TNG Spoiler: Lynch's Spoiler Review: "Lessons"
tly...@juliet.caltech.edu
Review by Tim Lynch <tly...@juliet.caltech.edu>
===============================================
WARNING: The following post contains spoilers pertaining to the latest TNG
episode, "Lessons". Let this warning serve as an object lesson to those who
would proceed on.
Wait a second ... character growth? Is that *allowed*? :-)
What's more, recognition of *past* character changes seems _really_ out of
place. What a remarkably pleasant surprise. But, before I continue, here
is, of course, the usual synopsis:
Picard goes to meet the new head of Stellar Sciences, Lt. Commander Nella
Darrin. Although he is initially gruff about having his work interrupted by
the drain on resources she had caused, they seem to recognize kindred spirits
in one another. Their relationship takes a stronger turn, however, after a
concert in Ten-Forward in which Darrin displays a great gift for music. When
he expresses his admiration and wonders about a particular improvisation
she'd done on the piece, Darrin feeds him back his own earlier words, telling
him to "expect the unexpected."
The next day, Darrin goes to visit Picard after a singularly unsuccessful
plea to Riker for more sensor time. She finds Picard listening to music and
holding his flute. She remarks on its unusual nature and asks to try to play
it, but fails. She quickly suggests a duet, having brought something serving
as a piano (but that can be carried under her arm) for herself. Picard
initially falters, but then learns through Darrin's tutelage how to improvise
based on someone else's melody. The results are impressive, and leave him
very pleased.
Later, after Picard invites Riker to fence and Beverly tells Darrin (in for a
strained arm from all the duets) that Picard, although *private*, is not
isolated, Darrin leads Picard into a Jeffries tube, which she claims is the
most acoustically perfect location on the ship. There, Picard plays the
folk melody he learned on Kataan, and after marveling at its beauty, Darrin
begins accompanying it. Geordi, in Engineering, begins looking for the
source of the strange music he hears, but then it stops -- and we see Picard
and Darrin embracing.
Some time later, Picard turns from casual conversation to stiff formality
when another crewmember enters the turbolift, leaving Darrin feeling somewhat
brushed-off. As the Enterprise heads to Versalis Three to investigate some
unusually early firestorms, Picard talks to Troi about his feelings for Darrin
and his worries that they may impair his judgement. Troi reassures him, and
gives implicit (or perhaps _explicit_) permission. Picard immediately finds
Darrin and apologizes to her, and asks her to come back to his quarters where
he can tell her something.
There, he tells her all about his experiences on Kataan, noting that his life
there was real -- and that when it ended, the only trace he had of that life
was the flute he now plays. Darrin is moved, but curious about why he would
tell her such a thing. "Because I want you to understand how much my music
means to me -- and what it means for me to be able to *share* it with
someone."
Riker, however, becomes uncomfortable with their newfound relationship when
he interprets Darrin's forcefulness about a transfer request as a demand for
special treatment. However, Picard clears things up with Riker and then
notes to Darrin that, while neither of them should compromise themselves,
both Picard and Darrin need to be aware of perceptions. They begin to plan
the rest of their evening, but are interrupted by further developments on the
Versalin firestorms.
The storms are stronger and faster then usual, and threaten the Federation
outpost on the planet. The colony needs to be evacuated before the storm
hits, and there isn't time unless it is somehow given extra protection.
Darrin suggests building a "firewall" of sorts using cross-connected thermal
deflectors. With luck, the wall will deflect enough of the heat to allow the
colonists to be saved -- and once it's set up, the teams should be able to
transport out in safety. Picard agrees, but privately suggests to Darrin
that someone other than *her* should run the deployment. Darrin reassures
him that she'll be all right, however, and Picard watches her beam down with
a heavy heart.
The deployment runs into problems, however, and the teams are forced to act
alone. The initial report suggests that although the colonists were saved,
two of the six teams were lost, including Darrin's team. Picard goes to his
quarters, and sits there in shock. He goes to his flute, and promptly locks
it away in its case. Just then, however, Worf reports that survivors are
being beamed aboard, one of which is Darrin.
Some time later, Picard and Darrin talk, and realize that although Picard
never again wants to put her in danger, he might have to if she remains
aboard. Darrin decides to put in for a transfer -- and although both talk of
seeing each other long-distance and planning for the future, she at least
seems to recognize the unlikeliness of this. With a last kiss and a request
that Picard never give up his music, she is gone.
There we go. Now, that said, on to comments.
I had three "advance opinions" about the show, running quite a range. First,
there was my reaction to the preview, which was "Gods, this looks awful."
[This is not atypical, however; the publicity department at Paramount is in
serious need of someone who knows how to make previews appealing without
giving everything away.] The second was Brannon Braga and Ron Moore at a
writers' workshop this past weekend, who termed "Lessons" a nice love story
with great performances, but somewhat, well, "routine". (If this is a
mischaracterization, I trust I'll be well corrected.) Finally, I received
email from someone a few hours before I saw "Lessons" saying that he'd just
seen it and that it was superb.
My opinion? Someplace between the second and third opinions above. It was a
wonderful character piece, and the only real objections I have are minor
nitpicks.
I was also told at this same workshop I mention above that we'd be seeing
some serious aftermath of Picard's experiences in "The Inner Light". Given
that I've been chewing out Paramount for not doing so for, oh, roughly six
months now, that was welcome news. However, I didn't expect it to be this
*soon*! :-)
What's even more interesting, in this particular case, was that the followup
to TIL shown here in "Lessons" not only gives Picard some much-needed
advancement, but retroactively makes the flute cameo in "A Fistful of Datas"
much more meaningful. At the time, I dismissed it as (pardon the pun) "lip
service" to the events of TIL. Apparently, Ronald Wilkerson and Jean Louise
Matthias (the writers here) decided otherwise. I'm glad of it.
"Lessons" was a very straightforward love story -- there weren't a lot of
surprises or twists to make it different from a story you could find on many
other shows. One prevailing opinion I've heard insists that that makes it a
bad Star Trek story. I disagree. Were it done week after week, then yes, it
would be verging on pointless to have the 24th-century setting we do. But
the characters we see each week are still *people*, and that means
occasionally there will be people-stories that have very little SF-type
twists to them. This was one.
The gradual growth of Picard's and Darrin's relationship was well done on all
fronts. The scripting was quite true to Picard (and starting out with his
annoyance at not having his tea was a beaut of a touch), and Stewart and
Wendy Hughes both did superb work, Stewart particularly. (Not that this is a
surprise, mind you.) The use of the *music* as the tool that united them so
quickly was an extremely good choice, and all the expected issues about
dealing with co-workers as lovers were dealt with properly and with good
attention to all the different characters involved.
I have only a few negative points about the story, and all but one are quite
minor.
First, I think more might have been done with the Picard/Bev angle. We had
their one dinner together, and the scene in sickbay as Bev helps Darrin with
her arm. That's nice. And with it, we also had a very important clue about
*why* Picard's never tried to make their relationship more romantic, when
Picard talks to Troi about relationships with co-workers. All of that was
wonderful -- and thinking about it, there may *not* be much more that should
have been done here. I just felt like it was a little unfinished. (On the
other hand, maybe that's future planning. I suddenly feel a bit more
optimistic about that.)
Secondly, and more importantly, the ending, while safely escaping one major
cliche, didn't quite take the gutsiest direction it could have. Now, I was
strongly expecting from minute one to find Darrin a corpse by the end of the
episode, and everyone involved deserves credit for *not* taking the "Bonanza"
route. What's more, the resolution certainly made sense, because the
reasoning for her leaving fit both characters, at least mostly. However, I
think that things *could* have been left a lot more open-ended, and that
Darrin might have been able to stick around for a while. This was the "safe"
ending; not as safe as killing her off, so that helps, but safe nonetheless.
I'm just disappointed by it, that's all.
(Also, as a smaller point, the jeopardy story didn't do much for me. It had
me worried about Darrin, which was its main objective, but it mostly just was
*there*.)
There's not much else to say about the story, though. This, like a lot of
similar stories, is something that mostly rose and fell on the performances of
the principals; and all did wonderful jobs. Starting with the smaller roles
and moving up:
Gates McFadden had a small but crucial part as Bev this time. While I think
the Picard/Bev issue might have been gone into more, as I said, she served as
a good reminder that there was a past to worry about here. (Darrin may not
have known it, but we did.)
Speaking of small but crucial parts, check out Marina Sirtis this time.
While the Picard/Troi conversation was certainly important (and the "Are you
asking my permission?" exchange rang solidly), the _nonverbal_ cues she gave
while Picard was listening to Darrin play earlier were one of the little
touches that really made the show. That's a combination of Robert Wiemer
(the director) seizing the opportunity and Sirtis running with it, and it
worked like a charm. (For those who have no idea what I'm talking about,
watch Troi's eyes while Picard's are on Darrin.)
Frakes was better than usual as Riker. It helped that the script gave him a
fairly crucial role this time, of course -- and actually getting more of a
handle on what his responsibilities are was valuable. But the moment that
felt most Riker-like to me, actually, was his reaction to Picard inviting him
fencing. The look of "oh, my God, now I'm in deep trouble" was priceless.
Wendy Hughes did a great job as Nella Darrin. I didn't expect the "love
interest" to be believable, given some of the past loves we've seen for
Picard. (Jenice Manheim? *Vash*? Come _on_...) She was, though: as Bev
said, she was, well, "forthright". Strong-willed, capable, learned,
passionate about her music -- all traits that I can see Picard being drawn to
quite easily. (It took me a little while to get used to her accent, though.
Is the actress Australian? That's the best guess I could come up with...)
She wasn't quite up to Stewart's level, but very few people are.
Then (how's that for a lead-in?), there was Stewart, who as expected took the
show and ran away with it. Virtually every scene he touched turned to gold,
and even those that didn't were substantially improved by him being there.
The scene in the Jeffries tube is a good example: with different characters
or actors there, that scene could have come off as silly and trite. Instead,
with the passion for his music that Picard displayed, it very nearly brought
a lump to my throat. It truly *was* as beautiful a scene as Darrin claimed,
and much of that is due to Stewart's work.
There are other examples there, chief among them being his reaction to
Darrin's apparent death. He really *did* look as though Picard simply "shut
down" afterwards, and seemed as drained of life as we've ever seen Picard.
Marvelous.
That about does it. A few short takes:
-- The version we saw in the LA area had a couple of *very* odd edits.
Picard and Darrin's first kiss appeared cut short, and the final fade on
Picard (to the closing credits, presumably) flat-out stopped before those
credits happened. Did this happen anywhere else?
-- Another in the long line of "Fine, so Tim's not a musician, bear with him"
questions. Was Wendy Hughes actually doing any of her own playing?
-- Speaking of which, even if I'm *not* a musician, I want one of those
Port-a-Pianos she had. They're neat. ;-)
-- I've never particularly enjoyed "Frere Jacques" until they started
improvising with it. Nice work.
-- Loved the music filtering down to Engineering. You could almost see
Geordi's face change to say "oh, geez, NOW what?"
-- "Have you been playing long?" "Um ... yes, a long time." That by
_itself_ would have been an interesting followup to "The Inner Light"...
-- We were all nicely tricked into thinking Darrin actually died. Kudos to
whoever managed to construct it that way.
-- Apropos of absolutely nothing: Is going to the dentist still universally
feared in the 24th century? I've had a couple of recent visits myself, and I
suddenly have this image of Riker grumbling about it. "Even with all the
advances we've made, my jaw still hurts and I still hate Muzak." :-)
That's about it, really. "Lessons" was a nice little love story, with some
great acting and some generally good writing, and has managed to make me
optimistic that sometimes key character points *do* get followed up. I'm
happy.
So, the numbers:
Plot: 8. Change the ending and it's a 10.
Plot Handling: 10. Crisp, very crisp.
Characterization: 10. Marvelous.
TOTAL: 9, rounding a little bit down for music and weird production
problems.
NEXT WEEK: A rerun of "Chain of Command, Part I". DS9 has a rerun too, so
I'm *really* getting a week off...:-)
Tim Lynch (Harvard-Westlake School, Science Dept.)
BITNET: tlynch@citjulie
INTERNET: tly...@juliet.caltech.edu
UUCP: ...!ucbvax!tlynch%juliet.ca...@hamlet.caltech.edu
"Captain, are you asking my permission?"
"If I were, would you give it?"
-- Troi and Picard
--
Copyright 1993, Timothy W. Lynch. All rights reserved, but feel free to ask...
--
John Galt
occasionally there will be people-stories that have very little SF-type
twists to them. This was one.
Well I'd like to mention something on the point, in passing --
'Family' (the wrapup to 'Best of Both Worlds') was another episode very stronglyin this vein... very little starship or technological mention of notice;
certainly none that was a major part of the plot, anyway...
It was (is) one of my favorite episodes. Don't even know why, especially; the
character interactions just grab me. Added some life to the show.
Haven't seen Lessons yet; however it sounds like it's worth a try...
What were your opinions on Family everyone?
Mark Halfen
>
>'Family' (the wrapup to 'Best of Both Worlds') was another episode very stronglyin this vein... very little starship or technological mention of notice;
>certainly none that was a major part of the plot, anyway...
>
>It was (is) one of my favorite episodes. Don't even know why, especially; the
>character interactions just grab me. Added some life to the show.
>
>Haven't seen Lessons yet; however it sounds like it's worth a try...
"Family" was in some respects a better episode, but that doesn't mean that
"Lessons" was at all bad. Be sure not to miss it.
>
>What were your opinions on Family everyone?
>
Since "Family" is one of the few episodes I don't have on tape, I have only
seen it twice. Based on those two viewings, though, I guess I can summarize
my opinion of the episode like this:
:-) :-) :-) :-) :-)
(in other words, I really liked it.)
Mark Halfen
Vidiot
<Lynch's Spoiler Review: "Lessons"
<Review by Tim Lynch <tly...@juliet.caltech.edu>
<===============================================
<
<there was my reaction to the preview, which was "Gods, this looks awful."
<[This is not atypical, however; the publicity department at Paramount is in
<serious need of someone who knows how to make previews appealing without
<giving everything away.] The second was Brannon Braga and Ron Moore at a
<writers' workshop this past weekend, who termed "Lessons" a nice love story
<with great performances, but somewhat, well, "routine". (If this is a
<mischaracterization, I trust I'll be well corrected.) Finally, I received
<email from someone a few hours before I saw "Lessons" saying that he'd just
<seen it and that it was superb.
Musta been my e-mail :-)
<-- The version we saw in the LA area had a couple of *very* odd edits.
<Picard and Darrin's first kiss appeared cut short, and the final fade on
<Picard (to the closing credits, presumably) flat-out stopped before those
<credits happened. Did this happen anywhere else?
The first kiss I believe you are talking about was the one in the tube,
after Geordi heard the music and it stopped. Starting from the edit from
Geordi to the kiss scene, that scene lasted for 5 seconds and 11 frames.
It was the end of the act and ended with a fade and then the ST:TNG bumper.
The credits definately occurred. Your station dumped the end too soon, since
the episode ends with a cut from Picard to an outside view of the Enterprise
and the closing producer credit.
Time to get a sat dish :-)
--
harvard\ spool.cs.wisc.edu!astroatc!vidiot!brown
Vidiot ucbvax!uwvax..........!astroatc!vidiot!brown
rutgers/ INTERNET:vidiot!brown%astroa...@spool.cs.wisc.edu
br...@wi.extrel.com
Paul Brinkley
>Review by Tim Lynch <tly...@juliet.caltech.edu>
>===============================================
>
>
>questions. Was Wendy Hughes actually doing any of her own playing?
See my post on another "Lessons" thread. In a sentence: there's a good
chance she was, but she may have been dubbing for herself...
>-- Speaking of which, even if I'm *not* a musician, I want one of those
>Port-a-Pianos she had. They're neat. ;-)
If you do, I suggest you wait for the 88-key model.
Arrrrrrrrgh...I hate Casiotones... :-)
Paul Brinkley
brin...@cs.utexas.edu
Charles Lin
In article <1q4c9g...@newsstand.cit.cornell.edu>, tly...@Juliet.Caltech.Edu writes:
>Lynch's Spoiler Review: "Lessons"
>Review by Tim Lynch <tly...@juliet.caltech.edu>
>===============================================
>
>-- Another in the long line of "Fine, so Tim's not a musician, bear with him"
>questions. Was Wendy Hughes actually doing any of her own playing?
>
I'm not sure, but it looked as if the cellist was really playing the
instrument. They seemed a bit more conscious of making everyone *look*
as if they were playing, though Data (Spiner) still looks a little
exaggerated for a violin player. One reason that it's difficult to tell
is that they sometimes focus just on the hands alone. In one scene,
you see someone's hands on the piano, then the piano, then back
up, to see her. There could (and probably was) some clever
editing to make the transition. For Frere Jacques, the song is relatively
simple, that they could have asked her to learn it if she didn't already
know how to play.
--
Charles Lin
cl...@eng.umd.edu
L J Constantine
>
well, I know I caught one clever edit while Darren was playing the
piano, so I'm still not sure whether she was in fact playing, or
if she had a hand double. However, as someoen who plays a penny
whistle, I giggle every time Picard plays. Is it just me, or
during Frere Jacques, did it look like Patrick was trying to keep
from busrting out laughing? I mean, sitting there tapping away in
silence with a vinal face keyboard, and fingering but not blowing
into a penny whistle would sure crack me up, take after take. In
anycase, all the music would have been looped in later anyway, so it must
be killer trying to synch the movements to the music.
LJC
--
Lady Johanna Constantine* "... on her loom she weaves my shroud,
ta...@uxa.cso.uiuc.edu * and I am lost."
Also a member of SEFEB *
LJC of the NTB * -from "Tapestry of Despair" by Aisling
Keith Meng-Wei Loh
>>instrument. They seemed a bit more conscious of making everyone *look*
>>as if they were playing, though Data (Spiner) still looks a little
>>exaggerated for a violin player. One reason that it's difficult to tell
>>is that they sometimes focus just on the hands alone. In one scene,
>>you see someone's hands on the piano, then the piano, then back
>>up, to see her. There could (and probably was) some clever
>>editing to make the transition. For Frere Jacques, the song is relatively
>>simple, that they could have asked her to learn it if she didn't already
>>know how to play.
>well, I know I caught one clever edit while Darren was playing the
>piano, so I'm still not sure whether she was in fact playing, or
>if she had a hand double. However, as someoen who plays a penny
>whistle, I giggle every time Picard plays. Is it just me, or
>during Frere Jacques, did it look like Patrick was trying to keep
>from busrting out laughing? I mean, sitting there tapping away in
>silence with a vinal face keyboard, and fingering but not blowing
>into a penny whistle would sure crack me up, take after take. In
>anycase, all the music would have been looped in later anyway, so it must
>be killer trying to synch the movements to the music.
Not to mention that it would be pretty damn hard to play on that carry
piano that Darran had. The keys didn't move! How could you ever get any
feeling into them if you don't have pressure?
Johnny Piscitello
Well, it is really impossible to tell if Wendy Hughes did the playing,
but from the directing and editing I think it is safe to say she probably
didn't need to in order to play the role.
We got a clearer view of Bent Spiner on the violin. Now, I don't
know if he plays at all, but you don't hgave to be able to get a good
tone on the violin in order to film yourself playing it synchronized
to a soundtrack.
However, I will also say that the synchronization between the
music and the players' hands was quite excellent in this episode. Better
than in "Sarek", where that little quartet was able to play all 6 parts
of the string sextet piece they were synchronizing to!
|\/\/\/| joh...@athena.mit.edu
| |
| (o)(o)
C _)
| ,___|
| /
/____\
/ \
SCOTT I CHASE
>
> Well, it is really impossible to tell if Wendy Hughes did the playing,
>but from the directing and editing I think it is safe to say she probably
>didn't need to in order to play the role.
If she *had* played it, don't you think that they would have shown her
doing so? They cleverly panned the camera down and around so that the
corner of the piano just cut across the field of view as they moved from
the hands to the arms - specifically so they could cut from the *real*
pianist's hands back to Wendy Hughes' arms.
-Scott
--------------------
Scott I. Chase "It is not a simple life to be a single cell,
SIC...@CSA2.LBL.GOV although I have no right to say so, having
been a single cell so long ago myself that I
have no memory at all of that stage of my
life." - Lewis Thomas
Charles Lin
In article <11APR199...@csa2.lbl.gov>, sic...@csa2.lbl.gov (SCOTT I CHASE) writes:
>In article <1993Apr11.2...@mintaka.lcs.mit.edu>, joh...@HALDI.LCS.MIT.EDU (Johnny Piscitello) writes...
>>
>> Well, it is really impossible to tell if Wendy Hughes did the playing,
>>but from the directing and editing I think it is safe to say she probably
>>didn't need to in order to play the role.
>
>If she *had* played it, don't you think that they would have shown her
>doing so? They cleverly panned the camera down and around so that the
>corner of the piano just cut across the field of view as they moved from
>the hands to the arms - specifically so they could cut from the *real*
>pianist's hands back to Wendy Hughes' arms.
>
I rewatched this episode, and it's almost a certainty that she did not
play the piano parts, and that a double was used. There is only a single
time where they show her, her hands, and the piano, and she fakes playing
it. All other times, you see only her, or the hands in isolation.
While one could tell that Stewart wasn't really playing it, he had
the harder job of having to fake it because he couldn't hide the
fact that he was playing, and while you could still tell itr wasn't real, it
wasn't such a bad job, in my opinion. The person playing the cello looked
quite authentic, but it did not match the cello sounds being played.
--
Charles Lin
cl...@eng.umd.edu
Gene C. Miller
tly...@Juliet.Caltech.Edu wrote:
>
> Lynch's Spoiler Review: "Lessons"
> Review by Tim Lynch <tly...@juliet.caltech.edu>
> ===============================================
>
> Some time later, Picard and Darrin talk, and realize that although Picard
> never again wants to put her in danger, he might have to if she remains
> aboard. Darrin decides to put in for a transfer -- and although both talk of
> seeing each other long-distance and planning for the future, she at least
> seems to recognize the unlikeliness of this. With a last kiss and a request
> that Picard never give up his music, she is gone.
>
What I found disappointing in this episode, well-acted though it was by
Stewart, was the writers' notion that an experienced captain would allow
himself to yield to his attraction to a subordinate. Were we to have
believed that he had never before "realized" that his responsibilities as
captain might force him to order his beloved into a dangerous situation?
Picard's privacy seems to be founded in experience--as a captain he knows
he does not have the luxuries of personal expression that an ensign might.
This episode asked me to believe that on the strength of a bit of
upbraiding and a cup of tea, Picard would abandon that fiercely-protected
(and to my mind appropriate) privacy. I couldn't quite do it. One of the
first rules in managing I learned was about the dangers of fishing off of
the company pier, as it were...Gene
Greg Larson
I think that was a real cellist, and I think that was a good move to
use one. I think the sounds matched at times, but at other times did
not -- a result of editing. Brent Spiner did one of the best violin
imitations I've ever seen -- probably THE best. To fake both a bow
and the fingering hand realistically on any of the classical string
instruments can't be done without quite a bit of observation and
practice (unless you're an android). Someone mentioned it seemed
overdone, but all violinists have their own styles and I've seen
bigger vibratos than that. I wouldn't be surprised if he's spent some
time with a violin in his past.
Greg Larson
Joseph J. Charles
>Lynch's Spoiler Review: "Lessons"
>Review by Tim Lynch <tly...@juliet.caltech.edu>
>===============================================
>
>
>
>questions. Was Wendy Hughes actually doing any of her own playing?
You know, I really don't know for sure. While I don't doubt that she
does play piano, I think that during the scene in Ten-Forward something
strange happened. Vidiot, can you back me up on this? I could swear that
there was a cut. It occurred when the camera was panning around the piano
and all we could see were some hands playing the keys, and as the camera
moved, the wood of the piano covered the entire screen, essentially making
it go blank, and then we saw Ms. Hughes' body and head, but not hands.
When the piano blocked the screen it just looked..."processed." Sort of
like in "Back to the Future III" whenever Marty handed something to himself,
something would pass on front of the camera, blocking everything from view,
but just for a split-second...
Does anyone have any idea what I'm trying to say?
----------------------------------------------------------------------------
Joe Charles, cha...@sunshine.Kodak.com, | "I wanna eat an' go home!"--A kid
Eastman Kodak Co., Rochester, New York | I walked by at Disneyworld in '83
----------------------------------------------------------------------------
Joe Fleming
articles in one day and I miss weekend posts. Could someone forward a copy of
Tim's review to me? Thanks.
Joe Fleming
Jeffrey J. Nelson
Highly thorough spoiler review this time, excellent job on it.
One part of the episode I didn't like was the portrail of
Riker as uncomfortable with the relationship. This is a major
weakness in Riker if he really would react in such a way.
Isn't it obvious that the captain would not want special
treatment given to Darrin? Riker should know him at least
that well.
Actually this points to more of a trend, in a 1 hour format
you just don't have time to spend on nicities of better
character development, so sometimes they take a character
and warp that character to make her/him conviently fit into
the needed role in the plot. I can think off the top of my
head of occasions where Geordi and Wesley have been similarly
warped.
- Jeff
Amy I. Sheldon
Some discussion of plot points for "Lessons" follows.
Minor Spoiler Alert for those who haven't seen it yet.
I found Riker's discomfort in dealing with Daren VERY credible.
Yes, he knows Picard, and would have a good idea of Picard's
reaction to any special treatment of a girlfriend, but he
DOESN'T know Daren. Was she expecting more due to her
relationship with the Captain? Had she been discussing her
departmental needs with him, and setting him up to second-
guess Riker's decisions? It was a measure of his (Riker's)
confidence in his relationship with Picard that he brought
the matter up.
I've seen similar situations. Superior/subordinent romantic
relationships are just about impossible to maintain on a
professional level -- Not just because of the problems
between the two people involved, but because of the reactions
of all their co-workers.
And on that note, let me add that I wish Daren could have
stayed. It would have added some (needed) dramatic tension
between the main characters to have the Captain's lover
thrown into their tidy little community.
--
she listens like her head's on fire..
>gsl...@staff.tc.umn.edu (Greg Larson) writes:
>>
>>I think that was a real cellist, and I think that was a good move to
>>use one. I think the sounds matched at times, but at other times did
>>not -- a result of editing.
>
>breaks.
> Brent Spiner did one of the best violin
>>imitations I've ever seen -- probably THE best. To fake both a bow
>>and the fingering hand realistically on any of the classical string
>>instruments can't be done without quite a bit of observation and
>>practice (unless you're an android). Someone mentioned it seemed
>>overdone, but all violinists have their own styles and I've seen
>>bigger vibratos than that. I wouldn't be surprised if he's spent some
>>time with a violin in his past.
>
>always felt he's looked too exaggerated. His positioning has gotten
>better from season to season, but he still "overacts" the motions.
>
>IMHO. (I am not a violin player myself, I just watch one on stage.)
>
>Basically, he's always looked to me like someone who wants to look
>like someone who's playing with some emotion. Look at Perlman or
>someone like that: either they are playing rather precisely, with a
>cool expression, or they are absolutely ELSEWHERE and grimacing and
>sweating as they try to get just the right emotion.
>
Well, considering that Data is an android who tries to imitate humans...
often overdoing it (small talk? slang? etc) it makes sense that his
violin playing would look somewhat artifical.
>The music on Trek is always cool, calm and collected: "pretty".
>
>--
>| I know all there is to know about | Dan Hartung | Ask me
>| _The Crying Game_. | dhar...@chinet.chi.il.us | about
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Kenny Young
> Brent Spiner did one of the best violin
>>imitations I've ever seen -- probably THE best. To fake both a bow
>>and the fingering hand realistically on any of the classical string
>>instruments can't be done without quite a bit of observation and
>>practice (unless you're an android). Someone mentioned it seemed
>>overdone, but all violinists have their own styles and I've seen
>>bigger vibratos than that. I wouldn't be surprised if he's spent some
>>time with a violin in his past.
>
>always felt he's looked too exaggerated. His positioning has gotten
>better from season to season, but he still "overacts" the motions.
>
although spiner continues to place his bow too
far towards the neck, i was much more impressed
with his bowing in time, fingering, and vibrato.
speaking as someone who played the violin for
9 years (never very well) i can say that his
vibrato wasn't overacted (and vibrato isn't
that easy)
just my thoughts,
dana
ken...@ingate.microsoft.com