TV Review – The Mandalorian Season One, Episode Seven

The Mandalorian (Disney+)
Season One, Episode Seven – “Chapter Seven: The Reckoning”
Written by Jon Favreau
Directed by Deborah Chow

And with the return of Jon Favreau in the writing credits, the story of The Mandalorian improves and moves forward. After three weeks of arguable plot-stalling, things start moving again. Dyn Jarren finally hears that message from his old friend Greef Karga, imploring him to return to Nevarro. The Imperial faction in the sector has amassed there in their search for the lost target (aka Baby Yoda). Jarren gathers allies from previous adventures: Cara Dune, Kuiil, and IG-11 to help him even the odds.

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TV Review – Watchmen Season One, Episode Nine

Watchmen (HBO)
Season One, Episode Nine – “See How They Fly”
Written by Nick Cuse & Damon Lindelof
Directed by Frederick E. O. Toye

Where previous episodes have taken their time and meditated on their characters and themes, this final chapter in the HBO Watchmen sequel feels more plot-heavy and honestly a little rushed. But that is the way finales work when you are trying to tie up the loose ends of a story as complex as this. The plot beats come fast and furious, leading to a reasonably satisfying conclusion with a nice tease of an ending scene. Did this follow-up to the revered comic book match the power of that work? Not entirely, but it had genuine moments of genius and illuminated characters in deeply meaningful ways.

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TV Review – Best of Star Trek: The Next Generation Part 9

Descent Parts 1 & 2 (original airdates: June 21st, 1993, September 20th, 1993)
Written by Jeri Taylor, Ronald D. Moore, and René Echevarria
Directed by Alexander Singer

I’ve always liked the idea of Data’s brother Lore more than the execution. I think that is due in part to Brent Spiner’s decisions as an actor when he plays Lore. He’s not merely doing a more human Data or an evil version of the android. Spiner chooses to be a mustache-twirling embarrassment. Lore never feels like a genuine threat to the Enterprise, always a momentary annoyance they have to deal with. That continues in this two-parter that I wish was better because it does hold one crucial aspect, it features the return of Hugh the Borg.

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TV Review – The Mandalorian Season One, Episode Six

The Mandalorian (Disney+)
Season One, Episode Six – “Chapter Six: The Prisoner”
Written by Christopher L. Yost & Rick Famuyiwa
Directed by Rick Famuyiwa

The first three episodes of The Mandalorian now reveal themselves as a 90 minute pilot for what the actual series will be. The show is nothing but a formulaic procedural set in the Star Wars universe. We are three episodes away from the “pilot,” and it’s clear that we will be getting nothing but one-offs where Dyn Jarren moves on to a new location, worries about getting caught with Baby Yoda, gets involved in a problem in the area, then moves on. This is the same plot used by several television Westerns, The Incredible Hulk, Highway to Heaven, wash rinse repeat. There will be some moderately well-known faces along the way, but this is just a guest appearance.

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TV Review – Watchmen Season One, Episode Eight

Watchmen (HBO)
Season One, Episode Eight – “A God Walks into Abar”
Written by Jeff Jensen & Damon Lindelof
Directed by Nicole Kassell

Doctor Manhattan has always been my favorite character in the Watchmen story due to his tragic nature. He’s a man transformed into a god through a horrific scientific mistake. The result is he has omnipotence and omniscience and a disconnect from his fellow humans. Manhattan exists in multiple points in space & time simultaneously and knows everything that will ever happen to him. This leads to frustration from the people he has relationships with because he will be completely open about knowing when they will split or tragedy will strike. Intimacy crumbles and the shared history between these people begin to feel like a series of steps in a procedure, the discovery and mystery of love are gone.

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TV Review – The Mandalorian Season One, Episode Five

The Mandalorian (Disney+)
Season One, Episode Five – “Chapter Five: The Gunslinger”
Written & Directed by Dave Filoni

The opening of this episode delivers a promise that we are in for something a little more exciting than the last chapter. Dyn Jarren is pursued by one of the bounty hunters following the Guild’s call to arms. It’s a fun short dogfight in space that ends with Jarren’s ship broken down and seeking repairs on a familiar planet, Tatooine. The Mandalorian needs to seek out money to pay for the repairs and skulks through Mos Eisley for something under the table. The result is a decent episode, but still, one lacking the forward momentum of the core story. The ending does hint at a more significant arc happening here, but it’s very procedural.

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TV Review – Best of Star Trek: The Next Generation Part 8

Ship in a Bottle (original airdate: January 25th, 1993)
Written by René Echevarria
Directed by Alexander Singer

This episode returns to a storyline first introduced in season two. In “Elementary, Dear Data,” the holodeck program for Professor Moriarity in a Sherlock Holmes simulation becomes self-aware. That incident ended with a promise that one day, a permanent form for Moriarity would be developed. Now the program is accidentally released with Lt. Barclay is doing work on the holodeck. This time around, Moriarty appears to have created a way for himself to exist the boundaries of the holodeck and move about the ship. Picard and Data must try to puzzle out if a new form of life has been created or have they been tricked through Moriarity’s cunning.

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TV Review – Watchmen Season One, Episode Seven

Watchmen (HBO)
Season One, Episode Seven – “An Almost Religious Awe”
Written by Stacy Osei-Kuffour
Directed by David Semel

I recently saw an acquaintance who just watched the first episode of Watchmen remark that they were confused about what this show had to do with the 1980s comic book and why they should watch the next chapter. People read Watchmen as a whole; only the original readers experienced it as a monthly, which could have led to someone reading issue one and wondering what the big deal about this series was. It’s not the individual piece, but the whole that matters with Watchmen. Seemingly unimportant background matter in issue one gains more considerable significance the deeper you get into the story, the same thing goes for the Watchmen series. Each piece leads to a greater whole.

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TV Review – The Mandalorian Season One, Episode Four

The Mandalorian (Disney+)
Season One, Episode Four – “Chapter Four: Sanctuary”
Written by Jon Favreau
Directed by Bryce Dallas Howard

The Mandalorian showrunners aren’t trying to hide from its roots in the American Western genre. That’s perfectly fine, Star Wars has always been less hard science fiction than a repurposing of other styles into a science fantasy environment. The original Star Wars was lifted heavily from Akira Kurosawa’s The Hidden Fortress and classic Buck Rogers serials. This could be why the prequel trilogy, seemingly unmoored by familiar genre tropes, sputtered for so many audiences.

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TV Review – Best of Star Trek: The Next Generation Part 7

Relics (original airdate: October 12th, 1992)
Written by Ronald D. Moore
Directed by Alexander Singer

Every once in a while, TNG would remind us of its roots in the original series. In the pilot episode, Dr. McCoy made a brief appearance. Later, Spock would play a pivotal in an arc that involved the Romulans. Those guest spots were fun but didn’t tug at our heartstrings, definitely not in the way this return would. The Enterprise comes across a Dyson sphere thanks to a distress call from the lost USS Jenolan. Trapped onboard in a rigged transporter stasis is Montgomery Scott, the engineer on the old Enterprise. He’s been kept the same age he was at the time of the accident due to his quick thinking with the transporter.

Once on the Enterprise-D, Scotty is overwhelmed with the changes in technology. I was reminded of his scene in Star Trek IV: The Voyage Home, where he struggled to work a 1980s PC, believing you spoke into the mouse. Anytime Scotty leaves his particular era, he is a fish out of water, befuddled by the way another time’s technology works. Geordi tries to ease Scotty into life in the 24th century, but the old man gets in the way and is ultimately ordered to leave Engineering. Eventually, Scotty shows his older knowledge and creative thinking is useful when he saves the entire Enterprise crew.

This is an episode my wife admitted made her tear up, and she has not ever been a Trekkie or really consumed a lot of Star Trek media. I think that speaks to the quality of Ronald Moore’s writing that he can evoke those feelings in people with only a passing knowledge of Scotty. When it comes to guest spots by original cast members, this is hands down the best one. The technical aspects of the plot entirely justify Scotty’s appearance without feeling heavily contrived. James Doohan is brilliant at bringing his character back to life and imbuing him with depth and pathos. You genuinely feel the grief of being the last one standing, all your friends are gone, and the world just doesn’t feel the same anymore.


Chain of Command Parts 1 & 2 (original airdates: December 14th & December 21st, 1992)
Written by Frank Abatemarco and Ronald D. Moore
Directed by Robert Scheerer and Les Landau

This is a case of Part 2 being vastly superior to the first installment. The first episode is essential to understand the second, though. It sets up a scenario where Picard, Crusher, and Worf are pulled off of regular duty on the Enterprise to engage in a top-secret mission for Starfleet. Captain Edward Jellico is put in command of the Enterprise, and the first part deals heavily with Riker’s bristling over Jellico’s regimented and harsh style of leadership. It’s okay but not nearly as good as what waits in the second part.

We eventually learn that the mission involves going into Cardassian territory to gather intelligence on a pending attack. That goes south, and Picard ends up captured by Gul Madred (David Warner), a Cardassian who specializes in interrogations. In a similar fashion to the Room 101 sequence in Orwell’s 1984, Picard is systematically broken down. Madred uses the lights in his office as the focus of this torture, forcing Picard to acknowledge over and over that there are five lights when, in reality, only four exist.

David Warner does a fantastic job as Madred; his career had led him to specialize in playing these insidious villain types. The moments between him and Picard are the best of this whole two-parter, full of genuine tension and peril. It’s one of the few times we see someone really get the best of Picard, and you wouldn’t be faulted for worrying if this will totally shatter the captain. My one complaint is that this arc should have more ripples in episodes that follow, the same way the Locutus arc haunted Picard into the feature films. Deep Space Nine became the show that developed the Cardassian conflict more, so maybe because of that, we don’t get much follow up.