Tag Archives: Paramount Television

TO BOLDLY REVIEW #8 – STAR TREK: NEXT GENERATION (1989 – 1990)– SEASON 3

TO BOLDLY REVIEW #8 – STAR TREK: NEXT GENERATION (1989 – 1990)– SEASON 3

Based on Star Trek & Created by: Gene Roddenberry

Season 3 writers (selected): Michael Piller, Michael Wagner, Melinda Snodgrass, Richard Manning, Ronald D. Moore, David Kemper, Hannah Louise Shearer, Sam Rolfe, Robin Bernheim, Richard Danus, Ed Zuckerman, Joseph Stefano, Rene Echevarria, David Bischoff, Sally Caves, Susan Sackett, Hans Beimler, etc.

Season 3 directors (selected): Jonathan Frakes, Winrich Kolbe, Rob Bowman, Robert Becker, Les Landau, Robert Scheerer, Joseph L. Scanlan, Cliff Bole, Robert Legato, Tom Benko, Chip Chalmers, Timothy Bond, David Carson, Gabrielle Beaumont, etc.

Main Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Wil Wheaton, Gates McFadden, John De Lancie, Dwight Schultz etc.

Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway

Production Company(s): Paramount Television, CBS Television

**THIS REVIEW CONTAINS SPOILERS**



Thus, my ongoing viewing project of watching ALL the Star Trek series and films in order of release date continues. I have already covered the pro-genesis of STAR TREK: THE NEXT GENERATION here. So, I won’t cover the same ground again. With Season 3 we saw the return of Gates McFadden as Doctor Beverly Crusher, replacing the sterner virtues of Doctor Pulaski. Other than that, the established crew of the Enterprise were all present and correct.

The season as a whole continued, and even improved, the consistent qualities of Season 2. Indeed, there was a great balance between romantic, comedic, dramatic, tragic, action and sci-fi genre storylines. The appearances of Romulans, Klingons and the Ferengi further cemented their place in Star Trek lore. Yet, there was also space in the bumper twenty-six episodes for new species, beings and aliens to appear. Plus, not forgetting the return of that very formidable foe, The Borg.

I especially thought the narrative balance was very good throughout. All the Enterprise crew got episodes dedicated to their characters and a chance to shine individually and as part of the ensemble. We also got some fine guest appearances as new characters were introduced. Anyway, here are six episodes from Season 3 that I particularly enjoyed.


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THE VENGEANCE FACTOR – EPISODE 9

Here Riker finds himself romantically entwined as Picard attempts to broker peace between two factions hellbent on a blood feud. I enjoyed it because of the murder mystery aspect. Also, Jonathan Frakes impressed as Riker in the leading romantic hero role.


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THE HUNTED – EPISODE 11

This fast-paced and action-packed episode found the crew meeting their match, as they face off against a genetically enhanced soldier portrayed by Jeffrey McCarthy. With echoes of Universal Soldier (1992), the episode has emotional depth too because it explores the disregard of veteran soldiers by the ruling classes once war is over.


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YESTERDAY’S ENTERPRISE – EPISODE 15

The writers deserves a lot of praise for constructing such an imaginative and intelligent alternative-timeline narrative. A rift in space and time creates another version of the Enterprise. In this timeline war rages with the Klingons and moreover reveals Tasha Yar (Denise Crosby) to still be alive. Only Guinan (Whoopi Goldberg) senses something isn’t right and what ensues is a complex story; thoroughly enjoyable from both plot and emotional perspectives.


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THE OFFSPRING – EPISODE 16

One of the big story questions that hung over the series for me was: why didn’t they try and replicate Data in some way? This concept is explored in this very moving episode when he constructs another android called, Lal (Hallie Todd). Brett Spiner is on great form as Data faces a difficult choice,; having to choose between his “daughter” and Starfleet regulations.


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SINS OF THE FATHER – EPISODE 17

Any episode with Lt. Worf (Michael Dorn) as the lead protagonist is always intriguing. Here Worf must face potential death in defending his family honour against the Klingon High Council. Tony Todd appears as Worf’s brother and the chance to further explore Klingon culture amidst a conspiracy plot leads to a really good episode.


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THE BEST OF BOTH WORLDS – PART 1 – EPISODE 26

I can only imagine what emotions the Star Trek fans felt at the time when they witnessed Jean Luc Picard’s transformation into the Borg known as Locutus. In what must be one of the greatest cliff-hanger TV moments of all time, this episode had strong writing and incredible conflict. The addition of Elizabeth Dennehy to the crew of the Enterprise, as the ambitious and formidable, Lt. Commander Shelby, also added to the overall quality of this brilliant episode.


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THE HAUNTING OF HILL HOUSE (2018) – NETFLIX REVIEW

THE HAUNTING OF HILL HOUSE (2018) – NETFLIX REVIEW

Based on: The Haunting of Hill House by Shirley Jackson

Created and Directed by: Mike Flanagan

Screenplay(s) by: Mike Flanagan, Liz Phang, Scott Kosar, Meredith Averill, Jeff Howard, Rebecca Klingel etc.

Executive producer(s): Mike Flanagan, Trevor Macy, Darryl Frank, Justin Falvey, Meredith Averill

Production company(s): Flanagan Film, Amblin Television, Paramount Television, Netflix

Starring: Michiel Huisman, Carla Gugino, Henry Thomas, Elizabeth Reaser, Oliver Jackson-Cohen, Kate Siegel, Victoria Pedretti, Lulu Wilson, Mckenna Grace, Timothy Hutton etc.

**SPOILER-FREE REVIEW**

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Shirley Jackson’s The Haunting of Hill House is often proclaimed as one of the creepiest horror novels of all time. Made for the cinema twice, most memorably in 1963, by acclaimed director Robert Wise; who was perhaps so scared by the content his next film would be the musical Sound of Music (1965). Jokes aside, the novel is considered a classic and so genre filmmaker, Mike Flanagan, took on the task to bring it television over ten compelling episodes.

As Netflix produce a hell of a lot of original content I find it difficult to keep up with. However, I heard some decent buzz about The Haunting of Hill House, so decided to watch it before spoilers were plaguing the internet. From Jackson’s novel Flanagan has expanded the Hill House universe to bring an older ghost story bang up to date. Rather than centre on a seemingly disparate set of characters like the original, he has made the protagonists part of the same family. Therefore, the show is a confident mix of family drama, psychological and frightening horror.

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Flanagan and his writing team structure the episodes on a back-and-forth spine which finds the Crain family, at first moving into Hill House as a young family. Mother and father are portrayed by Carla Gugino and Henry Thomas (later Timothy Hutton) respectively, and together they have five young children, the oldest Stephen being around thirteen years old. We then bounce from the past to the present to show the children grown up, working through various angst and dramas as adults. Safe to say, pretty much all their problems are caused by that fateful summer spent renovating Hill House.

Arguably, the biggest character of them all in the programme is the house itself. It is a foreboding presence which infects the lives of all the characters in youth and adulthood. Conversely we are drawn into a rich tapestry of: ghosts, suicide, despair, death, addiction, therapy, marriage, lies, hallucinations, mental illness, death and divorce. Throughout, we are plunged into Hill House’s bag of spooky tricks as the family are terrorized insidiously by the property.

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Over ten brilliantly written episodes Mike Flanagan, his excellent cast and superb production team deliver some breath-taking horror moments. There’s also some chilling set-pieces, swooping camera-work, macabre monsters and really moving character monologues sprinkled within the scares and drama too. Most importantly, because of a careful and slow-build narrative, you really care what happens to the Crain family. This is also down to some excellent performances by the young children and older cast members.

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I would argue that the usual Netflix format of ten episodes finds the story stretched during certain periods. Indeed, while the storytelling and horror pay-offs are brilliantly imagined, some editing would have made them feel even more powerful. Yet, as he demonstrated with horror films Oculus (2013), Hush (2016) and Gerald’s Game (2017), Mike Flanagan is a skilled filmmaker who has brought Shirley Jackson’s seminal novel to the screen with chilling acumen.

Mark: 9 out of 11