|
When the first spoilers for "Fight or Flight" appeared, it was said that this is the first second episode of a Star Trek series that is almost equal to the pilot in terms of storytelling quality. Having watched this maybe unspectacular, but very human, very touching story, I couldn't agree more. Especially focusing on Hoshi Sato, the ship's comm officer and translator, and the problems she has with her new assignment, this isn't exactly a show spending much time introducing us to all crew members in more detail, however, given its topic it is certainly suited for a first regular episode, showing the crew's first contact(s), and how they deal with it. The obvious choices are fight or flight, i.e. either confronting the situation even if everything isn't always nice and easy, or running away with "the tail between the legs" (as Captain Archer puts it).
Having made first contact with only a handful of species anyway, the Captain and his crew don't really know what to do, and the fact that they have to deal with 15 dead aliens here doesn't make it easier. Just as the ship and its systems have yet to be prepared for the challenge of deep space, they're still figuring out how it is going to work, and that is what "Fight or Flight" is about, impressively showing why the 22nd century premise is so fresh and unique.
This is a story that couldn't have been told in the way it was written in any other Star Trek series, as specific situations in the episode, such as the entire initial scenario of going on the alien ship and experiencing everything directly - something that strongly affects the emotions and reactions of the crew -, are only possible because of the natural restriction or complete absence of the infamous plot device-ish Trek technology. This still sounds like plot complication, however, when a Trek crew of one of the previous series actually had to board a ship due to problems (instead of just beaming the detected corpses into sickbay, what would be the most obvious way in the 23rd or 24th century, reducing the 2 days for the Enterprise crew to find out what's going on to 2 minutes), it was because some strange technobabble radiation was interfering with the normally almost omnipotent sensors. "We have to do it ourselves because we simply don't have the tech", in contrast to that, is a much more natural and elegant way of dramatic storytelling, as for once, humans are actually always required; humans who have to rely on their own abilities and their own judgement. That is what makes this new series so interesting, and so very true to Gene Roddenberry's original Trek vision of human self-assertion in deep space. It's about the experience of exploration, with all associated risks and chances, and because it's all new for the crew, and new in terms of technological requirements, they are reacting entirely different to familiar scenarios. In 2151, there simply isn't a safety net of years of deep space experience, and in most cases problems cannot be solved by outgunning the adversary with superior (and perfectly working) technology.
Therefore, it's no surprise that when the crew makes the terrible discovery on the alien vessel, they hastily leave the site and resume course without any further investigations (and Hoshi screams "like a twelve year old" ;-). They're in fear, and having doubts.
As the central figure in this episode, Hoshi reflects these feelings we would all probably feel in this situation best (and, thanks to the top performance of actress Linda Park, that's why this character is so likeable and relatable for must of us). The reason, of course, was already laid out in "Broken Bow", where Archer "recruited" her for her language abilities, while she, the exolinguistics teacher who was on leave from Starfleet and is literally stuck on Earth, wasn't exactly sure if it's the right thing for her. In contrast to the other crew members she isn't "itching for a first contact" if it looks like this, and she's more interested in alien languages than creepy alien starships and dangerous away missions. She feels like a foreign body in this artificial environment she was put with the best of intentions by Jonathan Archer, just as she took this cute slug out of her natural habitat and brought her on board. The little story around "Sluggo" is, of course, an analogy to Hoshi's situation. Sure, Man wasn't meant to be in space in the first place, but it's still not identical to that glass box in sickbay, even if Hoshi thinks so at the beginning. However, the question isn't really "so why is she here?", as she evidently knows that. She's just not sure, and when things get really worse she's almost inclined to run away and return to Earth.
The other crew members may feel a little trepidation as well, but their thirst of exploration and curiosity is a little bit stronger. Shortly after Captain Archer chose to "run away" his human morality and compassion makes him regret his decision and return to the site of horror, wanting to help these people and find out what really happened. Sure, given their status it would have been most logical not to provoke a situation they'll probably not survive (as it's clear that the enemy who killed those aliens could come back), and of course T'Pol strongly disagrees. But exploration involves risks, and as the pilot has already shown, the human approach can have definite advantages not only for ourselves. Yet, it's a bit disturbing to see that while there naturally is a lot of conflict between our grumpy Captain and the oh so rational Vulcan science officer, he still regards her (Vulcan) advices as a personal insult, either ignoring her or reacting in a rather annoyed way. That makes her somehow appear in a bad light, although she concedes that the Captain's intentions were certainly admirable and simply sticks to her own, different "code of behaviour" (which includes, as we already know, a strict rule of non-interference and a pragmatic "no exploration in the sense of seeking out without specific goal or reason").
Despite T'Pols repeated objections, in the end the calculated risk pays out, and the crew can finally make a successful first contact and win a new friend out there in a universe that apparently isn't a common "playing ground" as in the 24th century, but just as in the pilot, there was quite a bit luck involved as the crew is just not experienced enough to consider all variables. Still, the need to face the given situation instead of, feared by potential troubles, avoiding it - and thereby possibly chances to learn and advance the own understanding, has become impressively clear, especially for one young crewman.
The translator constantly failing, it's in fact Hoshi who saves the day and the lives of her shipmates, proving how pivotal her role on this vessel is. "Hoshi, I need you to do this - we all do. That's why your here." Archer says facing a gruesome fate, and as she really hasn't any choice in this make-or-break situation, which may seem to be a little forced, yet is as thrilling as the initial encounter with the dead Axanar crew, Hoshi begins not only to realize, but to accept her new position, and the need to "bite her lip" and grow. If she overcomes her fears and self-doubts that prevent her from doing her job - the job that makes her so essential for this crew - she can be a crewmember as valuable as every other one aboard, a crew member that is exactly at the right place.
The beautiful final scene perfectly reflects that Hoshi may have still a way to go until she becomes not only a top-notch linguist, but also an experienced Starfleet officer, yet she begins to become accustomed to the challenging, yet rewarding "voyage in tin can": she returns "Sluggo" to a planet that is "not exactly like the place you came from", but, as she says "It's close enough. It's not that hard to adapt. You're gonna do just fine here", probably not only adressing her pet snail.
|
