Star Trek: Deadlock

Episode: "Deadlock"

Series: Star Trek: Voyager

Season 2, Episode 21

Original Air Date: March 18, 1996

via Memory Alpha

The good news: Ensign Wildman's baby is born!  The bad news: while trying to avoid Vidiian space, mysterious proton bursts cause a space-time rift, creating split realities.  All goes horribly wrong in both, though for different reasons.  Can the two Captain Janeways find a way for at least one ship to survive?

I'm pretty sure this was the episode that once inspired my wife to ask, "How did the crew manage to survive through all of these endless disasters?"

"Deadlock" is a popular episode among fans.  The concept is certainly interesting, inspiring plenty of "What would you do?" questioning.  The scenes with the two Janeways are the highlights.  Lines like "Please don't make me call security and have you escorted off my ship, because... you know, I'll do it" carry meaningful weight.  The end twist is strong, too.  I can't help my own reflexive resistance to an alternate reality story.  Couldn't they have made a similar point with fewer bells and whistles?

Maybe not.  Maybe a glimpse of a scenario in which Voyager didn't survive is essential for appreciating the fact they did.  

Acting Notes

via Memory Alpha

Simon Billig played the role of Ensign Hogan, a former Maquis and an important recurring character in tracking the adjustment for the Maquis crew members to the Starfleet-driven life aboard Voyager.  "Deadlock" is Billig's fourth of seven appearances as Hogan.  The actor was born in Birmingham, England.

Billig also had multiple appearances on Babylon 5, Silk Stalkings and One Life to Live.  Films include Bad City Blues and The Thin Red Line.  

On the Road: A Long Overdue Statement on the Garbage State of the World

Hello America by Vincent Valdez

Our long weekend travels took us through our usual Western/Central Massachusetts stops: North Adams, Northampton and Worcester.  Our adventures helped me focus some of my thoughts about the state of the world, a subject I've been reluctant to address here - not because I'm not upset.  Indeed, I'm furious.  But I've been struggling to find the right words.  For months.  So, here goes...

"Why were we taught to fear the witches and not the people who burned them alive?"

That quote popped up on my Facebook feed a while back and it has stayed with me.  The Salem Witch Trials weren't really about religion.  That was just the excuse.  They were about power and social control.  That social control lives on in our mythology.  Mythology is social control on a trans-generational scale.  

Enter Professor James B. Haile III, Ph.D...  

In North Adams, we went to a reading by Dr. Haile at Research & Development, one of the retail stores at MASS MoCA (The Massachusetts Museum of Contemporary Art).  He presented his new book, The Dark Delight of Being Strange, a genre-bending work combining both fiction and nonfiction elements.  Haile's philosophical charge for himself and for the reader is to challenge and reform our mythology, especially regarding people of color.  

If you control the mythology, you control everything. 

The political rhetoric coming out of Washington right now reinforces a mythology we've all been fed our whole lives.  For the MAGA crowd, the history of the United States - of "America" - is a story of white triumph.  People of color were to be conquered, subjugated and exploited.  The fact that any of them would with to be treated as human - never mind as equals - is intolerable.

The current immigration policies aren't about the law or economics as the policies are disastrous regarding both.  They're about race.  

You don't think so?  Fuck you.  

I'm not joking.  I'm tired of being nice about any of this.  If you're offended by what I'm saying, fuck off.  If you can't draw a line on this unacceptable shit, fuck off.  

If it were about the law, there would be due process.  People would not be snatched off the streets and out of their homes on suspicion alone.  Those arrested would not be hidden away in remote prisons in Florida or abroad in countries with appalling human rights records, even worse than Florida's.  

If it were about economics, there would be acknowledgement of how much even illegal immigrants contribute to our economy, never mind our society.  There would be acknowledgement of the fact that mass incarceration costs more than just leaving people the fuck alone.  But there isn't.  

It's about getting rid of brown people.

What is it MAGA fuckheads say to people they don't like?  "Go back where you came from!" or "Learn English!"  They just want people of color and their cultures to disappear.  Because if they have to see them, hear them, interact with them, share the community with them, then they have to accommodate them.  And I don't mean in the bullshit "Nanny State" sense.  The United States is only a nanny state for billionaires.  I mean they have to incorporate them into their reality, their normal.  They have to acknowledge their right to exist and that is intolerable.  

They have to incorporate them into the mythology.  As equal contributors.

There is a culture war, folks, and the good guys are taking a beating these days.  Why are people fighting so hard over what is visible in schools, libraries, sports, public spaces?  Because if you control the mythology, you control everything.  If LGBTQIA+ is presented as normal, they lose.  If the Ten Commandments are displayed in reverence, they win.  Because the mythology matters.

There's more but I need time to think it all through.  For now, I'll grant the last words to SNACKTIME, a funk/hip-hop/punk/thrash metal band we thoroughly enjoyed on Saturday night.  

They closed their show with the following message:

Fuck ICE!

Fuck Trump!

Free Palestine!

Star Trek: Investigations

Episode: "Investigations"

Series: Star Trek: Voyager

Season 2, Episode 20

Original Air Date: March 13, 1996

via Memory Alpha

A couple of subplots have been running through the last few Voyager episodes.  Crewman Michael Jonas has been sharing intelligence with the Kazon and Tom Paris has been acting like a jerk, even getting himself thrown in the brig and removed from duty.  Both stories come to conclusion in "Investigations" and - surprise! - they're connected.  Neelix gets to play investigative journalist with his new morning show, A Briefing with Neelix.

Star Trek creator Gene Roddenberry was firmly against continuing stories.  To a point, it's an understandable objection.  In the 1960s - an era long before streaming or even home video collections - you would want a new viewer to be able to tune into your show any given week and be able to get caught up in the story right away.  Going back and binging from the beginning simply wasn't an option.  In the 2020s, the television industry has moved so far in the other direction that Roddenberry's objection seems archaic.  

But the mid-'90s, there was still some resistance to the idea within the franchise.  Showrunner Jeri Taylor didn't like "Lifesigns" quite as much as I do, for instance, because she didn't like how the otherwise strong story was broken up by unexplained teasers from the two threads that culminate in "Investigations."  I think the format is clever, but I suppose I understand the purist point of view.

As for "Investigations" itself, I see positives and negatives.  On the plus side...

• The reveal of what's really going on with Tom is satisfying.  Very Trek.
• Pushing on the no one trusts Tom button is effective.
• Neelix's show within a show is an accurate parody of 1990s television.  

On the negative...

• I'm starting to feel the same way about Neelix episodes as I do about droid episodes in The Clone Wars - groan-inducing.
• The plan for getting Tom on the Kazon ship works too well.  I understand the press for time within a TV series but they still could have stretched that out a bit.
• Jonas's story is short-changed.  In an earlier installment, he is encouraged by his Kazon contacts to damage Voyager's warp coils (which happens by accident anyway) and he flatly refuses.  He makes clear he won't do anything to harm the ship or the crew.  Clearly, he's motivated by something other than anger or resentment and he's killed off too quickly for us to learn more.
• Making Chakotay the chump doesn't feel good for the long-term development of the character.  Tom's apology is meaningful but the implications for a trusting Janeway-Chakotay relationship are not encouraging.

Acting Notes

via Film and Television Wikia

Jerry Sroka played the role of Laxeth, a Talaxian who takes Tom on as a member of his crew as part of the scheme.  "Investigations" is his only Trek appearance but he has another fun connection with the franchise.  He has been married to Mariette Hartley, Zarabeth in the original series episode "All Our Yesterdays," since 2005.

His films include Godspell and Our Almost Completely True Love Story.  The latter is the tale of his romance with Hartley.  The two wrote, produced and starred in the movie.  Beyond Trek, Sroka's television appearances include Seinfeld, Murphy Brown and The West Wing.

Squid Eats: Zaytoona

There's a new halal restaurant in South Burlington, Vermont!  We're big fans of Middle Eastern cuisine.  Unfortunately, such dining options in Vermont are limited so any new place is well worth checking out. 

(Don't feel too sorry for us.  Nearby Montreal offers plenty - plus my wife is pretty damn good at cooking her own.) 

We went to Zaytoona for the first time this past weekend and I'm confident in predicting it will become part of our regular rotation.  The chefs are Jordanian and the owner is Yemeni so the Arabian peninsula is the focus.  The space is small, sparse and simple.  Service is prompt and very friendly.  Prices are reasonable.  Informal, too.  The staff were enthusiastically following a football match on the television.  PSG v Bayern Munchen.  I appreciate a place that feels human.

Right, the food.  I got the lamb & beef shawarma bowl, my wife the kofta bowl.  As you can see, there's a lot on there.  There's rice under the meat, salad and hummus you can see in the photo.  It was both tasty and filling - quite filling.  I almost couldn't finish mine.  As is often the case, I think my wife ordered better.  The pomegranate lemonade was lovely, too.  The restaurant is BYOB so it's nice they have satisfying non-alcoholic option.

We'll definitely be back.  Unfortunately, the mixed grill options - kababs, ayares, tawook - are not available for lunch.  So, dinner next time.  Based on this one visit, I'd say I still prefer Istanbul Kebab House in Burlington but it's good to mix things up.

I also may feel differently once I've tried the kababs.

Star Trek: Lifesigns

Episode: "Lifesigns"

Series: Star Trek: Voyager

Season 2, Episode 19

Original Air Date: February 26, 1996

via Memory Alpha

The Doctor falls in love.

In responding to a distress call, our heroes encounter a lone, Vidiian traveler, dying from the phage.  While working desperately to save her, the Doctor creates a holographic clone of her to help in the treatment.  A healthy clone.  A beautiful, kind, intelligent, vulnerable clone.  Honestly, he never stood a chance.  

I'm going to take a risk here and say that this is not only the best episode of the series so far, it is the best of the first three seasons (pre-7 of 9).  I have been through most (but not all) of Voyager a few times now and "Lifesigns" sticks with me.  Obviously, it's wonderful development for the Doctor.  Who knew he was even capable of falling in love?  He sure didn't.  Plus the deeper examination of the pain and awkwardness of first love cuts deep.

If anything, the awkwardness is even more obvious for Danara (the Vidiian) than it is for the EMH.  She must overcome her own insecurities, having been shunned by society from a young age.  Much as Halle Todd's performance as Lal makes TNG's "The Offspring" one of Trek's all-time greats, Susan Diol's turn as Danara brings the magic to "Lifesigns."  Of course, in both cases, the exploration for the principal character is the whole point.  But it's the guest stars who make it work.

Acting Notes

via Quantum Leap Wiki

Susan Diol was born May 25, 1962 in Marquette, Michigan.  She's a Yooper!  She graduated from Otterbein College.  "Lifesigns" is her second of three Trek appearances, first of two as Danara.  

Most of her work has been on television.  Beyond Trek, she's made guest appearances on Night Court, Seinfeld and Quantum Leap among others.  Films include Reality and Loqueesha.

On the Coffee Table: Saga Five

Title: Saga, Volume Five

Writer: Brian K. Vaughan

Artist: Fiona Staples

via Amazon

The adventures of Alana, Marko and Hazel continue, though now in separate threads: Alana and Hazel in one, Marko in another.  By the end of Volume Five, Hazel has been kidnapped but Alana and Marko are reunited.  Everyone's on the run and seriously, I think I'm going to need to create a character map to keep track of everybody.

If you wish for more info on the basic premise of Saga, my previous post is here.  This installment covers issues #25-30.  The energy is relentless.  Death is frequent, instantaneous and brutal - don't get too attached to anyone.  The material is often disturbing, including bad drug trips.  It is often disgusting - dragon sperm plays an important role.  Yet, through it all, even with all of the bizarre scifi trappings, the basic tale of the family is one of ordinary people in extraordinary circumstances.  It's downright masterful.

On the Coffee Table: The Sculptor

Title: The Sculptor

Writer and Artist: Scott McCloud

via Amazon

Struggling professional sculptor David Smith makes a deal with Death.  Over the next 200 days, his hands will create - as if by magic - anything his creative mind can conjure.  However, at the end of 200 days, he will die.  To complicate matters further, soon after, he falls in love.

I first became aware of Scott McCloud through his extraordinary non-fiction work.  His books Understanding Comics, Reinventing Comics and Making Comics offer a fascinating behind-the-scenes tour of the sequential arts medium.  They were an essential part of my own orientation to the comic book world.  The books themselves also reveal a great deal about their creator.  McCloud is as fascinated by the artistic process as he is by the product.  

The Sculptor reflects this, too, though rather than focusing on the technical aspects - especially since with his new "powers," David instantly creates whatever he wants by simply touching the material - the story follows the artist's emotional journey.  The narrative itself, particularly the love story, is engrossing.  But the deeper explorations of inspiration, motivation and the relationships between creator, consumer and critic are the more interesting drivers.  

A few years ago, I had a memorable conversation with an art teacher colleague about the role of "the audience" in creating art.  I asserted, naïvely as it turns out, that one should always consider the perspective of the consumer in the creation of a piece.  She furrowed her brow at me and responded, "No.  Some of the most important work you'll ever do as an artist is what you create for yourself - only for yourself."

I can say from decades of experience that musicians, like me, hardly ever see things that way.  Our training is built entirely around what we project to the listener.  Yes, we should internalize the work as much as we can so we embody it.  But still, that is for the sake of the performance.  Until that conversation, I took for granted that everyone in the arts felt the same way.  

While The Sculptor doesn't explore this matter explicitly, much of David's journey revolves around reconciling what is meaningful to him with what is meaningful to the consumer.  He is, after all, trying to make a living so finding buyers is important.  But as the literal deadline approaches, the financial motivations fall away.  It's the legacy that matters.  How will he be remembered?  Eventually, even that becomes less important than the honesty of his work.  

My own visual art talents don't extend very far past stick figures.  I envy anyone who can convert a mental vision into a concrete reality.  McCloud's talents are considerable.  He's a master of black-and-white, bringing rich depth and texture to his drawings.  The Sculptor was published in 2015 and I haven't seen anything new from him since.  His work is so detailed that I'm not surprised he doesn't crank out books more quickly.  Still, I hope we see more from him before too long.