“Orders of Magnitude" is Classic Trek

Joe Morton & Paul Wesley

The latest episode of Star Trek: Strange New Worlds, “Orders of Magnitude,” is a tense and compelling installment that demonstrates why the Star Trek franchise has remained so enduring after six decades. This season, Strange New Worlds has leaned heavily into episodes that explore different genres and thematic tones, such as horror, comedy and even a soap opera style outing. While some of these episodes have been fun (I really enjoyed "The Griffin Incident," the horror themed tale), these types of shows are usually spread out across a full season of the show, with several more traditional Trek styled science-fiction stories airing in between.

“Orders of Magnitude,” takes a more traditional approach, presenting a serious moral dilemma involving the responsibilities of command and the dangers of unquestioning obedience, and examines the complicated legacy of James T. Kirk's family. The result is an episode that plays very much like classic Trek, while also providing an opportunity for Paul Wesley to add some deeper shadings to his portrayal of Kirk, as the character continues to evolve into the legendary captain we all know from the original series.

As “Orders of Magnitude” opens, Captain Christopher Pike, Number One, Uhura, Chapel, and Cadet A'Sha are investigating a mysterious distress signal on a distant planet. A shuttle arrives on the Enterprise, carrying a celebrated Starfleet Admiral. Simon Reeger is a legendary officer and war hero. His sterling reputation impresses the crew, particularly La'an, played by Christina Chong, who greatly admires him. Kirk is also aboard the Enterprise, having stopped by for a visit. When Reeger suddenly takes over command of the ship, Kirk unexpectedly finds himself serving as his first officer. 

What begins as a routine tracking mission quickly takes a dark turn when Reeger becomes obsessed with pursuing a vessel responsible for a devastating attack. The enemy ship disappears near a populated planet, and Reeger makes the shocking decision to invoke General Order 24. This means the Enterprise  will fire on and decimate the surface of the planet, killing thousands of innocent people in the process. Kirk soon recognizes that something is wrong with Reeger, but finds himself in the difficult position of having to challenge a superior officer whose reputation and authority are well renowned. 

Kirk investigates Reeger's past and discovers that his pursuit of the enemy is motivated by personal grief and a desire for revenge. At the same time, Kirk uncovers some surprising information about his own father, George, and the events which shaped his career in Starfleet. What he discovers gives the episode an interesting emotional dimension, as James and his brother Sam are forced to reconsider what they thought they knew about their father. They also learn a startling truth about Reeger, the man who apparently played a significant role in their father's Starfleet career.

What really makes “Orders of Magnitude” work is the central conflict between Kirk and Reeger. Their debate raises the kind of ethical questions which have been at the heart of the best episodes of Star Trek. In this case, is following orders enough when those orders are morally wrong? Reeger believes his actions are justified by the lives that were lost in the original attack, and he views the situation in terms of military necessity. Kirk refuses to accept that innocent lives can simply be reduced to a number in an equation. He realizes that being a Starfleet officer sometimes means having the courage to challenge the people above you, and question an order that seems substantially wrong.

Paul Wesley continues to give a solid performance as Kirk on the series, and “Orders of Magnitude” provides him with one of his best opportunities thus far to demonstrate the qualities that will eventually make him such an iconic character. This version of Kirk isn't automatically the smartest or most experienced person in the room, but he does possess an innate sense of right and wrong that ultimately leads him to make the difficult decision to challenge Reeger.

The other standout performance comes from Joe Morton as Admiral Reeger. Morton, who has been memorable in everything from Terminator 2: Judgment Day to Eureka, brings a real sense of authority and menace to the character, effectively displaying Reeger's emotional instability as the episode progresses. He's not a stereotypical villain. Reeger's a deeply damaged man whose grief and anger have distorted his judgment. In the B story, featuring Captain Pike and the landing party, Celia Rose Gooding gets a real opportunity to shine as Uhura, whose cleverness and action hero moves during the away mission provide some of the episode's most exciting moments.

“Orders of Magnitude” is notable because it doesn't rely on the elaborate genre experiments and tonal shifts that have become a trademark on Strange New Worlds. After several unconventional installments, it's refreshing to see the series focus on the characters and ideas that have always made Star Trek special. This episode is a straightforward story in the classic mode. Strange New Worlds once again demonstrates why it has become one of the strongest modern entries in the franchise. “Orders of Magnitude” is a tense, thought-provoking, and well-acted episode. As the show continues moving closer to the era of classic Star Trek, here's hoping the series continues to present excellent stories like this one. 

15+ Years of Eclectic Avenue

It's hard to believe that Eclectic Avenue is now over 15 years old. I started this blog in April of 2011. My goal was to have a regular outlet to indulge my passion for writing about music, movies. I'd always and an interest in writing and kept doing so on and off throughout my careers in publishing, IT and healthcare. During that time, I wrote a couple of articles for local newspapers, and completed a stint as a writer/editor for the excellent KISS fanzine FIRE, which was published by my dear friend Gilda. Thanks to the support and encouragement of Gilda and a couple of other close friends, I decided to launch Eclectic Avenue.

Eclectic Avenue received a very positive response from readers, and I became part of a wonderful community of bloggers. This allowed me to participate in several blogathons, special events in which a group of bloggers all write about a shared topic. The next expansion of my writing career came in 2017, when I began penning articles for CultureSonar, a terrific arts and entertainment site founded by music industry veteran Al Cattabiani. I became a regular contributor to the site, and have written over 150 articles for them, including interviews with Dave Mason, Phil "Fang" Volk of Paul Revere and The Raiders, and William Shatner. I'm thrilled to be part of the site's super talented family of writers.

I've had some fabulous experiences over the years, interacting with talented artists like Marc Platt, Grey DeLisle, Rin Lennon of Monogroove, Kurt Reil of The Grip Weeds and Eric Herbst of Dizzyfish, among many others. Thanks to Al Cattabiani, Cindy Grogan and Drew Pissara from CultureSonar for their ongoing support and encouragement. It has been a great pleasure working with all of you. I also want to thank my friends, family and regular readers for their appreciation of, and enthusiasm for, my writing. There are some exciting things coming up in the future, so keep your eyes peeled here at Eclectic Avenue and over at CultureSonar for new articles, and for more details!

An Exceptional Night With Early Elton

Early Elton Trio, the phenomenal band comprised of Jeff Kazee on piano and vocals, John Conte on bass and vocals, and Rich Pagano on drums and vocals, returned to the Fairfield Theatre Company Saturday night, and once again treated we were treated to an incredible evening of music featuring songs from the early years of Elton's discography. I've been attending their concerts for a while now, and these superb musicians just keep getting better every time I see them. Their shows are always outstanding.

The band focuses on Elton's music from 1970-72, when he was touring as a trio with Dee Murray and Nigel Olsson. This evening's set list included exceptional versions of classic tunes like "Rocket Man," "Levon," and "Honky Cat." If you dig the deep cuts, there were knockout renditions of "Holiday Inn" from Madman Across The Water, and "Can I Put You On?" which was originally featured on the live album 11-17-70, as well as the soundtrack to the 1971 film Friends. Speaking of deep cuts, the guys threw in a little post 1972 surprise for us, a marvelous take on "Tower of Babel,"  a fabulous track from 1975's fan favorite Captain Fantastic and the Brown Dirt Cowboy.

There were also several selections from my favorite Elton record, Tumbleweed Connection, including "Ballad of a Well Known Gun," "Country Comfort," and "Where To Now, St. Peter?" Other standout performances in an evening filled with high points included the band rocking out on "Grey Seal" and "Elderberry Wine." Their excellent arrangements of these unforgettable songs really helps make every show memorable. The evening came to a close with a spectacular rendition of "Burn Down The Mission" (the 11-17-70 version) and enthusiastic audience sing-alongs on "Tiny Dancer" and "Your Song."

Jeff, Rich and John are extraordinary musicians, and their passion for these incredible songs, and their undeniable chemistry, shines through in every note they play. Their love for the music of Elton John is infectious, and you can't help but clap, sing along, and dance in your seat (or even the aisles) throughout the evening. These guys are fans, just like we are, which shows in their stories about the songs, which this evening included Rich's intro to "Tower Of Babel" and Jeff's shout out to the recently departed Dave Marsh during "Burn Down The Mission." Many of us in attendance last night have seen the band multiple times, and have been spreading the word about their phenomenal shows for a long time now. Once you see Early Elton, you instantly become a fan. For more information about the band, head over to their website at http://www.earlyeltontrio.com, or visit their Facebook page.

A "Diabolically Good" Tribute to a Horror Icon

Drew Pisarra is an extraordinarily talented author, poet and playwright whose previous works include Periodic Boyfriends, You’re Pretty Gay and Fassbinder: His Movies, My Poems. For his latest project, he turns his attention to the life and career of legendary horror star Vincent Price. Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price, features Drew’s fabulous radio play Price In Purgatory, as well as a marvelous guide to Price’s filmography, featuring Drew’s astute, witty and sharply observed thoughts and reviews on many of Price’s movies. If, like me, you’re a fan of Vincent Price (and of Drew and his work) you’ll really appreciate this loving, affectionate and humorous tribute to an iconic performer. Drew took some time out of his busy schedule to answer a few questions for me about the book, Vincent Price's cinematic legacy, and what Vincent and his work has meant to him.

Q: Price In Purgatory is an evocative, imaginative and introspective play. What inspired you to set the story in Purgatory, with Vincent on trial, competing against his younger self to earn a spot in Heaven? It’s an inspired idea, allowing for some delicious dialogue and irreverent humor. It’s also a fascinating look at the difference between Price’s public persona, how he sees himself, and how he’s perceived in the afterlife. It turns out even God is a Vincent Price fan!

A: To be perfectly honest, the setting was entirely pragmatic. Theater is so prohibitively expensive to produce nowadays that I decided to write a play with the lowest overhead I could imagine. And what could be more minimalist than Purgatory? I mean, what's there? Nothing but you and your sins. And it's such a great place for drama. The stakes are high. The internal conflict unavoidable. How long's it gonna take for our hero to work through his shit to get to Heaven? Well, since it's a play, I promise it'll be under 90 minutes.

Q: It’s pretty clear from Price In Purgatory, and the delightful journey through Vincent’s films featured in Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price, that you have a real love for classic cinema. The film guide is written with wit, style and obvious affection for Vincent and his work. It’s an enjoyable read, and a wonderful trip through his expansive filmography. Was he a hero of yours growing up?

 

A: He was definitely a source of fascination. He could be so effortlessly distinct, so strangely 19th century. By turns sly and sinister, silly and suave, he set off my gaydar before I knew what gaydar was. Ultimately, for me, Price registered as a man who wasn't afraid of being typecast and someone who knew that being bad could be fun. I think subliminally, he emerged as a kind of role model for how to exist in the world. Not the torture thine enemies part. More the embrace your eccentricities thing. Be your one-of-a-kind self!

Q:  I love that you singled out The Haunted Palace as the best of the Corman/Poe cycle (and noted the film’s H.P. Lovecraft connection), praised his enjoyably over the top performance in His Kind of Woman, and saluted his work in House on Haunted Hill, all of which are favorites of mine, as is The Baron of Arizona. Do you have any special favorites among Price’s films?

A: One new favorite initially proved to be quite difficult to find: Return of the Fly. But I eventually tracked it down in laser disc form at the Film Archives at Yale then spent a joyous afternoon in a booth watching it alone. Shot in black and white with a terrific noir score, this sequel to The Fly is B-movie perfection: A cautionary tale about teleportation in which a mad scientist's son ends up doomed to swap heads with an insect just like his dad. The sins of the father revisit the next generation! And as ridiculous as this sounds, I'm still haunted by that movie's image of a guinea pig who re-materializes with a pair of human hands. Dumb yes, but scary, too.

Q: What I also appreciated about the film guide in Diabolically Good is that you also take time to celebrate Price’s work in some of the lesser films among his oeuvre.  Can a movie with Vincent Price in it really be all bad? You also mentioned re-watching some of his movies while preparing the book. Did your opinion on any of those films change when you saw them again?

A: When revisiting his filmography, I was reminded that The Ten Commandments is a Vincent Price movie too. Price may not get star billing like Charlton Heston and Yul Brynner but in terms of villainy, he's the most twisted. Which is saying a lot. There's a reason that Heston's Moses bare-handedly strangles Price's character in a fit of rage. That movie also may have been when I realized that Price is a star no matter how he's billed and how many lines he's given. He's consistently memorable.  

Q: You honor and acknowledge the fact that Vincent has become something of a queer icon. He’s certainly a charismatic performer who appeals to a wide spectrum of fans. Do you think he would have embraced that status?

A: Price was ahead of his time in terms of LGBTQ+ rights. He toured an unapologetically gay-affirming one-man-show about Oscar Wilde internationally in the 1970s. He was an honorary board member of PFLAG. He made PSAs about AIDS when most of his peers were afraid to do so. So while he may not have been out as bisexual, he was fearless in many other ways that count.

Q:  Horror is a genre that has cycled in and out of popularity throughout the years. The fright films which are currently successful are, for the most part, quite a bit different than the ones that were released in Price’s heyday. Do you think we’ll ever see the style of films which featured iconic performers like Vincent Price, Christopher Lee or Boris Karloff again, or has the cinematic world of horror changed too much?

A: I wonder if what's changed is the medium. Marquee stars still headline horror if you consider TV. We've been blessed with Jessica Lange on American Horror Story, Winona Ryder in Stranger Things, and Sarah Paulson in Ratched. On the big screen, there's also been an unforgettable Glenn Close and Mo'Nique in the underrated The Deliverance. And may I remind you how many Price fright flicks have come back to haunt us in new versions: Cronenberg's brilliant The Fly, the star-studded remake of House on Haunted Hill, and two updates of The Last Man on Earth -- The Omega Man and I Am Legend. Vincent Price will never die.

 

Many thanks to Drew Pisarra for chatting with me about his latest project, Diabolically Good: The Movie Career and Afterlife of Horror Icon Vincent Price. This terrific book, which also includes thoughtful and well-written introductions by Sean Redlitz and Maitland McDonagh, is now available from Anxiety Press, and can be purchased from online retailers like Amazon.

"Anthology" Celebrates 30 Years of Monogroove

Monogroove is a California based rock and roll band, led by the immensely talented singer, songwriter and guitarist Rin Lennon. I’ve raved about their terrific albums like There’s Something Here, Into The Sun, and Popsicle Drivethru in previous posts on this blog. All of those discs, as well as the rest of Monogroove’s discography, are filled with terrific songs which are deeply infused with the sounds of pop, rock and punk, topped off with more than a dash of power pop thrown in for good measure. The band recently released Anthology, a career-spanning retrospective celebrating the group’s 30th anniversary. The 20 track collection is chock full of fabulous music, including song demos, rare tracks and early recordings, as well as a trio of awesome new songs, “Back To School,” “Autopilot” and “Betty Can't Come.,” recorded by the group’s current lineup. Rin Lennon recently took some time out of her busy schedule to answer a few questions for me about the band’s history, and the release of Anthology.

Q: Monogroove has been around for 30 years now. The band has created some phenomenal music, and achieved a significant amount of success. As the heart and soul of the band, are there any moments in Monogroove's history that stand out for you?

A: There are a few, but one festival we did back in 99 at Rio Grande's Bass Derby Festival was very entertaining to say the least, to us anyway. We road tripped it to Rio in a beat up VW bus van, affectionally known as “Janis.” We arrived in Rio and kind of rolled out of the back dragging ourselves to the hotel rooms. To this day, I wonder how that van made it there and back, it was so broken down and beat up. Anyway, we couldn’t help but giggle about the title of the event, which was “The Bass Derby.” They even had a contest for Miss Bass Derby wearing a wonky fish dress of some kind, and we went on about "what is this place and why is there a Queen Fish?” That was the big deal ya know. Our performance was fun, the stage was at least 20 feet high off the ground, and the only entrance to the stage was through the back. We played in front of 10,000 people. That was pretty cool, signing autographs afterwards and the like. They treated us as if we were some big famous band, we were grateful about that. 

Q: Monogroove is an incredible live band. It’s clear that you have a real passion for performing, and truly enjoy being on stage, doing what you love. Are there any venues that you really enjoyed playing at throughout the years?

A: I love playing events:  The Bass Derby, the LA County Fair, the OC County Fair, and the Del Norte County Fair. My favorite venues were "the Joint"  "Molly Malones” and "Rusty's Surf Ranch.” I guess its a nostalgia feeling with the venues I mentioned, as that was the original band line up: Rin, Dre, Hector, Scott and Mac Beth, I miss Hecky and Beth a lot, both have passed. 

Q: I'm a big fan of your music, and you’ve got an incredible catalog of songs. I hear a lot of influences in your songwriting and the band's sound, ranging from the 1960s to the present, including rock, pop, power pop and punk. Who were some of the artists that inspired you?

A: Oh man so many, my biggest influence is definitely The Beatles, I’ve loved their music since I was 4 years old. I also really dig The Pandoras, The Bangles, Slamdinistas, The Woggles, The Weeklings, and Teenage Fanclub; there far too many to name! I admire all musicians that write, sing and play because they love it. I believe they must feel like me; they play, sing write, etc. because its like breathing for them: THEY HAVE TO.

Q: With the release of Anthology, you're shining a light on 30 years of amazing music from Monogroove, including some early demos and live to DAT recordings, right on up to three fabulous new tracks, “Back To School,”  “Autopilot” and “Betty Can't Come.” Are there any tunes on the collection that you're especially excited for people to hear?

A: Hmm, there are a few, "When You Touch Me,” which is currently being played on Bill Kelly's Blackhole Bandstand, "No One Left To Play", 'Spanish Dancer" and "Punk.Com." I always thought that one was kinda different. 

Q: What’s coming up next for the band?

A: Well, we're behind on making videos for our last record, Popsicle Drivethru, so we need to get going on those, and I think one or 2 from the Anthology. Outside of that, we're mostly a recording band these days, playing out rarely. Monogroove is working with One King Entertainment and their CEO, John Mendoza. It’s a new company that is putting together events for "Original Bands" only, which is great. We participated in one last year. There were very few original bands in this area when I moved up here back in 2016, today there are more than 20 new original bands and more starting up every year.

Q: I think long-time fans of Monogroove will really dig Anthology. This superb collection will definitely gain you a lot of new ones as well. Anything you’d like to say to Monogroove’s fans, old and new?

A: Thank you to everyone that has come on this journey with us, and those that are just coming along now. Cheers to all!

Anthology by Monogroove is now available on disc exclusively from Kool Kat Music, https://www.koolkatmusik.com/ and as a digital download at Bandcamp, https://bandcamp.com/. This splendid album is highly recommended for fans of the band, and for for those who enjoy classic rock, pop, power pop and pop/punk. Congratulations to Rin and the band for 30 years of fantastic rock and roll!

Is This Offbeat Folk Horror Tale a "Keeper?"

The surreal, eerie film Keeper (2025), keenly illustrates why Osgood Perkins is one of the most talented and original directors currently working in the horror genre. His filmography includes distinctive and extraordinary films like The Blackcoat's Daughter (2015) and I Am the Pretty Thing That Lives in the House (2016), as well as offbeat spins on more traditional thrillers, such as Longlegs (2024) and The Monkey (2025). As Keeper (2025) opens, we think we're being treated to a traditional relationship drama, as Malcolm and Liz celebrate their one-year anniversary by spending the weekend at a secluded cabin in the woods.

Malcolm prepares a romantic dinner for Liz, and points out a cake left for the couple, supposedly by the cabin's caretaker. Their meal is interrupted by Malcolm's obnoxious cousin Darren and his girlfriend, who quickly wear out their welcome. That's when things start to go south, as Liz begins having strange visions, and hearing weird noises. Malcolm, who's a doctor, suddenly has to return to the city to help a patient. Liz's experiences become even more nightmarish when she's alone, as frightening apparitions appear in the house, and haunt and bedevil her. When Malcolm returns, dark secrets about his past are revealed, and Liz's life is changed forever. This is where the twist in screenwriter Nick Lepard's folk horror-inflected tale comes to the fore.

Keeper (2025) is truly haunting and atmospheric. As the supernatural aspects of the story deepen, it becomes obvious that this isn't a typical romantic drama, and Malcolm isn't the nice guy he appears to be on the surface. What really makes the film work is Perkin's assured direction. He provides a real sense of dread and unease to the story as it unfolds, and imbues the film with an almost dreamlike quality, thanks in no small measure to cinematographer Jeremy Cox's excellent work. The other thing that helps Keeper (2025) succeed is the strong performance of Tatiana Maslany as Liz. Maslany, who also worked with Perkins on The Monkey, and was memorable playing multiple roles on TV's Orphan Black, is terrific here, giving an emotional, three dimensional performance. She also plays well off Rossif Sutherland as Malcolm, who initially brings out the character's subtle weirdness, and ultimately reveals his true colors.

Osgood Perkins' oeuvre definitely stands out in the current horror genre, which has experienced a recent resurgence, with successful movies like Weapons (2025) and Sinners (2025) garnering critical acclaim and winning major awards. Like David Lynch, Perkins has a unique style all his own, and his films often transcend the genres he works in, with compelling and mesmerizing results. Keeper (2025) is a hypnotic and unsettling tale, and is worth adding to your watch list. Here's a link to the trailer: https://www.youtube.com/watch?v=L1EeA-OihKA.

 

"Grey & Greene" Offer Up Some Vintage Grooves

The multi-talented Grey DeLisle has released a lot of incredible music in the last few years, including the fantastic records She’s An Angel (2023) and The Grey Album (2025). She was the executive producer and driving force behind last year’s all-star benefit album It’s All Her Fault: A Tribute To Cindy Walker. But if you thought the amazing Ms. DeLisle (who’s also a marvelous voice actress and stand-up comedian) was going to rest on her laurels after that, then you don’t know her very well. Her latest album, Grey & Greene, is a fabulous collaboration with soul singer Les Greene, who you might recognize from Baz Luhrmann’s 2022 film Elvis, in which he portrayed Little Richard, or from his work with his fabulous soul/rock band, Les Greene and The Swayzees.

Grey and Greene is a sensational record, which finds DeLisle and Greene deeply inhabiting some soulful tunes which are infused with the sounds of classic soul, country, pop, and rockabilly, though the driving force here is soul with a capital S. Greene offers spectacular vocal work on the R&B flavored “I’m Gonna Let You Call Me Baby” and “Back of Your Hand,” while alt-country heroine DeLisle indulges her inner soul sister on the lovely “Mariposa” and the gospel-infused “Mister.” The dynamic duo trade vocals on the rollicking “Go Go Go,” “Shake That Thing” and “Home Wrecker,” which is a Greene led re-working of the title track from DeLisle’s 2002 album.

The tunes on Grey and Greene have a timeless quality, which is one of the hallmarks of DeLisle’s songwriting. She penned most of the tunes on the album, collaborating on several tracks with producer James Intveld. These exceptional songs are filled with real emotion, and the performances by both singers are outstanding. Just listen to the stellar work from DeLisle on the heartfelt “The Pieces,” and Greene’s exceptional take on the heartbreaking ballad “That’s All.” Their voices meld perfectly throughout the record, including on the closing track, a delightful cover of the John Travolta and Olivia Newton-John hit “You’re The One That I Want.” Here's a link to the video: https://www.youtube.com/watch?v=t1Rm8nR_dto.

The disc also features some fabulous backing musicians, including DeLisle’s frequent collaborator, guitarist and singer Deke Dickerson. Grey & Greene is a compelling, groovy and exuberant record. The disc moves effortlessly between multiple genres, including Southern soul, pop, rockabilly and country, but maintains a truly soulful sound at its core, steeped in real heart and emotion. If you’re a fan of Grey DeLisle and Les Greene, or dig the vintage genres featured on the disc, then this album is a must have. It's one of the best records of the year. Check out these links for “I’m Gonna Let You Call Me Baby” https://www.youtube.com/watch?v=f7a0ev2pFcw and “The Pieces.” https://www.youtube.com/watch?v=EQs_D5qcnZs&list=RDEQs_D5qcnZs&start_radio=1.