Yeah, rolled my eyes at this one. Archer can go mano-a-mano with a Klingon warrior for minutes on end, but one swipe from a tin-badge twerp in a top hat and he drops like a tipsy cheerleader. Then he turns around at the end and one-handedly beats the hell out of a virtually identical thug while arterial blood spews from a crater in his shoulder. Uh huh.
Re the episode, I don’t think it was great, but it sure didn’t suck the way it could have sucked. Some decent moments, like Trip trying to nudge the horse into motion, or Reed blasting T’Pol and snickering at the bad guy, or Archer burning through the walkway from below.
My observation is that this is the first episode that clearly and successfully throws back to Kirk-era Trek the way the Bermaga originally said was their intention. It’s not a realistic scenario, and they don’t go overboard trying to convince us it’s plausible; they just set it up and leave it alone.
The real point, just as it was for Kirk-era Trek, is the metaphor: It’s about the sins of the ancestors being visited on the descendants, and about how progress cannot be made as long as the great-great grandchildren are still being scapegoated and punished for the crimes of their long-dead forefathers. Given how today we’re still bogged down in the debate over reparations for American slavery, the position taken by the episode is unambiguous and somewhat controversial. Metaphorically, it presents an alternate reality in which the Black Panthers managed to win their revolution, take over the country, and subject Whitey to the same oppression as they believed their slave ancestors suffered; and the episode says, rather clearly, that anyone still nursing those sorts of resentments is stupid and stands in the way of progress.
That’s the kind of bold stand Kirk & Co used to take; sometimes it was a big dumb sledgehammer (“Let That Be Your Last Battlefield”), and sometimes it doesn’t date very well, appearing to be an obvious product of the philosophy of the time (“A Private Little War”), but that was the original show’s bread and butter. It worked because the characters were boldly drawn and they could focus on the stories.
Next Generation started out that way, but eventually it turned into a rather insulated world and focused its stories on the characters and their reality. Sometimes the material was relevant (the torture scene in “Chains of Command,” for example), but more often, whenever they’d try to make a social point, they messed it up (“The Outcast”). Most of the really good episodes have little or no recognizable intersection with our world; they explore the characters and let them navigate their own crises (“Best of Both Worlds,” “The Nth Degree,” “Tapestry,” etc.). DS9 and Voyager continued the same trend.
When the Bermaga conceived Enterprise, they described it as going back to the original in many ways, and it’s obvious they’ve tried to do that. A fair number of the episodes have been thinly-veiled analogies for human problems, as in"Stigma," the show about Vulcan prejudice against people with a specific incurable disease. These don’t really work because the writing hasn’t been very good, and because the characters are drawn with tentative little scribbles instead of huge bold strokes, but at least the intent is clear. But then on the other hand, there are whole episodes that don’t do this at all, like “Singularity,” the one where Trip spends the whole hour thinking about Archer’s ass. This back-and-forth indecision, in my opinion, has contributed greatly to the show’s hugely inconsistent tone. Some weeks, it’s like there’s no break from TNG and Voyager; other weeks, it’s like they’re trying to make a complete break from the last several years. The whole Xindi thing, it seems to me, is a reflection of the West’s desire for revenge against the Islamic zealots who are causing so much stress and damage in the world right now but who don’t really have a country of their own and are therefore hard to find and combat; but the show doesn’t have any more insight into the problem than the average Slashdot discussion, and so they keep spinning their wheels and resorting to shallow, goofy episodes about zombie Vulcans. It seems evident that they want to take a page from Roddenberry’s book and use the show to make a point, but I don’t think they have a point to make, most of the time.
“North Star” is one of the old-style shows, and it does have a point to make, whether you agree or disagree; and on that level it works reasonably well. If they’d just make the decision to stick with one approach or the other, either metaphorical episodes like this one or pure SF vehicles like last week’s “Twilight,” they could get down to business, instead of juggling the mission week after week.