Only In Japan

I love Japan. You know that.

I love anime and I love kaiju, but this just seemed so damn appropriate.

And my gosh it's hysterical.  The sense of the peculiar and otherness about it all is just one of the aspects we love about Japan.

Japan is just one the many elements that made Sophia Coppola's Lost In Translation (2003) so appealing.

It's all just a little different if you aren't from Japan.

These images speak volumes and nicely preface my upcoming post. Stay tuned.

Of course, I'm not sure who's behind the other 22% or why 1952?

Stargate SG-1 S1 Ep4: The Broca Divide

"I want you.  ...You want me?"

-Samantha Carter-

 

"No, well, not like this."

-Jack O'Neill fending off a feral but sexy Samantha Carter thrusting herself at him-

Looking back again at Stargate SG-1 in its infancy, the series was indeed a sometimes gritty, earthy and appropriately earthbound series given its strong relationship to the U.S. military not to mention rustic location shooting in Vancouver, British Columbia.  The color palette for the series with its earthen green and brown tones also helped establish a distinctive look to the series that was entirely unique as a science fiction series.






It was everything Star Trek: The Next Generation or even Star Trek, in general, was not.  It was far removed from the sterile, politically correct and colorful look of that wonderful universe.  Stargate SG-1 offered us wry sometimes irreverent humor with a military dynamic and a different sense of mission (slightly), which placed it squarely within a universe and vibe that was entirely non-Trek.  For many, and in this rare instance, this series not only established itself, but ultimately developed its own franchise industry paralleled to the verse of Star Trek.  The stranglehold of Gene Roddenberry on science fiction was apparently eluded by the creators of the Stargate identity. Star Trek expectations were not applied by fans of science fiction television.  Stargate SG-1 was, of course, like Star Trek in that it was a fantastic adventure series with plenty of well-developed science fiction concepts to explore the human condition.  In that, Star Trek and Stargate shared common ground, but Stargate SG-1 would develop its own beast accordingly without a requirement to keep in step with the world according to Star Trek.  In other words, Stargate SG-1 would create its own mythology and its own universe and do so successfully.  That was a remarkable accomplishment in a world conditioned for Star Trek.

Somehow Star Trek: The Original Series (1966-1969), Star Trek: The Next Generation (1987-1994), Star Trek: Deep Space Nine (1993-1999) and Star Trek: Voyager (1995-2001), though permeating the airwaves, failed to alter the vision of Stargate SG-1 (1997-2007).  Were people simply hungry for something new?  Certainly Stargate SG-1 felt like something new when compared to the worlds of future man explored in Star Trek. Stargate SG-1 was grounded in the present, complete with military fatigues, tapping into the unknown and that offered science fiction fans something refreshing and something relative and connected to their own reality.

Babylon 5 (1993-1998) was battling it out with Star Trek: Deep Space Nine in a kind of which came first the chicken or the egg exercise despite both having their strengths that were clearly space station-centric.

And, meanwhile, Stargate SG-1 was indeed anchored on terra firma.  Unlike alien invasion shows of Earth, surprisingly we were the ones exiting the planet and doing the invading in the name of exploration and technological discovery.  It was a modern day, sci-fi based Marquette and Jolliet.  Stargate SG-1 was a little Canadian too.  Beyond exploration, as ST:TOS developed so well once upon a time, was the reality of American interventionism also in subtle question here?








Seeing the episodes again, it is impressive to see the kind of cinematic flair Showtime demonstrated in lighting and the application and use of music.  While maybe not perfect in execution, Stargate SG-1 still holds its own as a science fiction production.  It is a muscular, confident series that is secure in its own skin.  It will no doubt endure and be applauded for those efforts.  Today, it is ripe for a Blu-Ray upgrade.




Our focus is Stargate SG-1, Season One, Episode 4, The Broca Divide but I couldn't help but note some of the obvious sci-fi comparisons and the evolution of the genre particularly during that period.  It seems to be more evident than ever as I coincidentally look back at Star Trek and Stargate simultaneously.





The latest episode here certainly offered viewers a major step up in concept and story quality from the last entry as yielded in the form of the generally weak Emancipation.

The science fiction concept of the "touched" employed here applies to an alien culture whereby some people are essentially turned into primitives. The infecting agent eventually infects SG-1. It's a good story if not entirely original.  These kinds of ideas have certainly been employed in past classics like ST:TOS Miri within the genre.  In fact, as noted by an Anonymous commenter, this bears an uncanny and significant resemblance to Space:1999, Year One, Episode 15, The Full Circle.  That much is undeniable.  Again, what it lacks in originality it more than makes up for in spunk and The Broca Divide ends up another stalwart entry conceptually even if not among Stargate SG-1's best.



The infection also appears to impact members of SG-1 in a physiological context. Colonel Jack O'Neill and Major Samantha Carter are even made up with pronounced foreheads and additional body hair. Daniel Jackson too becomes a victim. Only Teal'c can save the day. A vile of blood allows Dr. Janet Frasier to harness a vaccine. Frasier, played by Teryl Rothery, would be perhaps one of the most beloved and accessible doctors in science fiction to come along since many of the unique faces and personalities to grace Star Trek. She has one of the most profound characters arcs and stories to grace television for a recurring character that I have ever experienced culminating in her departure during Season Seven. The Broca Divide delivers her first appearance and one that shined so brightly it became a recurring one thanks to her chemistry with the other principals.





But again, circling back to the beginning of Stargate SG-1 with an episode like The Broca Divide you realize the series captured a rough and unrefined look even when compared to later episodes particularly with the series move to SyFy, or at the time, Sci-Fi. There are moments of intense violence and even a death underscoring the fact Showtime was indeed taking a more mature approach to this series and steering the ship for a cable audience to sometimes successfully cinematic effect.



One particular scene sees Carter become wild and essentially throw herself on Jack O'Neill. Shippers (those fans certainly supportive of a romantic relationship) of the O'Neill/Carter relationship have always wanted some kind of spark to ignite a potential romance.  But these scenes are feral and wild and give cause to place the relationship within a fantastical context.  The science fiction aspects of the series often allowed for the Carter and O'Neill relationship to remain platonic or professional within a strict military decorum and as friends while presenting them within the scope of fantasy whereby the sparks were never entirely real or authentic.  There are plenty of entries that suggest romance but are steeped within a smart sci-fi context.




In The Broca Divide Carter apologizes for her behavior to her superior at the end of the episode.  O'Neill submits that he too was affected by events and was not himself and cannot recall exactly what happened much to Carter's relief.  He proves he's far more clever than he lets on by mentioning her tank top offering evidence that he remembers more than he lets on with respect to Carter sporting that sexy tank top.

Those two notable segments were clipped for a piece I penned for fun here long ago dubbed Carter And O'Neill: Anatomy Of A Love Story.





So, the plague-infected The Broca Divide has its moments and while these primitive regressions are played rather well within the context of the story, O'Neill's lack of articulation is a bit underwhelming.  It's believable but annoying. The title directly reflects the divide between the primitive and the civilized on P3X-797 and French anatomist and anthropologist Paul Broca (1824-1880) of whom Daniel Jackson certainly studies.  The French physician was known for his research on the frontal lobe of the brain also named Broca's Area.  It's a testament to the quality introduced early in the series for making efforts to tap into real science to breakdown its tale.  The story was the work of writer/ executive producer Jonathan Glassner who was instrumental in setting the tone for the series through the first three seasons.  The lo-tech sci-fi basis for The Broca Divide does indeed set that tone and is ironically a leap forward in the series development, a series that seems to be a well-timed anti-dote for the high tech gloss of Star Trek.

The Broca Divide
Writer: Jonathan Glassner. Director: Bill Gereghty.





For those tuning in for the always amusing The World According To Jack O'Neill video segments we have two entries for you.

Jack O'Neill self-confident on the fine art of deductive reasoning.



Jack O'Neill proving popular culture doesn't always translate with aliens.  Heed this message John Crichton (Farscape).

FAB Friday Photo 9: The Tracys

Can you determine which Tracys of Thunderbirds are the ones with more personality?

 

 

I think I can guess which ones were either wooden, lifeless or generally lacked character and personality.  One group is unforgettable, while the other quite the opposite. Left to right: Alan, Gordon, John, Virgil, Scott.

 

It's FAB FRIDAY and blasting off into the weekend with a photo from the universe of all things Gerry Anderson.

Star Trek: TNG S1 Ep15: 11001001

"It is me.  It's what I am."

-Number One to Minuet fully aware of who he is as a Commander for the Federation.  But are Minuet and The Binars self-aware?-

And speaking of Riker, Jonathan Frakes offered some hope for the future of Star Trek: The Next Generation to Starlog Magazine contributing writer Kathryn Drennan (once married to genius J. Michael Straczynski of Babylon 5 acclaim and running parallel to Star Trek: Deep Space Nine), despite some missteps along the way in Season One.  "Things are wonderful on our ship, as a rule.  The conflict comes from what we encounter, you know, when we boldly go where no one has gone before, where things are not quite so rosy.  I don't believe we'll have any trouble finding places, people and situations that we'll have conflict with, in spite of our Utopian existence" (Starlog Magazine #131, p.33).





And therein existed the problem for ST:TNG in the first season.  Everything seemed just a little too harmonious, perfect and self-satisfied aboard the sometimes overly content Enterprise-D.  But things are changing.  Good, solid episodes are beginning to make their way aboard this ship and righting its course as she goes.  11001001 sees the crew find conflict of a sort or, in effect it finds them.  Riker may have missed the Holodeck fun of The Big Goodbye but his missed opportunity there offers him a chance to shine here in the latest Holodeck-centric episode.





Following the lackluster and preachy effort that was Angel One, Star Trek: The Next Generation arrives at Starbase 74 off Tarsas III in glorious fashion.  The opening shots of latest entry, Star Trek: The Next Generation, Season One, Episode 15, 11001001, are impressive of the Enterprise-D docking.  The sharp, cleaned and polished optical effects look amazing as if they were created today.  The story opens with a bit of continuity too noting the problems encountered with the Holodeck during strong Season One episode The Big Goodbye (ST:TNG, S1, Ep12). 11001001 was originally intended to pre-date The Big Goodbye as the cause of that episode's technical problems, but was reversed.

Captain Jean-Luc Picard and Commander William Number One Riker are met by Orfil Quinteros, played by Gene Dynarski.  Dynarski, of course, once appeared on Star Trek: The Original Series in Mudd's Women (ST:TOS, S1, Ep) as well as The Mark Of Gideon (ST:TOS, S3, Ep16).





The crew of the Enterprise are introduced to an alien race known as the Binars  (as in binary numbers or establishment in pairs of two) who always work in pairs.  10 and 01 are introduced to repair and upgrade systems on the Starfleet ship. The Binars, for organic beings, through evolution, have mastered and become so interconnected with the computer of their homeworld that their thought patterns and language are essentially binary in nature.

And in the spirit of ST:TOS, the Binar roles are performed by actresses in much the same fashion as The Talosians of Talos IV in ST:TOS, Episode 11/12, The Menagerie.







The behavior of the Binars is indeed odd and appears suspicious almost from the outset, but is that merely the natural behavior of an alien race never before encountered? Jonathan Frakes continues to grow more comfortable in his role as Commander William Riker and he's the perfect leader of this Enterprise to carry embody a suspicious and questioning nature.  He's an intimidating but respectful presence.  Almost from the outset, he has his concerns regarding the Binars.  Why couldn't Riker have been more in tune with the behavior surrounding Lore in Datalore (ST:TNG, S1, Ep13)?  This speaks to some of the unevenness of Season One.  Only Wesley Crusher suspected Lore in the aforementioned episode.  Here, Wesley notes Number One's cautions but has none of his own despite the appearance of subterfuge here by the Binars.

My re-immersion into the ST:TNG Season One experience via Blu-Ray has noted the vivid recreation of the images from this classic series.  I must also note the audio has improved as well and the theme song composed and scored by Dennis McCarthy is simply a powerhouse of reconstruction on the themes of ST:TOS.  Wonderful stuff really.



It's also worth noting that the pronounced sharpening of the series' colors makes me realize the sterner use of reds and yellows in the Starfleet uniforms is in stark contrast to the blue, yellows and reds of ST:TOS.  The two series genuinely differentiate themselves in style and color palette. That separation is an entirely smart move on the part of the creators to formulate the look of a series that would one day stand on its own.  This significant production contrast is indeed noteworthy.



The latest episode also establishes an interesting character differentiation between Picard and Riker.  Picard is a thoughtful, reflective man inclined to have focus in deeper more probing reflections on his off time.  Riker is more spontaneous, more open to casual, unexpected and less cerebral delights.  He has a more robust enthusiasm for the women of the Holodeck too.  Carolyn McCormick (the Law And Order franchise) is featured here as the sultry Minuet, a stunning beauty, as Riker continues developing a reputation for the ladies, fictional or otherwise in a smoky jazz club. The Minuet character would return for Future Imperfect (ST:TNG, S4, Ep8). Riker was often unfairly categorized as the new James T. Kirk early on, but it's clear he does embody some of the very best of the former Captain's traits for the opposite sex.  He's been a charmer.  Fittingly, a minuet is a social dance of 17th Century French origin between two participants.  Let the dance begin.





The Binars are clever too utilizing Riker's predisposition for the ladies by distracting him within the Holodeck while they create a red herring to empty the vessel by faking a shield breakdown.

Picard finds Riker digging into Minuet.  Can you blame him?  If she's indeed purely fiction would one be cheating on the real other half by diving into the wonders of a virtual world?  When we dream do we not think of men and women from our respective pasts?  I'm reminded of Bob Newhart from Newhart (1982-1990) having a dream of another woman.  Hearing him talk in his sleep, his wife refused to speak to him for his dreaming infidelity and clearly involuntary actions that included impure thoughts.  Mind you, the Holodeck is completely pre-programmed accordingly and the recipient of that programming is an undeniably willing participant.







Later, the appropriately French-speaking Minuet brings out Picard's inner Parisian as he joins Minuet and Riker.  Now the writers cleverly tap into the concept of a minuet as a musical composition, also pronounced in the episode.  The form can lead to a structure called minuet and trio as the form is known and ST:TNG cleverly captures these concepts through the performance dynamic with the focus on Minuet, Riker and Picard as the orchestrated dance continues and plays out.  This minuet form structure is also called rounded binary further weaving the components of this intelligent entry.

Meanwhile, Data and Geordi La Forge are summoned to check on a magnetic, anti-matter containment field issue concerning a potential catastrophic failure of the warp core and are forced to abandon ship and program the Enterprise to reach the furthest distance possible to avoid harming neighboring planets.





Data auto programs the departure of the Enterprise.  Only Picard and Riker have not been evacuated.  Once again, the Holodeck presents its fair share of conundrums.  It's in the hands of Picard and Riker to resolve the imminent crisis aboard their Enterprise. Now if they could only break free of the lure of Minuet. The Binars have upgraded the Holodeck and created a very intuitive program in the form of Minuet.  Only when Minuet makes forceful attempts to keep Picard and Riker within the Holodeck do they realize something is amiss.

Picard and first officer Riker determine the Enterprise has been hijacked by the Binars to return the race back to their homeworld.





There is an excellent visual moment as Picard and Riker walk in tandem to regain the ship that has been commandeered by the Binars.  It symbolically echoes the race of the Binars to work in pairs.  Clearly, the creators, here, capture this visually as two honed commanders in the form of Picard and Riker work as a determined pair too in order to save their ship and counteract the Binars.  In unison, Picard and Riker establish auto-destruct.  Together they will succeed in overtaking the vessel or they will die together.  Both in red uniforms and with sheer determination to usurp command of their vessel, there are indeed visual cues to suggest this is the Earth equivalent of the Binars own paired relationships.  They will have five minutes to succeed.  11001001 is potentially one of the smartest and literate scripts to date.

Picard and Riker question why as they beam onto the bridge and shut down auto-destruct.  The Binars are disabled.  Picard and Riker turn to Minuet for answers.  They discover the Binars main computer is at risk from a star gone super nova.  The effort was to store all of their civilization's information on the Enterprise as a computer back-up and then restore it back to their homeworld.





Working as in conjunction as a pair, Picard and Riker restore the data to the Binars' world. The Binars are saved.  Picard and Riker were tucked away for safekeeping in order that they might restore the file upon arrival for the Binars.  Their plan worked.  Picard and Riker wonder why they simply didn't ask for help.  The simple answer is they could not risk an answer of "no." The risk was a matter of life and death and stealing Federation property was a calculated risk, a dance they were willing to take.

Riker returns to the Holodeck to find Minuet is gone.  Picard tells Riker, "Some relationships just can't work."  Riker responds, "She'll be difficult to forget."





It's clear by the ideas established in 11001001 that the writers and creators of Star Trek were onto something concerning a race of beings so interconnected to computer technology.  The introduction of the Borg in Season Two was a logical next step.  It was also a master stroke of creative ingenuity to generate a hive-like race even more sophisticated than the Binars that are completely immersed with technology.  The Borg would be the perfect villain as a threat not conventionally designed as a villain disinterested in harming, but rather a lethal one designed and operating to improve and collect everything in its path for the betterment of a collective.  The Binars haven't evolved to that place but it does present an interesting missing link regarding organic development in understanding the complexities of a creature like the Borg.  The Binars present in many respects an evolutionary link of what could come next?  It's like a clue of things to come for the Star Trek fan.





On a purely entertainment level, 11001001 is like a smart adaptation of virtual sex. It gives new meaning to stimulation simulation.  Most of all, 11001001 enjoys a wonderfully relaxed approach to the many facets of its characters with a delightful focus on Picard and Riker.  But it has a very natural feel throughout the story often missing in the first half of Season One, which often felt preachy, forced and even, at times, forced, wooden or the work of over thinking. 11001001 is a solid first season entry with a respectable story or as Larry Nemecek wrote in the Star Trek: The Next Generation Companion, it was "another sign that both script quality and overall continuity were on the rise."





Despite all of ST:TNG's flaws in Season One I'm continually drawn back to it.  I wouldn't be bringing you each new entry if I wasn't captivated even with its flaws. Does that seem logical? Missteps aside it still remains an engaging, fascinating world and one that, even with its weaknesses, pulls me back every time. That alone tells you something special is going on here. 11001001 is a thoughtfully processed Season One executable and definitely one of the best to date.





11001001: B-/B.
Writer: Maurice Hurley, Robert Lewin.
Director: Paul Lynch.