Martin Milner (1931-2015)

"People calling us pigs---wives and children and friends having to live with that---because one rotten cop gets both his feet in the trough."

 -Pete Malloy, as played by Martin Milner, on Adam-12-

Martin Milner who will forever be remembered as Pete Malloy on Adam-12 (1968-1975) has passed. As a kid I adored and respected law enforcement officers Pete Malloy and partner Jim Reed, played by Kent McCord, on Adam-12. Adam-12 dealt with police stories of its era, but these were indeed noble officers like those who populated CHiPs (1977-1983).



As Los Angeles Police Department Chief Charlie Beck noted about Millner as Malloy. He offered a "depiction of a professional and tough yet compassionate cop." It has been reported Milner inspired Beck to a career in law enforcement.

Deputy Chief Beatrice Girmala also declared Milner's character an inspiration. "He honored police officers in every episode, by demonstrating with professionalism and poignancy life on the beat."

The legendary and iconic Adam-12 lasted for seven seasons and 174 episodes. He would later appear on another favorite Emergency! (1972-1977) in a guest role for three episodes including the Pilot.




With all the negative and unfortunate publicity towards law enforcement today, Milner's passing is a reminder of the good men and women do too. Despite silence and mixed messages from top officials including the President, movements that chant the very words that have existed since the days of Adam-12, this, for me, not only serves as a tribute to Milner's timeless role on Adam-12 and the values they represented and instilled in me, but also as a tribute to all the men and women, of every color and creed, in blue who serve and protect people from all walks of life.

The aforementioned quote that led this post could be ripped from a headline today. As much as misguided forces and equally misguided media persists and drives a narrative there is much good these men and women do. So thank you Martin Milner and thank you law enforcement everywhere. The fact of the matter is, police are human and flawed and also have it tougher than ever today and many of us want you to know you continue to have our full support and gratitude. Because without Pete Malloy and Jim Reed and the likes of you life would be very different.

My sympathies as Martin Milner---another husband, father, friend, colleague---and for me, great childhood role model---is gone. Milner was 83.

Brad Wright And Robert C. Cooper: On Stargate Universe Season One Part One

"I love the first ten, but I think fans who feel there were elements missing from what they consider to be a Stargate, will find them very much present in the second half of season one. ... because we devoted so much of the first half to basic survival and forging the characters and their relationships. I think all of that was necessary...."

 

-Brad Wright, SciFiNow #40, p.33-

It's been so perfect for ten episodes you can only hope the approach to Stargate Universe is not that different. Stargate SG-1 and Stargate Atlantis have been done. Stargate Universe is a fascinating, new animal.

 

"They (Rush and Young) have to deal with the obvious ripple effect and the repercussions of the action they took, and lack of trust they have in each other, and where all of that is going. In many ways, the first half of the season was all leading up to that moment. On this show there are no classic heroes or villains. Everybody is flawed and it's about human beings trapped in this pressure-cooker situation, and having the essence of their characters come out."

 

-Robert C. Cooper, SciFiNow #40, p. 37-

I spoke previously about Stargate Universe, Season One, Episode 10, Justice really shining a light on the actual character of these characters. Cooper really highlights that point here.

Following the rather difficult and traumatizing events of Justice, people aboard the Destiny continue to be put to the test in deep space. Colonel Everett Young was tested, perhaps more than any other. But everyone is feeling the heat as sides were taken and actions have been called into question.

There were indeed plenty of moments over the course of these first ten episodes where characters have managed to keep it together under significant duress, but as events unfolded in Justice the survivors aboard Destiny are being pushed beyond their limits. Cracks within this fragile microcosm of civilization are beginning to show. Where that takes these men and women will be fascinating especially for Young and Rush "which is part of the ongoing nature of what I think this show is," says Cooper. Human nature is at the heart of this brilliant iteration of the Stargate franchise. It's not always bad, but when it is, it can be ugly as Justice proved.

As a whole Stargate Universe Season 1.0 (episodes 1-10) is nothing short of perfection. Each entry is flawless in performance, execution and story. While each story can be taken entirely on its own terms, there is indeed plenty of connecting sci-fi tissue here weaving a much more epic tale in scope. Thematically the viewer benefits most by absorbing this connected journey as a whole. It's a bit like listening to a proper epic pop album along the lines of The Seeds Of Love (1989) by Tears For Fears or Street Fighting Years (1989) by Simple Minds. The songs that comprise these collections are certainly grand and beautiful on their own, but together the productions make for an experimental, thematically tied effort that is much more profound in scope on the whole and in some respects, like SGU, represent creators at their artistic heights.

Stargate Universe S1 Ep10: Justice

"You put ordinary people under enough stress I think you'll find they're capable of just about anything."

 

-Dr. Nicholas Rush-

"You don't believe in the mission. You resigned your position as SG leader because you didn't want to make the hard decisions - the life and death decisions - and that makes you a liability."

 

-Dr. Nicholas Rush to Colonel Everett Young-

How far the creative team behind Stargate has come at spinning, weaving and crafting a story. If you recall, Stargate SG-1 (1997-2007) was pretty rough around the edges in the early going despite a love for that dynamic quartet of characters. Later, Stargate Atlantis (2004-2009) was a relatively slick machine, a formula refined to plot-driven perfection thankfully populated with more beloved characters. With Stargate Universe (SGU) (2009-2011) creators Brad Wright and Robert C. Cooper were at the height of their creative powers pushing the boundaries of their brand of harder science fiction and character drama into an entirely unexpected class aboard the solar powered Destiny. SGU is indeed the Cadillac of the franchise. It's a beauty.

Cooper and Wright continue to do the series justice by pushing the boundaries of imagination, theirs and ours, with the appropriately-timed Stargate Universe, Season One, Episode 10, Justice.




I've been completely in awe of the how technically beautiful each installment of SGU has been. It has been masterfuly directed and produced. I keep wondering if they can keep this level of quality up, but they have yet to disappoint.

Justice utilizes the mystery surrounding who murdered resident, tightly wound, pain-in-the-ass Sergeant Spencer, who is found dead in his quarters, as a backdrop to shine light on the overarching question of evil, motive and character. The murder itself is relevant merely in driving the plot and characters and an inherent distrust and uncertainty between them all. It's the actions of the personnel aboard the Destiny and how each individual responds to the crisis that is actually under the microscope here. The creative team behind the entry keep up with the lighting effectiveness, and with Justice there is even a little more natural lighting and it complements the overall sobering tone of the entry. The consequences feel real and the austerity of their situation dictates yet another carefully considered production plan for the accompanying look of its story.



Lt. Matthew Scott has an alibi and thus takes charge of the investigation. All others are suspect. Colonel Everett Young cedes his command in the interim as a result.

A room to room search leads to questions of trust. Feathers are ruffled as integrity is called into question. It's in these moments where those aboard the Destiny are seeded with doubts, each about each other and us about them.

The murder weapon is found hidden in Young's quarters. He believes he's being framed, but requests Eli and Scott to handle everything by the book and above board. It's a testament to his solid character or is it?



As Rush and Young continue to butt heads, Camile Wray continues to be a leadership wild card. There are clearly seeds planted by her IOA superiors during her visit to Earth via communications stones in previous episode Life that call into question her motives.

Wray is something of a pitbull at times and will see the opportunity as one to potentially supplant Young's leadership role. An evidentiary hearing results as she assumes the de facto prosecutorial role against Young in this microcosm of Earth justice.

Justice becomes a variation on the courtroom drama. But like Time, which put its own spin on the classic time-travel yarn, Justice offers its own variation on this oft-implemented theme or convention seen a thousand times in everything from Star Trek: The Original Series (1966-1969) and Star Trek: The Next Generation (1987-1994) to Stargate SG-1 (1997-2007). The trial story has been in play forever in sci-fi. SGU offers another wonderful variation on a classic idea. It's not so much the trial as it is character perceptions. Innocence and guilt is unimportant. It is the character of our crew on trial here.



One aspect to the proceedings is the perspectives offered by the various players aboard the Destiny and how they perceive Young. Responses aren't always what one might expect based on pre-established alliances, but rather some responses are based solely on perceived truths.

Chloe Armstrong, played by Elyse Levesque, is particularly strong in this episode finally given a chance to shine beyond the role of love doll to Lt. Scott.

Wray's power play succeeds as an agreement is reached to drop charges against Young so that she may take charge aboard the Destiny. As the human resources person she's a bit like the community organizer turned Commander-in-chief. What evidence exists she can be trusted? She works like the consummate politician.



The Machiavellian Rush quickly makes his move asserting control over the science team as his only wish while reporting directly to Wray. The once non-negotiable Ancients Chair option under Young's direction is back on the table.

Soon after the power shifting, Dr. Jeremy Franklin is found in a gruesome scene convulsing and bloody in the Ancients Chair. He is saved but unresponsive. Was Young's counsel of caution correct after all?

Young and Rush meet one another in a verbal exchange interrupted by Wray as all indications are that the triad forms something of a power block. The science team is listening to Rush and the military arm of the crew is loyal to Young. Wray is attempting to forge a third camp and a new wing of power consolidating support by anyone on the fence.



Scott asks Eli to investigate the kinos (the roving camera balls) for any information on the framing of Young. With multiple camps forming and a general lack of leadership from the divisive Wray, things are starting to get bumpy aboard the Destiny. With Wray in charge the Destiny gets an administrative adjustment. The politics and how far some are willing to go for power are on full display in Justice. Justice asks us---is there any?

Deleted footage, backed up from the kino by Eli, reveals the hidden truth surrounding Spencer's death. As a result Wray is contrite and apologetic to Young essentially relinquishing command back to the Colonel and rightfully so for her missteps and ill-backed persecution.

So for the second half of Justice the location shifts from courtroom to planet as Destiny drops temporarily from FTL mode.



Adding to the already electric cinematic look of SGU, an away team discovers another alien world ripe for exploration with just the right lighting for yet another striking new look for the series. It is perhaps reminiscent of Battlestar Galactica, Season One, Episode 5, You Can't Go Home Again, one of the many great installments from that aforementioned series first season.

The away team discovers a crashed alien ship, an eerie homage reminiscent of Alien (1979) sans the face huggers and slime-filled budding pods. Rush and Young arrive on the planet and join the team in their discovery.

With time running out before the Destiny re-engages FTL Young sends the group back to the gate. Remaining behind is Rush and Young with Rush eager to analyze the alien craft, clearly not of Ancients origin. Young calls out Rush confronting him in the compelling final minutes of Justice.



I won't give away details but the blood that boils between these two men is represented by this exchange. "Are we done?," says Young. "We'll never be done," replies Rush.

You really have to experience the unsettling, unnerving final minutes of Justice to comprehend it. All of the episodes build to this confrontation as much as each episode is a building block to analyzing each character. Just when you think there is Justice, vindication or redemption sometimes the tables turn in favor of the heart of darkness. The evil that men can do. People are pushed and pushed and some turn to their dark side making some ferociously questionable decisions even unraveling all of the good will viewers had toward a given character.



Is it the poor decision of a man pushed too far? We all have a breaking point. Young exemplified evidence of that breaking point against Telford in Life. Here, Young and Rush come to blows. But how does a good man fight the nefarious actions of men that move to do you harm? How do you fight that fight? Evil forces a call to respond. But perceived rights and wrongs aboard SGU's Destiny are indeed murky at best. The lack of clarity so often black and white on Stargate SG-1 and Stargate Atlantis are even more unsettling and uncomfortable here.

Is Young beyond reproach? Are the actions of Rush selfish? Justice speaks to the complex nature of the human beings. We are far more than the simplicity of a single bad action or a single good decision. We are the culmination of many moments and many events. There are indeed many sides and much depth to us all.



Thus there are many morally ambiguous moments in play throughout the adept Justice. The Destiny jumps into FTL as Young jumps through the gate---alone.

In the final minute Eli is asked to delete the footage of Spencer's death from his hard drive though he thumb drives a back up of the information. There is a moment when Eli looks straight into Young's eyes as if peering through a window to the soul. Eli knows something occurred  between Young and Rush upon Young's return. Perhaps it is the light and goodness of Eli's innocence, a good man, that allows him to see the corruption in others, because he does often see it clearly. Eli is left to wonder if there is indeed justice. He's often been on the losing end of the moral high ground, but Eli has a way of penetrating the politics and the spin to still see the uncorrupted, unfiltered truth.



As for the morally questionable Rush, he looks to the space above and the thought of oblivion. If only Dr. Zachary Smith had been given a similar fate or treated as a more significant threat in Lost In Space (1965-1968) all those years ago. Oh the pain.

Justice witnesses the team discover a potential alien threat, but rather than fighting monsters on other worlds or adventure in alien battles, the monsters are within this group, the demons are just underneath the surface of ourselves and we are instead fighting one another.

Justice suggests not only is it difficult to hear one scream in space, but also find justice even among so few.



SGU is by far and away the most serious in the long-running franchise. Every inch of its creative focus is on this quality show. Perhaps the fact not a single toy, action figure, ship or doll was ever licensed, produced or procured offers some degree of truth to the maturity of its handsome undertaking.

These first ten episodes of SGU at the mid-season marker are proof that some of the finest explorations in science fiction continue to be made. Hands down Stargate Universe, though underappreciated and misunderstood, was easily the best of the franchise and one of the best sci-fi efforts of the new century. What an ephemeral, but satisfying trip.

Justice. Writer: Alan McCullough. Director: Will Waring.

 

Brad Wright And Robert C. Cooper: On Stargate Universe

"... We wanted that story to be about basic survival---the wrong people unprepared, which was the complete opposite of what we had done in over 300 hours of things called Stargate. There it was the razor-sharp, right people, fully prepared, going through the Stargate as the best and the brightest. This was the cleaning people, some civilians and definitely not the A-team. And what do they show up with? Nothing."

 

-Brad Wright, SciFiNow #40, p.33-

"I think we definitely were carrying a lot of baggage---not in a negative sense---in terms of people's expectations about what Stargate is and what it should be, and feeling like we were neglecting a certain segment of the fan base."

-Robert C. Cooper, SciFiNow #40, p.33-

Stargate Universe creator Wright succinctly compares one difference between Stargate Universe to Stargate SG-1 and Stargate Atlantis, while Cooper fittingly underscores what Stargate Universe was up against with fans of the franchise.