So, it’s, like, ironic and stuff? The thing they need to stay alive turns out to kill them? Wow. Sophisticated. Do they get their writing tips from Alanis Morissette?
Really, I just didn’t see the point. That “twist” is obvious. The staggering Romero-esque zombies were obvious. The last-minute escapes were obvious. The scary dream at the end was cheap, manipulative, and stupid.
I’ll admit, it was nice to see Reed and the heavily armed brake repairman actually displaying some competence; notice how quickly they reacted when the zombies would jump out at them, and how accurate their shooting was. That’s a good change from Mopey Ineffective Reed, definitely.
But they just keep annoying me with pointless stories that run and jump around a lot without actually accomplishing anything. How, exactly, are the relationships or the situation materially different at the end of the episode from how they are at the beginning?
And then they just make these stupid little mistakes. Corner Case, I believe, has already observed that the “starboard docking port” mysteriously opens up through the floor in the middle of the ship. Then there’s all the scenes of our heroes sneaking through cramped tunnels, Archer in the lead, Reed following him and aiming that pulse rifle thingy forward past his captain’s head. Yeah, yeah, I know, they’re trying to get back to Kirk-era Trek, when ripped-shirt-Captain would cheerfully and heedlessly throw himself into the most dangerous situations possible. And yeah, I know, for satisfying storytelling, we have to have the main character(s) at the center of all the important crises. But that was almost forty years ago; we’re smarter now. It just makes no sense to have the most important person on the ship leading the way into obvious hazards, when you’ve got a trained tactical officer and a space marine available to do their freakin’ jobs and take point. I mean, you didn’t see General Tommy Franks parachuting onto Saddam’s presidential palace in the first hour of Shock and Awe, did you?
Plus we had the massively inappropriate moment of panda at the end. You noticed, didn’t you, when T’Pol was in the sickbay bed talking to Archer, and she sat up in alarm, the camera was positioned alongside the bed and looking upward so we could see her bare back, making clear she was naked under the sheets? She’s just had a difficult, grueling, near-death experience that attacks the very heart of who she is as a sentient being, and instead of giving her a recovery scene of dignity and honor, where she bonds with her captain, the show can’t resist a disrespectfully juvenile little nudge-nudge-see-she’s-naked shot. Bah.
Sorry. Didn’t like it. Some good visual effects, an occasional strong character moment, and some good atmosphere that belonged on a totally different show (are they trying to appeal to X-Files fans now?), but incompetent plotting, sloppy direction, and otherwise inconsistent production that makes clear the folks behind the scenes are desperately casting around for an identity for the show by borrowing elements from others instead of making up their own.