When a metal box containing seven strange creatures lands outside his village, gentle giant Oleg (Buck Maffei) leaves a pregnant wife and an ailing mother in his humble yurt and trudges off to present the creatures with his people’s traditional gift of welcome — a set of giant novelty spears. This simple act of hospitality is met with violence, and soon matters escalate despite Oleg’s repeated attempts to appease the newcomers’ anger — giving one an affectionate hug, offering the others his precious polystyrene boulder, and finally trying to hold down the box when the wind threatens to blow it away. A heartrending story of faith and hope in the face of indifference and cruelty. Five stars.
First broadcast on Wednesday 26 May 1999
and Wednesday 22 September 1999
Moral dilemmas abound in this week’s season finale of Star Trek: Voyager. Is it permissible to kill a bunch of people if you miss your bus home? Is it permissible to shoot Slimer from Ghostbusters in the face if he’s intent on drinking all of your precious bodily fluids? Is it permissible to torture Rick Worthy if you’re having a really bad day? And it is obligatory to endow the characters in your Star Trek show with clear and consistent motivations?
Comfort food this week, as Star Trek: The Next Generation tries and fails to create a romantic comedy about an exciting new space wormhole. Deanna learns a valuable lesson about the dangers of enjoying herself, some Ferengi learn an urgent lesson about paying attention to their GPS, and the rest of us learn a timely lesson about straight, white American men in the late 1980s. We still have fun though.
Star Trek goes outside this week, for a top-tier episode in which Sisko and Kira are both confronted by radical integrity and self-sacrifice in the face of overwhelming opposition. Solid and memorable.
The second season of Star Trek: Discovery comes to a climax as Spock commemorates Star Trek’s first pilot by taking Michael to Talos IV so that they can both stand around a bunch of singing flowers, weepily recounting their formative childhood traumas. Meanwhile, Paul and Hugh are not the first people to experience difficulties maintaining a romantic relationship after one partner has died. Anyway, Nathan has fun, even if no one else does.
