Returning to "Star Trek: Deep Space Nine"

When Star Trek: Discovery premiered two seasons ago, fans were divided in their opinions regarding the show’s darker interpretation of Gene Roddenberry’s optimistic vision of the future. But Discovery wasn’t the first attempt by the franchise to present a different vision of the Trek universe. When Star Trek: Deep Space Nine premiered in 1994, some long-time Trek fans initially didn’t know what to make of the show. Star Trek (at least up to that time) had been about starship crews going out into the universe and exploring new worlds, often coming into conflict with enemies like the Romulans and the Borg. Deep Space Nine was set on a space station, located near a stable wormhole, rather than aboard a starship. The cast was diverse, and the storylines were less about straightforward heroics, often sketching characters and situations with various shades of grey. In its later seasons, an ongoing storyline detailed the Federation’s war with a new threat called The Dominion, and showed how that conflict affected the show's characters. While some fans were slow to embrace Deep Space Nine, there was no denying the show contained some of the strongest acting, writing and direction of any iteration of Star Trek up to that point. The series has become a favorite among fans and critics, many of whom now consider it one of the best of the Trek spinoffs.

Ira Steven Behr, who was a writer, producer and  showrunner for the series, spearheaded the production of a crowd-funded documentary about the legacy and impact of the show. What We Left Behind: Looking Back At Star Trek: Deep Space Nine (2019), premiered in theaters last summer with a series of special screenings, and is now available on DVD and Blu-ray. The documentary is a comprehensive look at the history of Deep Space Nine, and features in-depth interviews with the cast and crew of the series. The cast share their honest feelings about how the show was initially perceived as the also-ran of the franchise. It wasn’t until home video and streaming releases of the series allowed viewers to binge- watch the episodes in larger batches, that a wider audience began to appreciate the show’s well-crafted storytelling. The interviews are compelling and insightful. The comments seen in the film are refreshingly honest, a far cry from the pleasant chatter usually seen in studio produced documentaries. Terry Farrell, who played Lieutenant Dax, and left the show after Season 6, is particularly frank about her acrimonious exit from the series. What becomes crystal clear from watching the film is these actors still have great affection for one another, and are proud of what they accomplished during their time on the series.

The history of the show’s conception and production is covered in detail by Behr and the writers, including Ronald Moore (who went on to create the re-booted version of Battlestar Galactica) and Rene Echevarria. The concept of serialized storytelling in a genre series was relatively new at that time, and Deep Space Nine was pioneering in that regard. Classic episodes like “In The Pale Moonlight” and “Far Beyond The Stars” are discussed, as well as the reaction to the addition of Michael Dorn as Worf, a character from Star Trek: The Next Generation, who joined the cast in the fourth season of the series. Behr is also honest about his assessment of where the show succeeded in exploring controversial social, political and religious issues, and where it could have done more in that regard. There’s also a tantalizing look (using animation) at the writers ideas of what might have been explored story wise had the series gone on to an eighth season. It’s like being invited to a writers roundtable discussion. Also included is a look at a clip from the show remastered in high-definition, which Behr hopes will spark a true HD release of the series.

What We Left Behind is clearly a labor of love for everyone involved, and this talented group of actors are still quite passionate in their feelings about the series. Sadly, both Rene Auberjonois (who played Odo) and Aron Eisenberg, (who played Nog), have passed away since the documentary was produced, though they both have touching moments in the film. Like some of the other Star Trek spinoffs, Deep Space Nine had a bit of a rocky start, but once it settled into its groove, it spun a rich tapestry that I think holds up well to this day. It’s my personal favorite of the modern Star Trek series. This is a heartfelt, well-produced tribute to a groundbreaking entry in the Trek canon.  Co-directed by Ira Steven Behr with David Zappone (who also worked on the well-received The Captains documentaries), What We Left Behind is one of the best Trek centered retrospectives released thus far. If you’re a Trek fan, or even a casual viewer of the series, this enthralling and perceptive documentary is worth a look. What We Left Behind is available on DVD and Blu-ray from Shout Factory home video at www.shoutfactory.com. Here’s a link to the trailer for the film: https://www.youtube.com/watch?v=D4LPDX6uqSM.

Ishiro Honda's Fascinating "Life in Film"

Director Ishiro Honda was instrumental in the creation of some of the most iconic movie monsters of all time, including Godzilla, Mothra and Rodan. But the life of this extraordinary man encompasses much more than just kaiju movies. In Ishiro Honda: A Life in Film, From Godzilla to Kurosawa, authors Steve Ryfle and Ed Godziszewski offer us an insightful look at the life of this talented filmmaker. Honda was the son of a Buddhist monk who had a lifelong love of movies. He enrolled in film studies programs, and ended up working at PCL, a company that would later become Toho, the studio where he spent most of his career. His trajectory was derailed by military service, and the authors takes us through his harrowing experiences as a soldier during World War II. After his return from the war, Honda would return to filmmaking, making movies in a variety of genres, including documentaries, romantic tales, crime dramas, comedies, and military-themed epics.

Then came a radioactive, fire-breathing creature named Gojira, a monster who brought Ishiro Honda his greatest success, and shaped the next phase of his career. The film, released in 1954, was conceived as a Japanese version of American monster movies like King Kong and The Beast From 20,000 Fathoms. There was also a darker and anti-nuclear undercurrent to the film, in the wake of Japan's devastating experiences with the atomic bombs used in Hiroshima and Nagasaki at the end of World War II. Gojira became a world-wide success, and in the United States, where the film was re-edited with additional scenes featuring Raymond Burr, and re-titled Godzilla, King of the Monsters, it helped launch a monster movie phenomenon that continues to the present day. The book details Honda's work on the original series of Godzilla films, and the other science-fiction, horror and fantasy movies he made for Toho, such as The Mysterians, The H-Man, Atragon and Matango.

Ishiro Honda: A Life in Film, From Godzilla to Kurosawa features in-depth looks at the making of films like Mothra, King Kong vs. Godzilla, and Destroy All Monsters, movies that captured the imaginations of viewers around the world. By all accounts, Honda was a dedicated, hard-working man, who took his craft seriously and was well-liked by his friends, family and co-workers. While he was somewhat conflicted by the direction in which these genre films took his career, he was always loyal to Toho, and the authors paint a three-dimensional portrait of this intelligent, compassionate and gifted filmmaker. The book gives us an engrossing look at the Japanese film industry, and details how the popularity of kaiju films began to wane in the 1970s, which led to the studio cutting budgets for later films in the Godzilla series, as well as other genre films. Honda's final Godzilla film, Terror of Mechagodzilla, was released in 1975.

That wasn't the end of Honda's journey. The next phase of his career was one of his most personally fulfilling experiences. He was a life-long friend of world-renowned filmmaker Akira Kurosawa, who had directed classics like Seven Samurai and The Hidden Fortress. The two men had come up through the ranks of Japanese cinema together, though their careers had taken them in different directions. Honda collaborated closely with Kurosawa on the last five films he directed, including Kagemusha and Dreams, serving as an assistant director. Honda's life story is a captivating and engrossing one, and Ryfle and Godziszewski do a masterful job of detailing the entire arc of his life and career. Both authors are experts in the kaiju genre, having written about it in previous books and also spoken about it in commentaries recorded for several kaiju DVD releases. Originally published in 2017, Ishiro Honda: A Life in Film, From Godzilla to Kurosawa, which features a forward by Martin Scorsese, is a must read for kaiju fans and cinephiles who'd like to dive into a thoroughly researched and compelling biography of a brilliant and often underrated filmmaker.

Sense8: Mind-Bending, Emotional Drama

Have you ever wondered what it would be like to truly share the thoughts, feelings and even the talents of others? The Wachowskis, the siblings behind mind-bending science-fiction tales like The Matrix trilogy and Cloud Atlas, and J. Michael Straczynski, the creator of TV’s Babylon 5 and offbeat comic-book series such as Midnight Nation and Rising Stars, teamed up to offer their intriguing take on this idea in the thought-provoking Netflix series Sense8. The show follows the stories of eight people from around the world who discover they are psychically connected on both an emotional and physical level. They can access each other’s thoughts, skills and memories, and can communicate with each other on a level that goes far beyond empathy.

The disparate set of characters includes Will, a police officer in Chicago; Nomi, a San Francisco-based hacker and activist; Capheus, a bus driver in Nairobi, and Sun, the daughter of a businessman in Seoul, who moonlights as a kick-boxer in underground tournaments. The eight-member group becomes like a family, forming strong bonds and friendships with one another. Because they share their thoughts and experiences so intimately, the group helps one other with the challenges in their individual lives. They also try to discover the origin of their powerful connection. Our heroes learn they’re not the only ones with these powers. It turns out there are those who hunt down people like them, and the group may face an even greater threat than their own personal difficulties.

Sense8 is an intriguing and thought-provoking show. There are some terrific action-sequences, and the location shooting in places like Berlin, Iceland and London and other places around the world gives the series an epic, truly cinematic feel. If you’re a science-fiction fan, you’ll dig the unique blend of concepts and ideas; if you love conspiracy thrillers, there’s a lot for you to enjoy in the series as well. But the real heart of this series lies in the characters and their emotional journey. There are touching moments of love and joy, as well as heart-rending ones of anguish and loss, all delivered beautifully by the superb cast. The fine ensemble includes Jamie Clayton as Nomi, Brian J. Smith as Will and Doon Bae as Sun. The supporting cast includes Terence Mann, Daryl Hannah, Naveen Andrews of Lost, and Freema Agyeman of Dr. Who.

The show was well received by critics and fans, but was cancelled by Netflix after one season. The support of loyal fans helped convince the network to renew the show for a second year. While Netflix later decided not to continue the series beyond season two, the network did allow the show’s creators, cast and crew to wrap up the series with a movie-length finale in 2018. Sense8 is currently available for streaming on Netflix. There’s so much to watch out there these days, that I only caught up with the series recently, after reading about it in J. Michael Straczynski’s autobiography, Becoming Superman. I highly recommend Sense8. The series is a passionate, thrilling story about love, human connection and how our differences enrich us rather than divide us. Here are links to a pair of trailers for this amazing show. If you have Netflix, it's a series that's worth diving into and binge-watching: https://www.youtube.com/watch?v=iKpKAlbJ7BQ and https://www.youtube.com/watch?v=TT-bpE9Tr8g.

Power Pop Lives at 1301 Highland Avenue

If you’re a music aficionado, you might recognize the name Ken Sharp from the meticulously researched, well-written books he’s authored on artists such as Kiss, David Bowie, Rick Springfield, The Beatles and Elvis Presley. Or you might have checked out Play On! Power Pop Heroes, his in-depth, multi-volume series tracing the history of power pop, which is essential reading for fans of the genre. What you may not know is that he’s been writing and recording his own engaging and power pop-infused music for a long time. Ken recently decided to re-release his 1994 debut, 1301 Highland Avenue. Originally issued on a Japanese label, the album is now available in the United States for the first time, in a revised edition that includes a new song, and updated vocals and instrumentation.

The album is full of lovingly crafted songs like “Break Down The Walls” and “Beating Heart” which float right out of your speakers, powered by Sharp’s joyous vocals, the scintillating guitars and glittering production. You may think you’ve time travelled back to the heart of the 1970s when you hear the fantastic Raspberries-flavored “For The First Time” and the crunchy Cheap Trick-styled rocker “Tonight (All I Want).” Dyed in the wool power pop fans will dig the sparkling “Magic” and “In My Dreams Tonight” a pair of tunes featuring backing vocals from The Rubinoos, who’ve been making great music in the genre since its heyday in the 1970s. “Like Everyone” and “Karen Love Me” are lighter than air, hook-filled pop confections that would sound perfect blasting out of a transistor radio on a summer day.

While 1301 Highland Avenue generally plants its foot firmly in the power pop landscape, Sharp also manages to visit some other genres throughout the album as well. “Lazy Day” and “Sitting On A Porch In L.A.” feature a laid back, almost jazzy variation on the singer-songwriter sound. There’s a groovy, 1970s soul feeling throughout the excellent “Not Afraid of Love” and a definite Motown vibe on the energetic “Underground.” The multi-talented Sharp also indulges his inner power balladeer on the inspiring “Believe,” the lovely "If You Ever Change Your Mind" and the album’s emotional closing track, “Wash My Tears Away.” It sounds like a cliché to say it, but in this case it’s true: there’s not a bad track on the album.

This extraordinary record is truly a gift for for power pop fans everywhere. Whether you love the jangly guitar-based part of the genre, the lighter pop vocal centered side, or you enjoy all of it’s variations, you’ll find a lot to love on this wonderful album. Devotees of The Raspberries, Todd Rundgren, Cheap Trick and The Beatles, and more recent practitioners of the genre like Matthew Sweet and Jellyfish, definitely need to visit 1301 Highland Avenue. I think it’s one of the best albums of the modern power pop era. You can purchase the record, and find out more about Ken Sharp’s other work, by visiting www.ken-sharp.com. Here’s a link to the audio for “Tonight (All I Want):” https://www.youtube.com/watch?v=C1IL12RDae4, to give you a taste of this awesome disc.

The Weeklings "3" is Terrific Power Pop

The Weeklings may be based in the United States, but the hearts of this superb rock and roll quartet beat to the sound of The British Invasion, and their souls are sonically inspired by The Beatles. The group features veteran rockers Glen Burtnik, Bob Burger, Joe Bellia and John Merjave, aka Lefty, Zeek, Smokestack and Rocky Weekling. The Weeklings are top-flight interpreters of The Fab Four’s fabled catalog, and also the writers and performers of fantastic original tunes such as “Stop Your Running Around.” Their 2016 release, Studio 2, was produced at that renowned Abbey Road location where the Beatles recorded much of their now legendary music. That extraordinary album, the group’s sophomore release, balanced original tunes like “Little Elvis” with deep cuts from the Lennon-McCartney catalog, including “Love of the Loved,” which was originally recorded by Cilla Black: https://www.youtube.com/watch?v=xvx97_z5Zwc.

The band’s latest release, 3, is another excellent collection of rock and roll tunes, featuring wonderful songs like  “Baby Let Me Take You Home” and “I Want You Again.” The shimmering production of the disc, and the superb playing by these supremely talented rockers provide the listener with an injection of ear candy that will delight power pop fans. The eleven tracks span the rock and roll spectrum, from the rockabilly-esque “1000 Miles Away,” to the Badfinger-styled “In The Moment.” There’s even a touch of the modern rock sound on the excellent “Change Your Mind” and the stellar title track: https://www.youtube.com/watch?v=jaCBx9QqqEc.

Of course, it wouldn’t be a Weeklings album without some classic British Invasion tunes, and on 3 you’ll find the band’s very cool version of The Beatles “Baby, You’re A Rich Man” as well as a fantastic cover of The Easybeats classic “Friday On My Mind” featuring guest vocalist Peter Noone of Herman’s Hermits fame. Those two songs alone are worth the price of admission for music acolytes, but the brilliant originals such as the hard-driving rocker “Running Away” and the lovely Raspberries-ish ballad “I Got The Love” are the icing on the cake on this must-have release: https://www.youtube.com/watch?v=wQ0wW4K-ZIw.

3 is a terrific disc that should be spinning on heavy rotation on your music device of choice. This album is an early candidate for one of the top ten power pop releases of the year, so head over to www.weeklings.com or www.jemrecordings.com for more information on the record, as well as the earlier releases by The Weeklings. The band will be on tour this year to support the album, so keep an eye out for live dates in your area by the group, who are well regarded for their energetic live shows. The Weeklings are an outstanding band whose work pays tribute to the classic rock sound while imbuing their sound with a fresh spin that carves out its own niche in today’s music world. So what are you waiting for? Immerse yourself in the magnificent songs of Lefty, Zeek, Smokestack and Rocky as soon as possible!

Star Wars and The Perils of Fandom

Star Wars: The Rise of Skywalker

I recently saw Star Wars: The Rise of Skywalker, and I’m still unpacking my reactions to the film. There are a lot of thrilling moments, and writer Chris Terrio and director J.J. Abrams provide long-time fans with a bunch of cameos and callbacks in this last chapter in the “original” nine-chapter saga that was begun by George Lucas in 1977. But after seeing the movie, it also got me thinking about fans, and their love-hate relationship with the films, TV series or books that they’re fans of, whether it’s Star Wars, Star Trek, Marvel superheroes, or James Bond. When I saw the original Star Wars on the big-screen back in 1977, I was captivated by the unique way Lucas combined the excitement of old-fashioned adventure serials, science fiction, and fantasy, while adding a dose of mysticism and philosophy to the mix. I loved the movie, and couldn’t wait for more adventures featuring these now beloved characters.

Star Wars (later retitled Star Wars Chapter IV: A New Hope) went on to become the most successful movie of all time, and of course, it spawned two sequels. The Empire Strikes Back and Return of the Jedi. When Empire premiered in 1980, audiences were shocked and surprised when the identity of Luke Skywalker’s father was revealed. Many fans picked apart the clues and inconsistencies between the original film and Empire, noting that Lucas (despite insisting otherwise in interviews throughout the years) couldn’t have planned this from the beginning, and that he was changing things as he went along. Many fans also decried Lucas’ habit of tinkering with the films themselves, changing them slightly (and in some cases not so slightly) upon their re-releases over time, including the infamous “did Han or Greedo shoot first?” debacle. Fans have debated these issues with the original trilogy ever since.

After the release of Return of the Jedi in 1983, we didn’t see any new entries in the Star Wars cinematic saga until the highly anticipated release of The Phantom Menace in 1999, which kicked off the “prequel trilogy” aka Chapters I-III of the series. While the films featured dazzling special effects and some thrilling moments, long-time fans complained about cardboard characters, the tone of the performances and the general direction of the story. A trilogy that should have charted the powerful and emotional journey of Anakin Skywalker becoming Darth Vader didn’t have the impact it should have for many viewers, thanks to their perceived shortcomings of the films. Despite these complaints, the movies made a ton of money, and brought many younger fans to the Star Wars universe, I have a friend who mentioned at the time that his kids loved these movies, the way we loved the original trilogy. Still, these “prequels” left a bad aftertaste for a lot of long-time fans, and other than some animated series and other spinoffs, the screen went dark again in the Star Wars universe for a while.

Then in 2012, it was announced that Lucas was selling the rights to Star Wars to Disney, and a new series of films was planned, including Chapters 7-9, which would finish off the original nine-film saga. J.J. Abrams (Lost, Mission: Impossible, Star Trek) was brought on board to write and direct, and The Force Awakens was released in 2015. Simultaneously a love letter to the fans and an expansion of the universe, the film was a phenomenal success, leading to a sequel, The Last Jedi, in 2017. Then the hardcore fans went ballistic again. Writer-director Rian Johnson put his own stamp on the saga, changing some plot threads and pointing the saga in a more downbeat direction (much as The Empire Strikes Back had in 1980) and drew the ire of fandom. Critics and fans were sharply divided, but the film was still a success at the box-office, Meanwhile, a series of Star Wars spinoff films was launched, with Rogue One (the story of the Rebels who stole the Death Star plans) and Solo(a Han Solo origin story), with more standalone films were planned. While Rogue One was a success, Solo had a troubled production; original directors Phil Lord and Chris Miller (The Lego Movie) were fired and Ron Howard was brought in to finish the film. Solo proved a disappointment at the box office, and further spinoffs were put on hold. Meanwhile, after the fan backlash regarding The Last Jedi, J.J. Abrams was brought back to direct the final film in the trilogy, ultimately titled The Rise of Skywalker.

Which brings us full circle to the current release of Star Wars: The Rise of Skywalker. Once again, fandom has been divided on the film. Many have noted it feels like a pullback from the darker themes of The Last Jedi. Some characters that were significantly featured in that film essentially have cameos in this one, and some plot points were clearly re-worked or ignored. I enjoyed the movie, and thought it brought the saga to a decent conclusion, with some emotional touches and goodbyes to long-time characters. There are certainly a lot of crowd-pleasing moments and exciting sequences, but how much of the story was driven by the backlash regarding The Last Jedi? The trick of dealing with a property that has a legion of fans is that its those very same fans that clamor for new adventures which further develop their favorite characters who will then decry the changes made when filmmakers attempt to put new spins on these tales. It’s a very difficult road to walk. Just ask Rian Johnson, whom I feel is unjustly maligned for his work on The Last Jedi. The film has its issues, to be sure, (just as The Rise of Skywalker does) but he was making an admirable attempt to move the Star Wars saga in a new direction.

There’s a lot to like about The Rise of Skywalker. Given what was presented in the first two chapters of this trilogy, it’s probably the best conclusion one could hope for, and it does provide closure to this part of the saga. If you can believe the stories in the press, Star Wars films are going to take a break on the big-screen, and the current saga will play out on the Disney Plus streaming platform, with spin-off series like The Mandalorian, which successfully sidesteps a lot of the “ fan expectation” issues by telling an exciting standalone story, which still pays homage (quite a bit of it, in fact) to the history of Star Wars. As time goes on, for franchises such as Star Wars, Star Trek, or the superhero films from Marvel and DC, I hope that the artists entrusted with continuing these stories will feel free to put their own imprint on these classic adventures. After all, since the beginning of storytelling, the tellers of tales have brought their own vision to these sagas, whether it’s the Arthurian myth, the stories of mythology, Sherlock Holmes, or modern day heroes like Spider Man, Batman and James Bond. Of course, the fans should be considered when new versions of these stories are produced, but should they be the only barometer of how these tales are told? As for the companies that produce and release these films, let's hope they have the wisdom to let these stories be told, and not only be concerned with making a profit. There’s room for many interpretations of these tales; and as long as they’re well crafted, they should be embraced.

The Journey (and Music) of Elvis Costello

Rock stars that write their autobiographies face a difficult prospect. Countless authors, politicians, scientists, athletes, and actors have done it with varying degrees of success. While a person's life and accomplishments are often worthy of note, crafting an enthralling and relatable narrative that a reader can empathize with is often difficult. But it's not an impossible task. Bruce Springsteen's powerful Born To Run, Patti Smith's transcendent Just Kids, and Keith Richards' enjoyable, supremely Keith-esque Life have all garnered acclaim from both readers and reviewers. I recently caught up with Elvis Costello's Unfaithful Music & Disappearing Ink, which was originally published in 2015, and it's a captivating, engrossing read.

I'm a long-time fan of Costello's, and the book (like his music) is literate, witty, dark, joyous and yet it's often laced with a bit of melancholy, as well as the weight of lessons learned. He shares his life story in a non-linear fashion, jumping around in time to detail pivotal moments, while simultaneously telling the story of his father, who was also a musician. Costello also recounts the creation of those memorable early records with the Attractions, such as This Year's Model, Armed Forces and Get Happy!! as well as sharing his fascinating recollections of his meetings (and musical collaborations with) George Jones, Johnny Cash, Bob Dylan, and Jerry Lee Lewis. You may want to have a notebook (or iPad) handy while you read, as throughout the book he talks about the songs, music and artists that he loves, and which still inspire him.

Costello openly discusses his failings, and doesn't shy away from the fact that in his earlier years he was drinking too much, and often looking for trouble. He touches on the infamous incident where he allegedly made racist comments about Ray Charles and James Brown in a bar in Ohio, for which he later apologized. As he says in the book: “I’ll have to take the word of witnesses that I really used such despicable racial slurs in the same sentence as the names of two of the greatest musicians who ever lived, but whatever I did, I did it to provoke a bar fight and finally put the lights out.” He briefly touches on his marriages and his personal life, and acknowledges that his reckless side and "angry young man" persona had finally quieted down by the time he married his third wife, singer Diana Krall, in 2003. While he shies away from writing too much about his current family life, what he does share is filled with emotion, as are the moving passages about his early life.

There are other compelling stories in the book, including Costello's recollections of his work on non-rock and roll projects with Allen Toussaint, The Brodsky Quartet, The Roots and his marvelous collaboration with Burt Bacharach, Painted from Memory. He also talks about Spectacle, the short-lived but insightful music-themed television show that he hosted, which featured artists like Levon Helm, Bruce Springsteen and his long-time pal Nick Lowe. The book's six hundred plus page length may seem daunting at first, but Costello is as talented a wordsmith on the page as he is on record. Unfaithful Music & Disappearing Ink is a comprehensive, fascinating and engrossing look at the journey (and the music) of Elvis Costello. If you're a fan, I highly recommend it.