but it misses the certain something that could have made it amazing. Although the movie's release date was pushed back from summer 2014 to February 2015, they could really have used more time to decide on the kind of film they wanted to make and then make that film really well, as opposed to this strange fusion that left me wanting more. 

The planet Jupiter, home to a towering refinery that is the seat of Balem Abrasax's empire.