Entertainment
Latest Starfleet Academy Revisits Trauma In The Doctor's Star Trek: Voyager Past
By Chris Snellgrove
| Published
Since Starfleet Academy first began, haters have lobbed one accusation at it above all others: “it doesn’t feel like Star Trek.” Older critics often lament surface-level issues with the show, including its poor humor and its reliance on distractingly modern slang. But to these veteran fans, the real structural issue with this new spinoff is that it feels so glaringly different than the shows (like The Next Generation and Voyager) that came before.
Recently, though, Starfleet Academy has been addressing this problem by directly calling back to earlier Trek, including dedicating an entire episode to the mystery of what happened to Sisko after Deep Space Nine. Now, the most recent episode (“The Life Of The Stars”) calls back to two of Voyager’s best episodes while providing us with plenty of familiar franchise tropes. The result is an episode that decently channels classic Trek but fails to deliver on its full potential.
Unpacking Trauma
“Life of the Stars” is a follow-up to “Come, Let’s Away,” and it’s all about our Starfleet Academy cadets unpacking the trauma of that earlier episode. In that story, some of our heroes were ambushed by the Furies, fearsome foes who ultimately killed multiple members of the War College. Chancellor Ahke calls in Nus Braka for help, and Tarima weaponizes her telepathy, but both efforts go away: Braka destroys a Starfleet ship and ransacks a Starbase while Tarima blows her mind, landing herself in a coma that required treatment on her homeworld of Betazed.
Believe it or not, “unpacking trauma” is my lowkey favorite Star Trek episode genre. The stories are predictably good, like the TNG episode “Family,” helping Picard work through his time (as seen in “The Best of Both Worlds”) as the ruthless leader of the Borg. Over on DS9, “It’s Only A Paper Moon” explored how Nog dealt with the trauma of what happened in “The Siege of AR-558,” an episode in which he lost a leg.
Done well, this kind of story makes for great Star Trek, but this Starfleet Academy episode delivers mixed results. It has some great highs, including a killer, dramatic performance from Robert Picardo and the triumphant return of Sylvia Tilly. But “Life of the Stars” drops the ball by focusing so much on its ensemble that its central cadets (namely, SAM and Tarima) don’t get enough screentime or development.
The Doctor Gets Serious
Perhaps the most interesting thing about “Life of the Stars” is that it permanently intertwines the lives of the Doctor and SAM. She’s the holographic girl who is suddenly on the fritz, and the Doctor travels with her back to her homeworld for repairs. There, he discovers that her glitch is emotional in nature (she’s stuck in a trauma loop, in case you thought the episode was being too subtle), and he volunteers to parent SAM, raising her for the equivalent of 17 years on her homeworld. But that’s only two weeks back at the academy, which is a callback to “Blink of an Eye,” the Voyager episode where three years on a planet is only about three minutes back on the ship.
In “Blink of an Eye,” the Doctor adopted a son, and he later lamented that, thanks to the time dilation effects, his kid is long since dead. In “Real Life,” the Doctor used the holodeck to simulate having a family, and he makes the program so realistic that he loses his holographic daughter to a freak sports accident. “Life of the Stars” basically mashes these plots together: after revealing that he hesitated to bond with SAM because she reminded him of his dead daughter, the Doctor agrees to raise her as a father; 17 years will pass on SAM’s planet while only two weeks pass at Starfleet Academy.
This plot is mostly an excuse to let Robert Picard do some serious acting, and this comedic actor does an amazing job with the dramatic material. Plus, the episode finally answers why the Doctor has had a bug up his holographic butt about SAM all season. However, this focus on the Doctor comes at a cost: SAM is either shut down or mind-controlled for most of the episode, which feels that much weirder considering how much new lore this episode is giving her.
The Girls Are Back In Town
“Life of the Stars” features the long-awaited return of Sylvia Tilly, a fan-favorite Discovery character that most of us originally assumed would be a regular on Starfleet Academy. She is here to help our cadets (no point in guessing) unpack their trauma, and at the chancellor’s suggestion, she is doing so in the craziest possible way: by making them take a theater class. They end up studying “Our Town,” and with all the subtlety of Quark’s sweater, the play becomes a metaphor for returning student Tarima to process her feelings about being transferred out of the War College and into Starfleet Academy after the injuries she sustained in “Come, Let’s Away.”
The results on both ladies’ returns were mixed: while it is always great to see Sylvia Tilly, she barely feels like herself, and she isn’t afraid to get mildly combative with students. She cheerfully tells the class that she doesn’t care if they all fail, and she practically gets into a verbal sparring match with Tarima. Granted, these are both acts of tough love, and her methods get results, but the woman taking these actions rarely feels like the adorkable Tilly we all fell in love with back on Discovery.
As for Tarima, she is a victim of performer’s success: actor Zoë Steiner does an excellent job playing a recently traumatized cadet, but thanks to the script, that means she spends most of her time in a dull stupor punctuated only by bouts of anger and drunkenness. Is this realistic for someone who narrowly survived an attack that killed multiple colleagues? Sure. But it’s not very engaging to watch, and unlike Patrick Stewart in “Family” or Robert Picardo in this very episode, Tarima never gets a satisfyingly cathartic release of her inner pain, and we have to settle for her having a light bulb moment while reciting an ancient play.
The Final Verdict? Good, Not Great
If it sounds like I’m nitpicking, that’s because I am: “Life of the Stars” is a mostly solid episode, and it’s notably better than the early episodes of Starfleet Academy. The show continues to improve, and as usual, spending less time on forced comedy has made the episode stronger. It also features the return of Sylvia Tilly, deep lore for the Doctor, and even updates on Caleb and Tarima, the couple who have quickly become the hottest Star Trek pairing since Riker and Troi.
But we really just get Tilly in name only here, and the Doctor’s cool new lore comes at the expense of sidelining SAM. The Caleb and Tarima stuff remains very cute, but Tarima mostly spends the episode in a boring daze before snapping out of it due to a sleepy inspirational speech. It all adds up to an episode that’s good, not great, and one that showcases both the potential of Starfleet Academy and how much the show fails to reach that potential.
Once again, Starfleet Academy is getting better, slowly clawing its way back from its negative reputation at a snail’s pace (and not even a warp snail). One episode at a time, it’s channeling more classic Star Trek than ever before. The question is, will any Trekkies still be watching by the time this show crawls past the finish line?
Entertainment
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Entertainment
Star Trek’s First Broadcast Episode Was Very Carefully Chosen, Because It Was Boring
By Chris Snellgrove
| Published
These days, Star Trek is a bona fide pop culture phenomenon. But during the development of The Original Series, there was anxiety that the general public wouldn’t really understand Gene Roddenberry’s mashing up Western tropes with a sci-fi setting. Making matters worse was that the original pilot, “The Cage,” had been rejected by NBC for being too brainy. Fortunately, Roddenberry got a chance to shoot another pilot, one which impressed the network enough to order an entire season worth of episodes.
Several episodes of Star Trek: The Original Series had already been shot when the time came for this new show to make its broadcast premiere. The first episode that the general public saw was “The Man Trap,” which featured a shapeshifting monster that was revealed to be an alien salt vampire. This good-but-not-great episode was an odd choice, and it was one that the cast and crew hated. As it turns out, though, this episode was very carefully selected by executives because it served as an inoffensive, relatively straightforward encapsulation of everything Star Trek had to offer.
It’s A Trap!
Most of the information we have about why “The Man Trap” was selected as Star Trek’s first episode comes from the book Inside Star Trek: The Real Story. Within this impressive reference tome, Robert H. Justman and Herbert F. Solow revealed something surprising: NBC had several other episodes to choose from for the premiere, including “The Corbomite Maneuver,” “Charlie X,” “Mudd’s Women,” “Where No Man Has Gone Before,” and “The Naked Time.” All of them had already been shot and were mostly finished, so it was just a matter of figuring out which episode would serve as the best introduction to Star Trek, a heretofore unknown sci-fi series.
“The Man Trap” won out, mostly because the powers that be worried that other episodes would be off-putting to general audiences in some very specific ways. For example, they worried that audiences would find “Charlie X” a story that was “too gentle” because it focused on an adolescent with special powers. This was probably the right call, in retrospect: when Variety gave a negative review of “The Man Trap” (an episode chosen, in part, because of its relative maturity), they declared that Star Trek: The Original Series was “better suited to the Saturday morning kidvid bloc” (ouch!).
A Monster Hit Of An Episode
“The Corbomite Maneuver” was a great potential choice, but this episode’s impressive special effects were still in post-production, and almost all of its action took place on the ship. “Where No Man Has Gone Before” really outlined the premise of the new show, but it was deemed “expository” for general audiences expecting more action and danger. Justman thought “The Naked Time” was a killer introduction to the crew’s personalities, but the network passed, presumably because of how over-the-top (half-naked, swashbuckling Sulu? Oh, my!) that episode gets. “Mudd’s Women,” meanwhile, was deemed too offensive because the plot involved literally selling women to miners.
Through this process of elimination, executives decided that “The Man Trap” was the best intro to Star Trek. It had cool scenes on both the Enterprise and a distant outpost (a strange new world) and featured a straightforward action plot you didn’t have to be a sci-fi aficionado to understand. Finally, it was all about finding and defeating a creepy monster, which offered thrills to audiences of all ages. The network’s choice paid off, and Star Trek: The Original Series became the most popular sci-fi show in television history, even though the cast (including William Shatner and Leonard Nimoy) thought “The Man Trap” was the worst possible episode they could have chosen.
All of this is a keen reminder of how much thought and work went into putting Star Trek’s best foot forward. It might be a reminder that Paramount’s current upper leadership needs, as Starfleet Academy hit the ground running with the worst episodes of Season 1. The show got better after that, but it didn’t matter because the prospective audience had already been driven away. As it turns out, today’s execs need to learn something that the network execs of the ‘60s had learned very well: series succeed when you give the audience what they want to see and not what you want to show!
Entertainment
How A Fantasy Box Office Bomb Lost $200 Million In Theaters, And Suddenly Became A Streaming Hit
By Jonathan Klotz
| Published
For the last decade as streaming has taken off in homes around the world, it’s become possible for films that lost historical amounts of money in theaters to find success, even if it might be the post-Mystery Science Theater 3000 trend of “so bad it’s good.” That’s why a massive flop, for example say, Morbius, and films that slightly missed the mark like The Fall Guy can turn it around and become a streaming success.
What’s even more impressive is the amazing turnaround of 2013’s Jack the Giant Slayer, which lost Legendary Pictures an alleged $200 million, only to end up topping streaming charts in 2025.
The Classic Fairy Tale With A Twist
Everyone knows the story of Jack and the Beanstalk, the classic fairy tale about selling a horse for magic beans and climbing a beanstalk to find a giant living in the clouds. It’s simple, contains multiple morals, and can be easily adjusted to turn Jack into the villain, but Jack the Giant Slayer instead asks, “What if there was no moral, and instead of one giant, there was an entire army of evil giants?” The movie is the classic story, as you’ve never seen it before, and it almost works.
Nicholas Hoult plays Jack, the young man who finds himself trading his horse to a monk in exchange for beans that he can’t allow to get wet, ever. Like the rules in Gremlins, it’s not long before Jack accidentally gets the beans wet and a beanstalk grows under his house with the princess, Isabell (Eleanor Tomlinson), trapped inside as it grows into the sky. All the king’s men gather to rescue the princess, including Lord Roderick (Stanley Tucci), who, thankfully, Jack the Giant Slayer makes obvious is very evil, very quickly.
It’s up to Jack, Isabell, and the loyal Knight, Elmont (Ewan McGregor) to save the kingdom and stop the invasion of giants led by Roderick and the giant two-headed General Fallon (Bill Nighy). If there’s one thing Jack the Giant Slayer does better than every other adaptation, it’s the third act featuring a full-blown war between humans and giants, with a touch of humor and absurdity. Watching a giant toss a windmill like the glaive from Krull is the perfect amount of off-beat to distract from a surprising amount of body horror in both the giant’s designs and Fallon’s ultimate fate.
A Movie For No One
Jack the Giant Slayer looks too good, and the star-studded cast is having way too much fun for it to be a truly bad movie. The problem is that the pacing is off: it takes a little too long to get to the good stuff, then it feels a little too rushed, and though it is a fun adventure, it’s also, like the source material, simplistic. It’s not like the movie wasn’t watched in theaters; it made $197 million worldwide, which would be a great haul except it cost $185 million to make, and that’s not including the extensive marketing campaign.
The push and pull of director Bryan Singer’s vision of a dark take on the fable, complete with actual people-eating on screen, and the sanitized version that hit theaters, which was still too dark for children, since the film is surprisingly rated PG-13, meant it ended up being a film for no one. The Rotten Tomatoes ratings, of 52 percent from critics and 55 percent from the audience, are proof that the final product is not great, but not bad; it’s a movie that will keep you watching for a few hours and then leave no lasting impression. These days, Lionsgate and Sony wish they’d release a movie that is that well-received, as even Jack the Giant Slayer looks like a masterpiece compared to Borderlands or Kraven the Hunter.
Streaming is the perfect home for Jack the Giant Slayer, and 10 years later, it no longer matters that the movie lost hundreds of millions in theaters. It finally gets to stand on its own as a fun, if unremarkable, fantasy adventure.
Celtics storm to early lead, roll past 76ers in series opener
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