“The Icarus Factor” is written by: David Assael and
Robert McCullough, from a story by: David Assael, and is directed by: Robert
Iscove. It was produced under production
code 140, was the 14th episode of Star Trek: The Next Generation
Season 2, the 40th episode overall, and was broadcast on April 24,
1989.
“The Icarus Factor” is an episode that titles itself
after a Greek myth, that of Daedalus and Icarus, without ever actually
integrating the ideas behind the myth into its storytelling. David Assael and Robert McCullough in their script
invoke the myth because the episode is about Riker’s relationship with his
father, played by guest star Mitchell Ryan, but it’s not an episode where anyone
flies too close to the sun and is struck down because of that. The closest thing we get is the idea that
Riker may be promoted to Captain of a different starship, but Riker doesn’t
actually fly too close to the sun, the culmination of the episode gives the decision
so stay on the Enterprise is entirely up to him and both options are
given equal weight. Then again, there
isn’t actually another title I would give the episode, maybe the generic “Fathers
and Sons” considering the B-plot of the episode is focusing on Worf participating
in the anniversary of an ascension ritual important for Klingon culture and
feeling isolated for not having a family.
The B-plot is actually really effective, Michael Dorn as Worf doesn’t
actually get as much focus as he possibly could have because it’s Geordi, Data,
and Wesley (mostly Wesley) realizing that something is wrong with Worf and
getting to open up. Don’t misunderstand me,
Dorn isn’t lacking in material, he’s one of the best actors on the entire show,
doing so much just with posture and a look under the Klingon makeup. It doesn’t entirely work, the three
definitely overstep their bounds of friendship by snooping into Klingon culture
that doesn’t actually get brought up because they clearly want to help and Worf
accepts the help. As a B-plot, it’s
actually quite light tonally, Wesley taking up the bulk means Wil Wheaton
actually has some almost human and caring material to play around with. LeVar Burton and Brent Spiner as Geordi and
Data both get these great moments where they almost rib Wesley for being such a
nosy teenager. But what really takes the
cake is how Burton in particular takes it in stride that of course they will do
anything for Worf, he’s family. Star
Trek: The Next Generation has struggled quite a bit with the character relationships,
and this is an episode that just gets it.
Speaking of character relationships, Colm Meany as O’Brien
has yet another episode where he gets dialogue and slowly is starting to form
his own dynamic with the rest of the cast.
When he recurred as a background character throughout the first season,
I wasn’t expecting him to actually be a character. He isn’t exactly fully formed, the Wikipedia
pages for the individual episodes refer to him as Miles O’Brien but I’m not
entirely sure if this name has actually been said on screen. It has possibly been in the credits, but I
don’t quite remember seeing it. It’s a phenomenon,
however, that is lost in today’s television landscape of a background or minor
supporting character being allowed to grow and become a full character in their
own right because seasons are over 20 episodes and releasing yearly. It’s also fascinating that we have two sequences
of the episode that focus on basically coming of age rights in constructed “future”
cultures. The Klingon right of ascension,
and the martial art of Anbo-jyutsu which the Rikers partake to solve their tension
(more on that later). The ascension
sequence is a perfect example of how to sell something incredibly silly, as is
a lot of Klingon culture, as completely serious. The entire cast is playing it straight, Michael
Dorn is right at the center of it all and selling it wholesale. Dorn is the reason it works, he’s also the reason
“Heart of Glory” and “A Matter of Honor” work, because he isn’t ever winking
for the camera or even breaking slightly as an actor. It also helps that the ascension right,
performed on the holodeck, is lit quite dark which while already fitting for what
Star Trek as a franchise has established, but also from a production standpoint
can hide the sins of science fiction sets.
Director Robert Iscove clearly understands this for this particular point
of the episode, which is odd because the set for the Anbo-jyutsu is shot in a
set that’s almost overlit which means the armor costumes show all the
seams. They’re incredibly silly costumes
that are trying, but also feel like cultural appropriation yet not of a
specific culture, just a general Asian martial arts culture.
Outside of this, however, the plot with William and
Kyle Riker is genuinely fantastic. It’s
all about the problems with an absent father.
Mitchell Ryan as an actor is incredibly charismatic in the role, you easily
believe that literally everybody on the Enterprise immediately takes a
liking to him and he is able to charm his way to making Picard believe that he
and his son have had a good relationship (Picard surprised Riker with his father’s
presence). But Ryan is an actor with a history
of large parts on soap operas, he knows how to play that charm and also play an
absolutely awful father. Kyle Riker does
care for his son, that care just manifests in a way that is incredibly damaging
and neglectful for his son. “The Icarus
Factor” does end with the Rikers making up in a way that is very late 1980s,
but the way that it has aged isn’t as bad as it could. It feels like an understanding that familial
relationships can be complicated and that people are messy, prone to making potentially
damaging mistakes that if they’re healed it’s only through years of
reconciliation. Jonathan Frakes equally
matches Ryan’s performance, Riker continually attempts to be the bigger person
when speaking with anyone that isn’t his father. He has this excellent scene opposite Diana Muldaur
as Pulaski where he gives her permission to pursue a romantic relationship with
his father (Pulaski having a romantic history with Riker and is characterized
as independent and thrice married and divorced amicably in this 1980s view of a
liberated future, that is heterosexually liberated). Frakes playing opposite Ryan is melodramatic
tension incarnate, so much is things unspoken it just doesn’t conclude nearly
as well as the B-plot. Plus Riker’s
opportunity as captain is a C-plot meaning that “The Icarus Factor” is the
first episode of Season 2 to feel overstuffed instead of being padded out.
Overall, “The Icarus Factor” is an episode that
surprised me. It’s melodrama meditating
on the nature of familial relationships and it’s an episode that seems to be
overlooked our outright derided for what it is actually doing. The performances are what’s elevating it as
the script has too many plots going on, though never too many to take away from
the character drama even if some of the character arc is underdeveloped. Star Trek: The Next Generation feels
like it’s actually taking the time to delve into the characters and push the
series into something that can succeed as a narrative, and even if “The Icarus
Factor” doesn’t resonate with you, it still has a place in improving the series
overall. 8/10.
No comments:
Post a Comment