"Borderland"

Written by Ken LaZebnik
Directed by David Livingston


In which genetically engineered humans called “augments” launch an attack on the Klingons, forcing Archer to deal with the augments’ current “father”: Dr. Arik Soong...

Captain's Log - Final Analysis







Captain's Log

For many, this is the true beginning of the fourth season. It’s no secret that this is the first story arc under the Coto regime. Indicative of the publicly announced plans to tie this series to the rest of the franchise continuity, all the bells and whistles have been tossed into the plot. The result is rather strong, which is not entirely surprising for the first part of a three-episode arc. As with most multi-part episodes, setting up the drama is easier than providing a satisfying resolution.

Much ado has been made over the “stunt casting” of Brent Spiner. Certainly this was a calculated move to regain the interest of fans that have fled the franchise after years of disappointment, but it’s still a good move. At least on the surface of things, it makes sense for a Soong to be involved in experiments that push the envelope of scientific possibility. The writers will hopefully make some connection between Arik and Noonien Soong, since that it is implied intention. One could surmise, however, that both men were working out of some warped desire to create the perfect progeny.

In some ways, Spiner’s guest appearance overshadows the real gem of the episode: Alec Newman’s performance as the rebellious augment Malik. Newman has obviously studied the TOS episode “Space Seed” and “Star Trek II: The Wrath of Khan” closely; his portrayal of Malik is strongly reminiscent of Montalban’s portrayal of Khan. The augment propensity for melodrama is fully intact, and Newman does everything possible to communicate the fact that the augments of this story arc are directly related to the “super-men” of “Space Seed”.

The teaser really sets the tone, with the augments leading a sneak attack on a Klingon Bird of Prey, using fighting skills that echo those displayed in the original series. It’s somewhat disconcerting to see J.G. Hertzler playing yet another Klingon; while he does a great job of it, there’s already one Klingon running around with that voice, and it’s too easily recognized. For that matter, why bring the actor in for such a short cameo, when it’s not necessary?

Spiner does give Arik Soong a powerful presence. Like Malik and the other augments, Soong seems to be addicted to melodrama and grand schemes. In this case, Soong has been incarcerated for around ten years, yet he knows about the Klingons and their overall cultural psychology. More than that, he has been in contact with his augments and others, something that is never explained but has to be true for the plot to make sense. It’s a bit of a plot convenience, but it’s easy to believe that Soong could manage such a feat.

It’s hard to know whether or not interpretations are correct without seeing the second and third parts of the arc, but the dialogue suggests that this entire episode is part of Soong’s grand scheme. It seems that Soong wants to ignite a war with the Klingons, for reasons unknown; one could guess that he wants to force Earth to see the value in strengthening the human race through genetic engineering. By forcing Earth into a losing proposition and having an augment army available on hand in a relatively short time, Soong’s little army could bring the Eugenics Wars back into style, with the augments taking control of human destiny in the guise of humanity’s saviors.

To take control of this plan, of course, he needs to get free of his jail cell and back to Cold Station 12, where the augment embryos are in storage. He also needs to cripple the one ship and crew with the experience to present a challenge to his scheme. It’s suggested that Soong chose Malik from afar to take possession of a Klingon ship through force at the right time and place; his surprise was apparently feigned, if the end of the episode is any indication. By committing the act in the Borderland, Soong ensures that Archer and Enterprise will be more worried about dealing with the Orion Syndicate than the augments. Though the plan went awry, the end result was the same: the augments, with Soong, have the upper hand.

Enjoyment of this episode hinges greatly on the acceptance of Soong’s master plan and his part in it. If it seems too contrived or too easy for Soong to coordinate these actions from afar, then the episode feels forced as a result. But if one accepts Soong’s genius as the basis for his planning skills, then the episode sits on a strong foundation, and the other details fall into scrutiny. The most obvious matter of debate would be the portrayal of the Orion Syndicate.

The Orion Syndicate was a criminal organization referenced here and there during the original series, and was usually a stock reference for any black market/slave trading underworld activity. In fact, the Orion Syndicate was referenced so minimally over the years that it seems odd that it has such a strong following among the fans. Much of this has to be related to the green “Orion Slave Girl” from the original series’ first pilot, which at the time was rather risqué. It’s rather unlikely that the fans remember the Orions fondly from their appearance in an episode of the short-lived animated series!

The fandom has built up the Orion Syndicate as a sophisticated operation, and from that perspective, this episode could be a disappointment. On the other hand, it seems rather clear that Soong intentionally chose to force a confrontation with Orion slave traders with a rather simple agenda: steal crew members from passing ships and sell them. It’s not like Enterprise ran across a complex Orion Syndicate operation, where their most cunning minds would be working.

More than that, the depiction of the Orions is actually rather close to the one from the animated series, right down to the basic design of their appearance. While it would be interesting to see Archer up against the best minds of the Syndicate, this would be the wrong scenario. Keeping the Orions relatively undefined is more in keeping with previous depictions of the Syndicate, and also keeps the focus on Soong and his machinations.

Some might have found the Orions to be unnecessarily cartoonish, but again this is completely in keeping with the style of the original series. Soong, the augments, the Orions, all of them would have been comfortable in Kirk’s world. The only fish out of water in this episode would be the Enterprise crew. As Soong says at one point in the episode, they are in serious need of a sense of humor.

It would almost be enough for these elements to all be in play at the same time. Even so, that could have been the case during the Berman/Braga era as well, if the right ideas had gotten past their business-minded filters. The difference is in the execution. There’s still a dash of sex and violence, but it doesn’t dominate over the plot; the Orion slave girl is more a nod to the fans than a pretentious attempt to grab ratings. Similarly, the sexual tension among the augments makes perfect sense in light of the plot and the previously established priorities of the genetically engineered children of the Eugenics Wars.

It’s good to see several of the minor characters from previous episodes make an appearance. Among the MACOs, several familiar faces abound. It’s a small matter from the continuity standpoint, but it helps to remind the audience that there’s an overall sense of connectivity within the series. It’s somewhat surprising, then, to see a completely new face freaking out in the Orion facility. Not only was he disturbingly similar to Matthew Lillard in terms of appearance and acting skill, but it was a role that could have gone to someone like Hoshi. Then again, the writers could be trying to avoid the temptation to make her a continual victim.

With a strong plot and several thematic ties to the original series, the episode had all the right pieces in place. The character moments really shine, however. It’s good to see the writers take the time to show Enterprise leaving Spacedock, complete with upgrades to the bridge and a little of Trip’s old humor. The conversation between Phlox and Soong is one of the best of the season, delving into the philosophical issues without getting too preachy. Phlox hasn’t had nearly enough to do lately, and moments like that are promising.

While they are annoying, the short scenes between T’Pol and Trip make sense within the context of their previous relationship. Trip is still carrying a torch, and there’s an underlying regret in T’Pol’s explanation of the Vulcan way. T’Pol’s “promotion” is somewhat curious, because it brings up some questions of continuity. Spock was supposed to be the first Vulcan to enter Starfleet, so somewhere along the line, a distinction should be made. While some might bicker about T’Pol’s emotional response to Archer’s gift (which was nicely appropriate), it should be remembered that T’Pol is still struggling to regain her self-control and that she has always been more open with Archer. (Granted, it’s still a way to cover for Blaylock’s difficulties with portraying a Vulcan, but at least it works within the plot now!)

The intrigue among the augments is somewhat cliché, but so much about them is governed by what was established for Khan and his people. On the one hand, it doesn’t quite make sense for the augments to look so ragged. Persis might as well be wearing the Orion Slave Girl costume; her incredibly tight top was ripped to the point of bursting. Khan’s people in “Star Trek II” had a reason to look that way; the living conditions of the augments in this episode are never discussed, but it’s hard to imagine that they didn’t have any resources at all. It’s all about visual cues, ensuring that the augments look similar enough to Khan and his people to maintain a sense of connection.

With two strong guest stars and plenty of plot and character development to chew on, this episode does everything possible to distinguish itself from the previous regime’s work. The differences are evident; compare this episode to much of the second season, and there’s a vast difference in quality. What remains to be seen is whether or not the writers can keep it going for the rest of the arc, and more importantly, the rest of the season.


Final Analysis

Overall, this was a strong beginning to the “augment” arc, incorporating many of the classic elements from the original series in an almost seamless manner. Brent Spiner and Alec Newman shine as the guest stars, and the character moments strewn throughout the episode are a welcome change. If this is indicative of the rest of the season, then the series could finally reach its potential.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10




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