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[ANDR] Jammer's Review: "All Great Neptune's Ocean"

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  • Jamahl Epsicokhan
    Warning: This review contains significant spoilers for Andromeda s All Great Neptune s Ocean. If you haven t seen the episode yet, beware. In brief: Sigh.
    Message 1 of 1 , Jan 20, 2001
      Warning: This review contains significant spoilers for Andromeda's "All
      Great Neptune's Ocean." If you haven't seen the episode yet, beware.

      In brief: Sigh. It's just too mediocre -- even though, darn it, everyone has
      such good intentions.

      Plot description: The murder of the Castalian president during diplomatic
      negotiations initially implicates Tyr, leading the Andromeda crew to launch
      a full investigation.

      Gene Roddenberry's Andromeda: "All Great Neptune's Ocean"

      Airdate: 1/15/2001 (USA week-of)
      Written by Walter Jon Williams
      Directed by Allan Harmon

      Review by Jamahl Epsicokhan
      Rating out of 4: **

      "There can only be one conclusion: I'm innocent."
      "Because you never would've gotten caught?"
      -- Tyr and Dylan

      There are good stories and there are bad stories. Then there are those which
      are remarkably pedestrian. "All Great Neptune's Ocean" is one of those. It's
      got some decent ideas, taking the murder mystery standby and putting it at
      the heart of an Andromeda-style social turmoil premise, but like a number of
      recent Andromeda offerings, it lacks energy and conviction. Ultimately, the
      murder investigation proceedings become a liability.

      I can argue in favor of the story's underlying messages, which at every turn
      feature characters who are somehow acting in the interests of Good
      Intentions and Lager Ideals. Heck, even the killer turns out to be well
      intended, if in a convoluted sort of way.

      What I cannot argue for is the story's execution, which at best is only
      kinda-sorta and at worst thuds flat. There are several unremarkable
      performances and then some that are even weaker. The drama is in need of a
      ratcheting to a higher level of urgency. And once all the mysteries are
      uncovered, the plot is a bit tough to swallow.

      As it is, the core of this episode serves as an illustration that actions
      have consequences and escaping fragile societal problems is not easy. The
      creators were clearly onto something, but they end up a ways shy of a good

      Dylan's mission is yet another example of trying to bring a society into the
      Commonwealth fold, which at the very least is becoming something this season
      that we can latch onto as a consistent element -- though it often seems to
      service plots more than it services an understanding of the series' bigger
      universe. (We wander from planet to planet, but how and what will we achieve
      that's something larger?) The people this week are called the Castalians.
      They're comprised of two primary peoples -- those who breathe air and live
      on land, and those who have gills and live underwater. When on land, the
      "fish people" (as Harper likes to call them) carry backpacks of water on
      their backs that are connected to their gills and which they use to breathe.
      I'd like to see an underwater society (like the one envisioned in Voyager's
      "Thirty Days" perhaps), but this is not the show on which you will see it.

      The Castalian president, Lee (Allan Morgan) fully intends to sign the
      charter to join Dylan's Commonwealth. But Tyr bursts into a diplomatic
      meeting to make a disturbing accusation -- that Lee's post-war initiatives
      killed tens of thousands of Nietzscheans who had surrendered to the
      Castalians. There was this orbiting facility, you see, populated by
      Nietzscheans and other Castalian slave laborers, which was incinerated in a
      huge explosion, allegedly under Lee's orders. Lee denies this accusation and
      provides historical records as "proof" (hint: such proof is suspect), then
      asks Dylan have Tyr make a formal apology.

      The apology takes place in a room that Lee request be cleared for a moment
      of privacy. Once behind closed doors, shots are fired and Lee ends up dead.
      Tyr is unconscious. We have a murder mystery leaving the question of what
      exactly happened. Did Tyr do it? I wouldn't bet on it, but the Castalians
      sure would. (This setup is the first of several plot issues that seems a bit
      convenient by the time the story plays all its cards; how did the killer
      know Tyr and Lee would end up in a room by themselves at Lee's request?)

      Most of the rest of the episode is standard whodunit material, as we follow
      clues and suspects through the exercises of dialog. The investigation runs
      through several scenarios, and includes such complexities as the technical
      functions of Tyr's force-lance, which was the murder weapon used to shoot
      Lee -- possibly activated remotely. (Tyr's defense is probably the most
      entertaining of the episode's forensic processes, where he claims that he'd
      be incapable of such a sloppy assassination, and then lists off four or five
      methods he could've employed where he would've gotten away with it.)
      Meanwhile, the Castalians want Tyr turned over at once, leading to the
      possibility of an armed conflict with Andromeda. This is all par for course
      and nothing more.

      The most important guest character is Colonel Yau (Mikela J. Mikael), who is
      anxious to pin the murder on Tyr. She loved Lee "like a father" and wants
      justice. Unfortunately, Mikael is another in the long line of sub-par
      Andromeda guest actors, taking an important emotional role and botching it
      with an unconvincing performance that constantly reminds us that she's
      "acting" precisely when we shouldn't be thinking of such things. I hate to
      persistently gripe about this, but the performances need to carry formula
      shows like this if we're to buy into them. Yau is painted by the directing
      choices to look suspicious in the early scenes; could she possibly have
      wanted revenge on Lee for having allegedly killed all those slaves -- her
      parents included -- in that explosion all those years ago?

      The plot keeps thickening as we uncover more details, computer
      reconstructions of the crime, computer viruses embedded in musical
      recordings, and the revelation that Andromeda herself sent the signal that
      activated the force-lance that killed Lee (the question then becomes who
      wrote the virus that prompted Andromeda's actions).

      Meanwhile, everyone wants to martyr themselves for the greater good. Tyr
      ponders Dylan's refusal to suggest he take the fall in the interests of the
      Commonwealth ("For a man determined to cook history's greatest omelet,
      you're awfully squeamish about cracking your eggs"); Harper offers up a
      bogus "confession" to shift blame away from Rommie; Trance is nowhere to be
      seen this week, which is perhaps for the greater good of the audience.

      Even the real killer harbors good intentions. It turns out Lee *had* killed
      all those slaves and Nietzscheans way back when, but had planned to go
      public with a confession after signing the Commonwealth charter. The
      Castalian second-ranking official, Chancellor Chandos (Malcolm Stewart),
      believed that would've led to tension and eventual civil war over the killed
      Castalian slaves. Rather than risk a new societal schism, Chandos killed Lee
      to prevent his confession.

      Surprisingly, despite all this plot, it's not hard to follow the story and
      it mostly makes sense -- even though some motives aren't rock-solid and some
      details are silly. But what's disappointing about "All Great Neptune's
      Ocean" (and indeed Andromeda in general of late) is that the episode's
      underlying elements show a more sophisticated edge than the story itself.
      Here we have an episode involving a fragile society undergoing a difficult
      healing process. We have people torn between trying to do the right thing
      and succumbing to old habits and cycles of violence. We have extreme fear of
      Nietzscheans used as a justification for genocide. We have characters who
      aren't simple villains but instead products of societal ills. And yet what
      the story most often dwells upon is a mundane murder investigation that
      hinges upon goofy details like whether the presidential theme song is

      Really, the murder investigation plot has been done to death. Rather than
      using tired story procedures with potentially interesting underlying
      elements, why not make a story about those underlying elements and trash the

      Next week: More family disagreements for Beka.

      Copyright 2001 Jamahl Epsicokhan. All rights reserved.
      Unauthorized reproduction or distribution of this article is prohibited.

      Star Trek: Hypertext - http://www.st-hypertext.com/
      Jamahl Epsicokhan - jammer@...
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