*NOW VOYAGER*		

The Official Newsletter of the Kate Mulgrew Appreciation Society

*            Volume II Number 1





*THE BUZZ*



	Happy New Year everyone! It's time to take stock of things, and in that

spirit, this issue may be more critical in tone than the past several.

We're here to celebrate Voyager. I don't care about things like how many

shuttles get blown up. But I care passionately about the characters--I

think we all do, which is why the reviews herein are as long and as

forceful as they are.  So I am going to make my own plea:

	Rick, Michael, Jeri:  GET RID OF THE HOLODECK. All the holodecks, on all

the shows--convert them into schools, tennis courts, even brothels which

are all they're good for anyway.  Oh, I know this won't happen, since the

holodeck has become a necessary plot device for making it look like there

are trees and castles and bistros on starships--in TNG first season they

hardly left the ship, they were so busy in fantasyland. But if you must

keep the holodeck, treat it the way you'd treat any other use of

hallucinogens. Assume that Starfleet recognizes the dangers of

holaddiction.  Stand by "The Barclay Rule": When the holodeck get used in a

way which is demeaning or dehumanizing to the user, it's time to turn it

off. And lately, we rarely see the holodeck used any other way.

	Jeri Taylor told the British magazine Dreamwatch that if she suspects

holographs, if they existed, would primarily get used for sex.  I can't

argue with that, but it bothers me seeing it all the time on Trek. Maybe

I'm old-fashioned in that I prefer to see the characters involved with

living, breathing people rather than projections. Maybe I'm concerned that

the young people in the Trek audience will think that it's better to have

relationships comprised of rigid role-playing, bodies which never get fat

or age, and designer sex than to have emotional interaction.  Or maybe I'm

just a prude: I don't want to watch characters satisfy themselves with

inflatable people any more than I want to see them using sex toys. They can

do what they want to scratch their itches off-duty, but not in front of the

rest of us, please.

	So stop making Kira and Dax act like they're so desperate for sex that

they'll dress in ridiculous clothes and play bimbos. Let Riker forget

Minuet and have a lasting relationship with a woman who won't fall for his

skanky lines and might snap back. If you must write Tom Paris as a

womanizer, let him stick to Kes and the Delaney sisters, rather than some

flake named Ricky who doesn't really exist.  Of course Tom can't deal with

live women; he's getting all his practice with what Sandrine describes as a

puppydog who sits and waits on his every whim.  Sandrine's pretty bright

about such limitations. I guess in some respects holocharacters are smarter

than their programmers.

	But most importantly, please delete Janeway's holonovel. I hated it even

before it went berserk, from the moment it became clear that Janeway's idea

of "relaxation" is nookie with a fake English lord. I worry about a woman

who thinks it's less degrading to have a physical relationship with an

artificial construct than with a living, breathing person who happens to

serve on a ship she commands. Maybe the hologram's supposed to be safer,

but playing it safe is hardly one of Janeway's trademarks. There's not a

person on the ship I wouldn't rather catch the captain with than a hollow

man. If Janeway must fool around with substitutes, why not the Doc, who at

least has independent personality and wouldn't try to boss her around like

a British fop? Janeway's showing all of the weakness and vulnerability

attributed to women in love with none of the strength and passion.  She

looks hysterical, desperate for sex but too scared to deal with a real man.

And given that she plays Lord Burleigh's servant and mommies his kids, the

tone of the story is downright masochistic. Can't she at least rope 'em up

and drag 'em in, have some wild fun?

	I keep reading the producers say that it's all right for Janeway to touch

people and show emotion becausethey want her to be "feminine," but that

Janeway can't date crewmembers because it would compromise her position. It

seems to me that since the crew is allowed to perceive her as human, not

perfect, they already see her as a woman and a captain simultaneously, with

no threat to her authority. This is a much more passionate person than

Picard; it makes sense that she would want love in her life.

	But compromises have to be made for a 20th century audience which has

trouble seeing a woman in command. So instead of a lover she gets a

holonovel, which is supposed to convince us that she's a good captain and a

Real Woman. Janeway's fantasy says to me that she secretly enjoys not being

in command of herself, that underneath that captain is a lady who wants to

be taken by a burly lord. The fantasy compromises her image more than

dating half the crew would. And even if we write it off to bad taste,

Janeway's choice of plot makes little sense. Why would she pick a genre

piece involving roles and repression just as rigid as Starfleet's? Why fall

for another man she isn't supposed to have, only reversing the

servant/master roles? Elevated endorphin levels aside, Janeway's going to

leave the holodeck just as unhappy as when she arrived. Burleigh may be

anatomically correct, but he can't talk to her; he can only order her

around, speak in cliches, and disappear when she's finished with him.

	"Persistence of vision" is the term for the way your brain lies to your

eyes when you're watching a movie. I imagine it's like the way the mind

works in a holonovel; you know you're seeing a projection, but you let

yourself believe in it, to a point. What the alien did to Janeway in that

episode wasn't as bad as what she did to herself: she forgot that she has

the power to turn it off. But that's a TV producer's dream--that fans will

accept fantasy as reality (and spend all our money on Viacom products). On

some level, we're all supposed to be like the Doc--"I don't have a life, I

have a program." If the holodeck represents us, maybe it's time we shut

down the program ourselves.



Michelle





*REVIEWZZZZZZZZ*



PERSISTENCE OF VISION



	Unreal sex is Trek's stock-in-trade. Either it's all a dream or evil

aliens force them to kiss. That's the standard approach; anything else

breaks format. It's why they dropped the Picard/Crusher and Riker/Troi

romances from TNG so quickly. It is frequently obvious that Trek is a

profit-driven franchise, but the fudges and absurdities of "Persistence of

Vision" made that fact stick out even more that usual.

	I'm not sure all the goings-on were supposed to be the deepest fears or

desires of the crew--just ones this sadistic bastard latched onto to

distract the people who were actively working to stop him. He did

concentrate on significant others for the sex potential of the episode

(hear those cash registers ring?). I think Jeri Taylor was avoiding the

gender split that obtained in "The Naked Now," one of the worst TNG

episodes, in which all the women had uncontrollable sexual urges and the

men more substantial concerns--so not only the women saw romantic figures

here--but they got all the scenes. The alien started with things that were

close to the surface, like cucumber sandwiches, then worked up to menacing

stuff, apparently just to be mean--and of course this was the Halloween

episode, so it was hilarious when Janeway explained away her uniform as a

costume!

	I did like seeing the captain show a little strain. That was illuminating,

as was the approach she took to finding out why she was seeing things--and

the laundry list she gave Chakotay in Sickbay, as well as the

conspiratorial smiles among the bridge crew trying to get her off duty. The

bit with Janeway and Mark in the lift (and Chakotay standing right there!)

was odd. The nasty alien creep had been working on her for a long time, she

was already stressed and her resistance low, so I suppose that's why she

gave in, but I wish she hadn't. I do not like the idea of Janeway having

sex with images. The holonovel embarrasses the hell out of me. She

obviously felt weird kissing Lord Burleigh, enough so that guilty memories

of Mark bobbed up to the surface. That line about having someone else on

her mind was priceless. Obviously it has to be Chakotay, but there was the

ambiguity of that holokiss to murk it up! The main problem with her

succumbing to Mark was that she had no hand in saving the ship. Her crew

and their safety was not paramount. In the TOS episode "The Naked Time,"

for which "Persistence of Vision" is the equivalent, Kirk's devotion to the

Enterprise resolved the matter--he could not succumb to the virus because

he had to save his ship. Janeway got sidetracked in a way that her

detractors can point to with glee. I don't mind Kes's resourcefulness,

because Jennifer Lien does everything right with that part, but she's not

the captain! I wanted Janeway to be part of the solution. It feels wrong to

have her staring at the wall while a two-year-old Jill-of-all-trades pulls

her fat out of the fire.

	B'Elanna has a complex relationship with Chakotay. He represents her

missing father (probably having a resemblance to the Hispanic Mr. Torres)

and the Starfleet career she lost by dropping out of the Academy--serving

in the Maquis, under a former commander who still had a strong attachment

to the uniform, was the closest she could come to it. He has backed her up

with Janeway, getting her the job of Chief Engineer, and treats her like a

parent, chewing her out like a kid when she loses control. She has

gravitated towards Janeway and lost touch with Chakotay to some extent. I

don't buy that B'Elanna would really want a love affair with him--when she

was lucid, she seemed to realize that. I can buy that she thought about

having sex with him. They were together in close quarters for a long time,

under the kind of circumstances that bind people together tightly. Plus we

are talking about that particular man, and a woman whose genes predispose

her to a strong appetite. But I don't like to see such an interesting

landscape reduced to maximum titillation value. Torres realized that the

guy was not for real, but went ahead with it anyway! If she was thinking

clearly enough to dismiss the consequences of sex with a delusion, she

could have dropped him with a well-placed knee and kept working on her

project. Her limp reaction to his embrace was worthy of a romance novel.

That's not my B'Elanna. She went Klingon when she decided to do it, but

more for the laugh than for character reasons. And despite the undeniable

entertainment value in seeing Robert Beltran finally have a romantic scene,

it was a cheap thrill. Fake sex again! The real reason for that tussle is

that Taylor wanted Chakotay to advertise his erotic potential, and B'Elanna

was the logical choice. My impression of the whole episode was that Taylor

is trying to string out the Janeway/Chakotay flirtation, so she throws in

something like this.

	Can the issues raised by Voyager's superb setup ever be honestly addressed

in a medium that in this country exists to sell cars and fast food? The

original series, which was also TV and had some dreadful episodes, managed

to deal with the relationships and Big Ideas much more consistently. I am

hoping that it is just growing pains. But another factor is the big-bucks

status of Trek as the crown jewel of the Paramount entertainment empire,

and the kingpin of the UPN network project. That drags it down into the

fray with a lot of mainstream sitcoms and cop shows, and doesn't allow it

the idiosyncratic brilliance of a cult phenomenon. This is serious business

now. The accountants torpedoed TNG at its height for the sake of the

balance sheet, and the pressures of the Neilsens are weighing heavy on

Voyager. Now there's a truly scary obstacle--"Captain! There's a Sweeps

Week on our tail!" "Fire phasers, Mr. Tuvok--and Commander--could I see you

in my ready room? I knew it would have to come to this before I asked you

about mating practices again..."



--L.R. Bowen



[Photo of Janeway with Lord Burleigh]



	There's a whole generation that grew up in the belief that going into

space would not be an edifying experience--a generation that malingered

through its youth, heavily infected by weekly doses of The Outer Limits,

and overdosed on weekend flicks such as IT! The Blob and Invasion of The

Body Snatchers. We might refer to those early connoisseurs as graduates of

the Paranoid School of Science Fiction. It's interesting to note that the

original Star Trek does not show up so very much later than these kinds of

stories. In fact, some of the earlier TOS episodes balanced rather uneasily

between the typical Us-Against-Whatever-It-Is of early science fiction and

the more upbeat positivism that most people tend to associate with Star

Trek. The most recent trend is a shift back to that delicious state of

paranoid delusion that was once so much a part of the American scene, as

evidenced by the growing popularity of such shows as The X-Files, the

return of old favorites such as The Invaders, and the cult following of

movies such as Alien.

	Against this latter day trend, Star Trek has largely stood alone. With

some resident gloominess on DS9 notwithstanding, most would agree that Star

Trek has retained almost to a fault the optimism that first set it apart

from the standard SF shows. But it also stands to reason that Space is a

big place and that being real big, there's a lot of room for some

occasional threatening ugliness of the alien variety. "Persistence of

Vision" is one of those shows that proves that the buoyancy of wearing the

Star Fleet uniform is no proof against sheer unreasoning malice, and that

unreasoning malice is probably not a distinctly human property (although I

still think we'll turn out to be better at it than most species).

	One of the first things that struck me in the episode is that our

perception of being "captain" of a starship is largely dependent upon how

the captain reacts to the job. It's seems majestic and bigger than life and

worthy of aspiration only so long as the man or woman in the position is up

to it. Once the stress is evident, one begins to see the endless demand of

an impossible position. It's a useful insight, as well as a clever way of

setting us up to accept the red herring that the phenomena we're seeing is

just Janeway finally starting to shatter into the gibbering wreck toward

which the Anti-Janeway Brigade always figured she was heading.

	Nearer to the end, we see each individual battling with the siren-like

quality of their individual character flaws. The inevitability of each of

their defeats lends a tragic quality to the story. But for me there's

something much worse, something that moves this particular episode over to

the darkest side of science fiction. The entity that finally appears in its

[true?] form in engineering responds to Janeway's demand for an explanation

with the ultimate alien put down. "Why?" asks Janeway. "Because I can," it

replies. Petty? Yes, but still the very worst thing to hear in the void of

unexplored space. Even the monstrous parasite in Alien has a purpose.

Terrible to serve as a host for one of its offspring, no doubt...yet

purposeful nevertheless. To humanity, motivation is a paramount concept.

Everyone and everything needs to have a purpose; even bad guys otherwise

lacking in redeemable characteristics have motives. Yet this thing plays

nasty tricks with the most private of our thoughts, and brings us to the

edge of wrack and ruin for no better reason than to practice its backhand

on our frontal lobes.

	Therefore I find it difficult to fault Janeway for seeming a bit morose at

the end. Here she is, fearless captain of a grand ship and a gallant crew,

except that once in awhile she might have to face up to getting the

dilithium crystals beat out of her by an alien with nothing better to do at

the moment. We can sympathize with her, I think. Voyager is in its present

predicament due to the actions of a cosmic good Samaritan, and has just

been nearly destroyed by a cosmic brain hacker. It is a somber moment. Keep

on struggling, Captain. Keep up the good fight. Oh, by the way, it probably

doesn't make any difference. The poet tells us that "thisis the way the

world ends... Not with a bang, but with a whimper." Even as each individual

in the crew is going through the sobering process of facing up to their

individual weaknesses, they are left with this unthinkable thought... that

in the end, for all their effort, they may well be destroyed for no good

reason. Worse, for no reason at all.



--Richard Hanson



	Ladies and gentlemen, coming soon for a limited engagement, Disempowerment

of Women Playhouse presents "Persistence of Vision!"  Or "Persistence of

Derision" as it's been dubbed by many on the Net. This episode had definite

flaws, but I confess I didn't have the I'm-gonna-spew visceral reaction to

it that many seem to have.  The plot can be summed up quickly...this week's

Dastardly Peril telepathically influences the Voyager crew, causing their

hidden desires and thoughts to come forward...at least that seemed to be

the goal (not to mention what the press releases said), but what actually

occurred was that most of the crew experienced visions of things that were

most certainly not hidden.  Tom Paris saw his father, whom I daresay has

been a large influence on his personality and quite forward in Tom's

thoughts. Tuvok had a vision of his wife and home...if these are his

subconscious desires I think he needs professional help.  Likewise, Harry

saw his girlfriend and Janeway saw Mark...in fact the only crewmember who

experienced a vision of anything even remotely qualifying as a deeply

buried fantasy was B'Elanna...which brings us to the real point of this

episode, largely a contrived excuse to get her and Chakotay into bed,

shoving it in our faces so we'd forget about the sexual tension between him

and Janeway.  First of all, good luck.  Second of all, the notion that

she'd harbor secret lust for him is farfetched at best.  They're basically

army buddies...and that's all we've ever seen to their relationship, aside

from a glimmering of a paternal attitude towards her on his part.  I could

buy her thinking he's damn attractive--just can't stomach that her deepest

fantasy is for him to grab her, utter a few romance-novel lines which I

can't bear to reproduce here, and throw her down on a bed.  Yucky.

	Which brings us to Janeway, who's been having holographic hanky-panky with

Lord Burleigh (aka Mr. Muttonchops), quite possible the most hated Star

Trek character since Wesley...wait, that's impossible. Okay, since that guy

who tried to take Data's daughter away from him. Anyway, the phony Mark

accuses her of forgetting him, and having someone else in her thoughts...he

later indicates that he meant Mr. Muttonchops but initially I know I was

thinking that he meant our favorite tattooed first officer.  Even if he did

mean HoloStud, it's arguable that she is transferring her conflicted

feelings about her Number One to that hirsute faux Victorian fop...even

likely, since I can't see her being mentally occupied for any length of

time with a holographic character, even if he were studly, which this one

is definitely not.



[Photo of Janeway with Mark]



	So one by one the crew are incapacitated by visions of home and hearth,

and of course it falls to Holodoc and Kes to save the day.  Holodoc, I

fear, will soon begin to suffer from the Data

"I'm-the-only-one-unaffected-by-the-Dastardly-Peril" syndrome, much as

Tuvok is suffering from the Worf "no-one-takes-my-advice" syndrome and

Paris from the Riker "I'm-a-smarmy-space-stud" syndrome.  But that's

another issue.  Anyhow, Kes is sent to engineering to execute the

technobabble solution and has a vision of Neelix playing the ultimate

protector role, suggesting that she feels vulnerable, which is plausible if

unflattering.  She succeeds and with her telepathic abilities is able to

make the Dastardly Peril drop his Neelix facade and lie on the floor

gasping for breath, where he gets to deliver the best line of the episode:

when Janeway asks him why he did this to them, he simply replies "Because I

can."  I really liked that.  No political agendas, no protection of

borders, no technology envy, just malevolence...something Trek writers are

often loathe to look in the face or admit the existence of.

	So both of our cool women on Voyager end up swooning into the arms of

whatever man was around to dictate their emotions to them.  It's not that I

fault them for falling victim to the Dastardly Peril's influence, but at

least give them decent temptations!  I mean really...Tom got to face off

with his father, Tuvok was taken in by homesickness, Kes by her desire for

safety and fear of physical harm, and what did B'Elanna and Janeway fall

victim to? Libido.  Again I say, yucky. I for one was very disappointed

they didn't show us Chakotay's fantasy!



--Lori Summers



	Well, the barrier between reality and whatever else is out there has been

breaking down again--or more precisely, the barrier between the fantasy we

call "Star Trek" and the fantasy we call "really weird stuff happening on

Star Trek." I'm not a big fan of the

aliens-with-psychic-powers-mess-with-people's-minds type of episode in the

first place, but the problems with "Persistence of Vision" go beyond its

hazy connection with reality.

	First of all: This alien comes in and roots around in people's minds and

that's the best it can come up with? Nobody has any really dark secrets

(unless we count Kes apparently preferring Paris to Neelix)? Considering

that we're seeing people's fantasies here, there was remarkably little

character development. It would have been more interesting to see Janeway's

father and one of Paris's ex-lovers rather than the other way around.

Executive producer Jeri Taylor wrote this--if she still doesn't know much

more about these people than was in the first-season writer's guide, we've

got problems.

	Secondly: Are these people highly trained professionals or aren't they?

Can't they just ignore what are obviously hallucinations generated by a

threatening alien presence? Kes (whose telepathic abilities seem to have

become superior to Tuvok's despite vastly less training and the absence of

the cultural framework for dealing with them) has to step in to save the

day, using a mix of telepathy and technobabble, two of Trek's traditional

weaknesses. This brings back bad memories of Wesley Crusher having to save

the Enterprise on a regular basis, and it bodes ill for the ship's

future--they're running enough of a risk having someone with a nine-year

lifespan be half of the medical department.

	Speaking of the medical department: Sure, the CMO technically has

authority over the captain in matters of health, but Starfleet captains

have traditionally been pretty unwilling to go along with that. Janeway's

going to let herself be sent to the holodeck by a 30-cm hologram when she

has a lot of work to do? I don't think so. This is definitely an "If you

don't like it, file a report with Starfleet when we get back to the Alpha

Quadrant" moment.

	And that brings up the whole Holonovel Problem. I'll believe that some

people find ghost stories relaxing, though I'm not one of them, but frankly

it bothers me that the captain's idea of a good time seems to include being

a governess. It doesn't seem in character at all. Neither did Picard's

Dixon Hill program, really, but that's no excuse. Why doesn't she explore

her scientific interests, or go for a hike, or just go lie on a nice quiet

beach somewhere with a drink with a little umbrella in it, if she wants to

escape the pressures of command for a bit? (Something else she doesn't seem

to do when she's stressed out is chat with her lizard--if we're going to

introduce it, shouldn't it be a recurring character?)

	The biggest overall problem with the episode, in my opinion, is the

portrayal of the captain. First she's having a major PMS attack in front of

her subordinates, then she's almost literally kowtowing to her CMO. The

best she can do when attacked fairly ineptly with what looks like a bread

knife is to parry the blade with her hand, and then despite the fact that

she seems to be winning the fight she gets completely hysterical. Toward

the end of the show, she gets to make more empty threats--let's not have

any more of those for the rest of the season, OK? At the end of the

episode, she seems more preoccupied by thoughts of her relationship with

Mark than by the rather pressing question of what to do if the alien

attacks again. When Kirk got hysterical or Picard did something stupid,

they generally had high and noble reasons for doing so. It should not be

different for Janeway. Her crew (not to mention the TV audience) need to

believe that she's capable of handling a more than usually difficult

mission. Sometimes I wonder whether TPTB really think she is.



--Jennifer Loehlin



	This episode has major characterization problems--for B'Elanna Torres, for

Chakotay, but most of all for Kathryn Janeway.

	What bothered me most about "Persistence of Vision" was the way the

holonovel scenario is developing. The show's creators seem to be saying

that the captain of a starship would "relax" (i.e., get her sexual jollies)

by fantasizing herself as the heroine of a gothic novel with a macho,

cliche-spouting hero. Even assuming for the moment that she can't "cross

the line" and have a relationship with a member of her crew, I can believe

her fantasizing about Chakotay, about Mark, about just about anything

except what Taylor has her fantasizing about. It just doesn't work, not

with the character of Janeway as she has been otherwise presented. Instead,

we have a very heavy-handed, trite, ultimately demeaning way of saying,

"See? She really is a real woman!" I hate it! And I hate even more the

implication via her "guilt" that interacting with this macho holo-hero is

her way of sublimating her feelings of missing Mark, her way of working off

sexual tension.

	The other aspect of Janeway's characterization that disturbed me very much

can best be exemplified by comparing "Persistence of Vision" to the TNG

episode "Remember Me." Beverly Crusher, whom I liked but consider a less

interesting character than Janeway by far, was isolated in a situation from

which she could only save herself by not giving in, by triumphing through

the strength of her own character and will. Not only that, she had no help

at all--no one to work with her and support her emotionally as Janeway did

in this episode. All by herself, she figured out what was happening and

what she had to do to save herself from it, then did it and was saved by

her own actions. Of all the Trek characters, Kathryn Janeway is the one who

should have been able to do this. But even though she had much more

knowledge and much more help than Crusher did--even though she knew that

"Mark" was an alien illusion--she wasn't strong enough fight tooth and

nail. I just don't believe this. This is not the Kathryn Janeway I've come

to know and admire. Although Kate was terrific as it was, if it had been

written right for her, she could have been magnificent. What a missed

chance!

	Then there's B'Elanna: I could believe that she's in love with Chakotay

without admitting it to herself. But not that Chakotay--not that macho

apparition who seduced her into leaving her position in an emergency

situation, forced her to kiss him when she was resisting, and then threw

her on the bed. I could laugh if it weren't so grotesque. Where did this

creature come from? The Torres who has worked with, respected and admired

the real thing for months is never going to be attracted by this impostor,

no matter how much she lusts after Chakotay in her heart. To suggest that

she would be is an insult to her--and to us, who are apparently expected to

believe this scene.

	Last but not least, I hated seeing Chakotay unable to command effectively

and needing Janeway to rescue him. I do realize that this bad

characterization was a by-product of bad writing and probably

unintentional: apparently TPTB wanted to demonstrate that Janeway still had

all her marbles and couldn't think of a better way to do that than to make

Chakotay look ineffectual. In other words, I don't think we were supposed

to believe this of him; we were supposed to be looking at Janeway. But

somewhere along the line, the writers are going to have to realize that

they can't do sloppy stuff--especially sloppy characterization--and expect

the audience to overlook it.

	On the plus side, I think the story was compelling, the nightmare aspects

well wrought and well played. The scene in Janeways's quarters, where she

started to eat the ice cream and then thought she heard Mark's voice, gave

me cold chills both times I watched it. Jennifer Lien outdid herself, and

Kate, as I said before, was terrific. But these people just have to stop

trying to make us believe that Kathryn Janeway would rather indulge in what

amounts to perpetual auto-erotic stimulation than have a real and loving

relationship with a real and present man.



-- Claire Gabriel



	I genuinely liked this episode. The acting displayed by most of the cast

really won me over. Plus, I am glad that it did not resemble the poor promo

for it.

	Where else should we begin but with the captain? Kate stole the show, as

she should. She took the viewers on an emotional ride, running the gamut of

stress, loneliness, fear, anger and love. Once again, Kate is the master of

facial expressions. I always marvel at all the different emotions she

conveys without even speaking. Her portrayal of the stressed-out executive

was perfect. That sharp tone at the beginning reminded me of my office so

much, I almost cringed. The moment was quickly lost as, once again, the

Doctor provided the comic relief by appearing in Engineering as a 10" medic

and ordering Janeway to rest. She showed us Janeway's loneliness as she

looked at the photo of Mark and allowed the foppish holograph to kiss her.

The abject misery she portrayed as Janeway sat in sickbay, hunched over in

defeat, was marvelous. I could feel her distress over her seeming loss of

control.

	The entire scene in her quarters was very moving as she fought to ignore

the delusions around her. I loved the way she quickly rattled off all the

instructions to Chakotay, in Sickbay, without even taking a breath. You

could tell Janeway didn't want to be away from the bridge. Then, when she

returns to the bridge, she has to fight to ignore the image of Mark before

her. The turbolift scene was wonderful as she looks sadly at Chakotay

before she has to contend with the alien Mark, again. As with the scene in

her quarters, I gained a sense of Janeway's strength. She wants no part of

the delusion occurring around her. It is only after Mark questions her

loyalty that we see Janeway finally succumb to the loneliness and heartache

pent up for so long. His accusation of infidelity, combined with her

absence from him, would easily have her turning to him to say, "I haven't

been unfaithful." My heart wrenched, but I'm a sucker for good acting.

	The performances from the other cast members was also noteworthy. Robert

Picardo was, as always, spectacular as the Doctor who saved the ship.

Jennifer Lien continued to provide an excellent performance as Kes. This

young actress is proving to be a real gem for the show. Her acting is

always consistently good. Ethan Phillips portrayed Neelix in a way that

finally endeared him to me. Usually annoying, Neelix's parental handling of

the captain was terrific. It's wonderful that he feels comfortable enough

to scold her. However, it was the evil, and intimidating, Neelix he

portrayed that impressed me. I wanted to throttle him. I enjoy watching

Roxann Biggs-Dawson's portrayal of B'Elanna as she had to contend with

lusting after her boss. I really liked how the Klingon half came to life in

her fantasy. I also like the fact that B'Elanna was left with a dilemma.

Tim Russ has melded into Vulcan mode very well. Tuvok seems much less of a

robot now. I also find it very logical that Tuvok fell for the alien's

spell, he's lost the most. Even though Vulcans suppress emotions, they

still have them. Robert Duncan McNeil, again, added to this episode what he

always does, his ever-vigilant observations and comments about what happens

around them delivered with that great Paris sarcasm. The whole exchange

with his father was remarkable. Despite succumbing to the alien, Paris was

able to vent some long-repressed feelings of resentment.

	Overall, this is my favorite episode so far, elevated by the excellent

performances of the actors.



--Betsy Easton



	I'm easy. I enjoy holodeck episodes. I don't mind "it was just another

space anomoly/alien" endings. Every week I sit down, already having wrapped

myself in a suspension of disbelief so that I can enjoy the idealistic

world which is Star Trek. Unfortunately, "Persistence of Vision" left me

completely drained.

	Was it the acting? No. I have been a Mulgrew fan for many years. I

consider her a master of subtleties. The twitch in her face when she first

hears Mark's voice truly left me awestruck. But then, as Mulgrew fans, and

as Star Trek fans, we can rest easy in the knowledge that we have an actor

who will perform far above the script she is given, and we don't need to

worry about that issue.

	My problem with this show? Easy: the choice of holonovels.  Had the

producers opted to use Turn of the Screw for Janeway's holodeck romps, I

could easily have bought into the premise. I could have acknowledged that

there is a parallel between Miss Jessel's taking care of two children and

Janeway's taking care of a Voyager crew. I could even have believed that

there is indeed a parallel between Miss Jessel's sanity--seeing ghosts--and

Janeway's stress--alien life form possession. If a Trek writer wants to

bring in the classics, I applaud those endeavors. But for goodness sakes,

read them first!

	And then Janeway succumbs to an alien telling her she's been unfaithful to

Mark because of her holodeck novel, while Chakotay stands beside her in all

of his zombiest masculinity? Please! I don't like Voyager nit-picking and I

have thought long and hard to come up with something good to say about this

episode (other than, I must reiterate, Kate Mulgrew's fine acting), and

finally, I have:  I liked Janeway's hair. The premise of Voyager is

fantastic.  There are so many possibilities waiting to be explored, if only

the writers would give us something to get excited about.



--K. Elaine Carnes



[Photo of Janeway in Persistence of Vision]



	"Persistence of Vision" gets the viewer's attention immediately with

Captain Janeway's uncharacteristically cranky mood. This being the first

time we have seen the Captain in such a space, I was personally certain

that something was very wrong from the beginning. I suppose that it is

unfair to think that Kathryn Janeway wouldn't have a bad day.

Traditionally, Star Trek captains have been human beings with typical human

being characteristics that come to the forefront from time to time. The

interaction between the mini-Doctor and the Captain was reminiscent of

interactions between Captain Picard and Doctor Crusher in TNG. Even though

I found the Captain's mood disconcerting in some ways, it is reassuring as

well to find that the Captain is feeling all of her emotions. Like Picard,

however, I think she has tried in this case to stuff them down,

unsuccessfully, and the Doctor's intervention is both necessary and

comforting--to both the Captain and the viewer.

	Although the first few times we encountered Captain Janeway's holonovel I

found it to be an interesting diversion, in this episode I found it to be

more of a distraction and more obviously a plot moving device. There is

some question whether or not the forward and pushy Lord Burleigh was in

some fashion under the influence of the telepathic alien; nevertheless, I

found this segment of the holonovel to seem counter to what I believe

Kathryn Janeway's tastes would dictate. I sincerely hope that this is the

last we see of the pathetic Lord Burleigh and his obnoxious children.

	By the time the Captain begins to experience her hallucinations, it is

apparent that the initial conclusion is indeed accurate--there is something

definitely wrong aboard Voyager. Kate Mulgrew does a wonderful job

portraying the varying levels of emotion that Captain Janeway travels

through. Up until the time when Kes tells her that she believes something

is wrong ship-wide, we can see that Captain Janeway is genuinely afraid she

may be succumbing to a stress related breakdown of sorts. I would imagine

any Captain in this position--lost in the Delta Quadrant 70,000 light years

from home--would at some point experience similar doubts. Even in her fear,

it is apparent that Captain Jane- way does not like the idea of turning

over her ship to Commander Chakotay. Like Picard and Kirk before her, she

takes her responsibility to ensure the safety of her ship and crew

seriously, to the point where she puts it above her own state of health.

	The battle scene on the bridge seemed very odd to me as there were only

male crew members present. At this time I am still uncertain whether or not

there was actually a battle or if this was a mass male-crew hallucination.

I think, however, that it speaks volumes that I was struck by the notable

absence of Chief Torres and Captain Janeway. It is not so much that I was

not aware of where they were, but this is the first time they have not held

a commanding presence on the bridge in a time of crisis.

	As for the hallucinations that possessed Chief Torres and ultimately

Captain Janeway, I have this to say initially: Though the women succumbed

eventually, they did so long after the male crew members had already done

so. My impression of Kathryn's Mark was not a favorable one. The man I

remember from "Caretaker" was compassionate and understanding. This

recreation was sarcastic and downright condescending to Captain Janeway. I

found myself wondering what in the world she saw in this man. But keeping

in out-of-character performances, B'Elanna's Chakotay suggests abandoning

ship first and romance when that fails. This fact in itself was enough to

bother me and make me wonder just what it was that the telepathic alien was

doing.

	The fact that it comes down to Kes' ability to use her power of mirroring

was a redeeming ending. Just the shot of Kes standing empowered before the

alien was a wonderful moment. I am thankful that the writers have moved her

from pixie status and are allowing her to come into her own. I was not

impressed with the appearance of the alien, however. It seemed to me to be

a toned down variation of the Vidians without the phage-ravaged skin. The

promise of a second season full of new and interesting aliens has yet to be

kept.

	The premise of this episode is a good one--an alien species with

telepathic abilities that uses them to interfer with other species just

because they can. I am still left wondering how, and if, Voyager got

through Bothan space, if this indeed was the Botha, and if the alien was

not really there, where was he? The premise of looking at those feelings

that may be hidden deep within each crew member is also a good one. I agree

with Captain Janeway that it may be better to "look those feelings in the

eye than keep them locked up inside." I believe, however, there are better

and more satisfying ways to pursue these issues.



--Siobhan Wolf



	I had high hopes for this episode: we were finally going to see Mark and

Admiral Paris "in the flesh," never mind the fact that B'Elanna and

Chakotay were going to make love. I was really hoping for some heavy duty

character development, some trips deep into the psyches of the major

characters that would show us just what made them tick. But when all was

said and done, I felt like I'd been submitted to an hour of foreplay with

no payoff. How disappointing and painful.

	As 8:30 ticked by, I remember thinking, "When do the crew's delusions

start?" They certainly took their time getting to them, and once they got

there, they only gave us the barest glimpse of what was going on. An entire

episode centering about everyone facing their own personal demons would

have been interesting. M*A*S*H did this very effectively in one episode

many years ago. But only Tom really faced a demon in this episode.

Everybody else had sex. Were they supposed to be facing their demons, or

their buried desires, or maybe their hidden fantasies? The writers never

bothered making up their minds.

	And what little we saw was either disappointing or tantalizing. Janeway

and B'Elanna giving in so easily to theirhormones rather than sticking to

their tasks was depressing. If I had a choice between saving 100 people and

having sex with my lover, I think I'd choose to save 100 people. Easy

choice. Now Tom's hallucination was interesting. We finally get to see the

Admiral Paris in all his menacing glory. But after less than a minute, it's

over. Wait! I wanted to know more! And I did actually want to know more

about Mark, about B'Elanna's attraction to Chakotay, about Tuvok's wife and

his love for his home planet. But they didn't give us any of that. That

would have been interesting.

	Once again, I find it necessary to commend Jennifer Lien for a fine acting

job. She took lines that could have been cartoonish a la Deanna Troi and

made them poignant and meaningful. Robert Duncan McNeill did a great job

with the scenes with his father and the scene with Kes in the hallway.

Roxann Biggs-Dawson also managed to rise above the banality of the scenes

written for her. But no one else stood out. Half of Janeway's lines made me

cringe, and no acting job could overcome that. "Persistence of Vision"

promised a lot, and delivered far too little.



--Jennifer Pelland (Siubhan)



TATTOO



	After two decades of living in the New Age, a dedicated television watcher

ought to be able to recognize the earmarks of New Age Propagandism.

Superficially, all the symptoms are here: the mystical way of knowing, the

heightened awareness of one's bond to the past, the need to honor the land,

and the way the advances of technology can get in the way of true

understanding. On the level of New Age fable, then, one is tempted to

dismiss the story entirely. In fact, some could, and have gone farther and

dismissed the entire character of Chakotay for the same reasons--as a

simplistic caricature of New Age romanticism. That is a mistake, one that's

been made more than once by Star Trek watchers. The error in such a

dismissal is that everything we've mentioned is as obvious to the writers

as it is to the watchers, perhaps even more so. Coming up with yet one more

advertisement on how living in the sensitivity fringe is a better way to go

isn't going to cut it with those writers any easier than it would with us.

Therefore, the answer to the unasked question is: of course there's

something more to it than meets the eye.

	For example...Chakotay's ultimate regret at having wanted to break away

from the tribe as a young man could be viewed as a New Age rejection of

empirical knowledge. Note this message has come up before. We saw it in

TOS's "Way to Eden" episode, in numerous adventures in TNG and most notably

in ST:TMP when Spock pontificates on logic not being enough. Has any of

these sentiments ever suggested the rejection of empirical knowledge and

the embracing of mysticism? Hardly. What would Star Trek be without the

power of new technology to inform and empower? Chakotay's regrets are at

once more profound and more fundamental. On a fundamental level, it is in

the nature of young people to reject their parent's visions, to seek after

opposites. Occasionally, such decisions are good things. It is unlikely

that the world would have changed much if we all accepted the boundaries of

our parents' worlds. But it is part of human mythology that rejection

always carries the risk of throwing away the good with the bad.

	Chakotay's tribe, like many older civilizations, followed a ritualistic

way of knowing the world. Such methods are not limited to the American

Indian. Many civilizations utilized communal methods of knowledge...song,

poetry, rituals of diverse types. These methods or traditions transmitted

knowledge like history, science, and other subjects from generation to

generation, with the added effect of serving to increase the social bonds

between individuals in the family and the community. The Western European

method also transmits cultural as well as abstract knowledge, but tends to

isolate the individual; the end result of abstract learning is a problem

for all of us, not just the descendants of American native tribes. Western

European people can look back on their history and submit that social

isolation is a part of their own social tradition, but the effects can be

difficult to live with. As difficult as the results of too mystical and

communal a way of perceiving reality. It is unlikely that a culture that

depended on oral traditions would ever have developed the calculus--as

unlikely as the European university tradition being able to develop

shamanism or even something so simple as sense of personal belonging. The

reality behind the surface then is simply this. Chakotay isn't really

looking for an alternative way of knowing, so much as an alternative way of

belonging. New age or not, dilemmas like this are a part of all our lives.

	So too, it would be unlikely that Chakotay would be any more unaware than

we are of the idea of a race of beings that originally visited Earth and

passed on some kind of special knowledge to a select race. Myths like this

could hardly be unknown to any informed member of the human race. Of more

interest is the fact that the skypeople gave their gift to the ancient

Indian race because they found that the Indians had a reverence for the

land. And it's not the reverence itself, but the fact that they gave the

gift to a people that reminded them of themselves. The point, then is

kinship of a very special kind, the kinship of shared belief. This is what

Chakotay has been missing in his life, and that kind of kinship is not the

soul province of New Age philosophy, nor does one need to travel to another

star system to find it.

	Whether New Age or old age, my point is that most of our legends and most

of our lives are wrapped up in fundamental cultural beliefs of one kind or

another. One civilization holds that one learns by studying something in a

book, another believes that one learns by singing songs, or dreaming dreams

around a fire, or by going on quests, or by fasting on a mountaintop. If

collecting facts is the goal, Western European models are the winners,

hands down, but data-processing alone cannot be the whole goal of learning

and growing. "Tattoo" is more about this simple fact than it is about

mystical realities beyond the realm of accepted knowledge.

	Finally, there is always a danger in the presentation of social or

philosophical insight within the context of an anthologized series of

stories. If the writers show us a character receiving some kind of personal

revelation, the question arises as to whether that individual can go on as

we once knew him or her. Why even go back to the ship? Now that you know

what the hawk has been trying to tell you, can you justify getting your

next cup of coffee out of the replicator? Of course you can. We expect too

much of personal drama when we see it on television. On TV, we call

consistency what in real life we would label as juvenile extremism. Hence,

we demand either mysticism or empiricism of our Star Trek gods, even though

we know that all human beings, and probably all sentient life is a bit more

complicated than that. This is why, amazingly, Spock has always been so

easy to believe in for so many fans--much easier to accept than a Janeway

or a Chakotay. The reality which this show demonstrates is that living

beings are living compromises--beings like Chakotay who are both proud of

their uniforms but ready to rebel against them, willing to depend on the

benefits of technological supremacy while presenting the appearance of

mystical independence from abstract ways of knowing. It is that very

inconsistency that makes these people more than merely characters.



--Richard Hanson



	Yay!  Another Chakotay episode!  Then I watched it.  Not that it was

terrible...it was just kind of dull and more than a little pointless,

choosing a lame variation on a ship-in-jeopardy plot over the potential for

examining a discovery with huge implications.

	Away team finds mysterious markings which remind Chakotay of markings left

by the Rubber People, his tribe's ancestors.  Flashbacks tell of a trip to

Central America he took with his father when he was 15 to hunt for them.

They track a warp signature to another planet, Chakotay gets stranded and

meets the mysterious beings, who it turns out telepathically seeded ancient

Earth even before humans had made it over to North America, as well as

numerous other worlds.  It would seem to me that this discovery, and its

extremely broad-ranging ramifications for the history of humans on Earth,

should have been the focus, but nooooo...basically all that happened was

that Chakotay got to reaffirm some faith that was never in doubt in the

first place as far as we could see and Voyager got caught in a cyclone

which of course disappeared at the last second in yet another bogus deus ex

machina ending.

	There were, however, many bright spots to this episode that make it

worthwhile.  First of all, the much-discussed shot of Chakotay's butt.

Even if it was body double, and it was only a fraction of a second long, so

no parental advisories yet. Second, the many brilliant smiles that were

laid upon us by same.  Many times while watching this episode I would find

myself thinking things like "Boy, this isn't really very good...but damn

he's hot." Third, a lovely J/C conversation in his quarters, of all places.

I have since tried to decide why in the world they were talking there and

not in her ready room or some other neutral place and haven't come up with

anything.

	Fourth, a very amusing subplot involving Holodoc infecting himself with

the flu after Kes accuses him of having no compassion for the sick, since

he's never been sick himself.  It's supposed to end in 29 hours, but

unbeknownst to him Kes has programmed a few extra hours, reasoning (quite

correctly) that if he knew how long it would last it wouldn't be very

educational...this prompted the Doc to utter a truly memorable line in a

wonderfully agonized sick-person voice:  "My simulated virus is leading me

to a simulated grave!"

	Fifth, an unexpected Guest Star Alert...the chief of the tribe that

Chakotay and his father meet on Earth during the flashbacks was played by

none other than Richard Chaves, the studly Col. Ironhorse of "War of the

Worlds" fame.  That was a good show...for one season.

	There was also a rather odd scene of Chakotay meeting one of the so-called

Sky Spirits in a cave...right after he walks in, he's suddenly all lit up

by invisible footlights.  For a minute I half-expected Siegfried and Roy to

come out with some tigers and fireworks.  Then there was some interesting

camera work during their conversation...both were shot from directly over

the shoulder of the other, so that only half of their faces were showing,

the other half being blocked by the head of the other person.  I suspect it

was to accentuate their mutual tattoos...it worked.

	It's also nice that they're no longer underusing Chakotay.  This is

already his second episode this season, and with "Maneuvers" coming up he

almost threatens overuse.  Tuvok could use some good screen time, so could

Harry (even if Wang can't act) and Tom.  B'Elanna is due for a storyline

also, but considering how many episodes Geordi got I'm not holding my

breath.



--Lori Summers



	"Tattoo" at once astonished and delighted me. The Voyager "bible"

described Chakotay as a "...'contrary' [with] a mind of his own, an

individualistic rather than communal way of thinking.... He broke from his

people, educated himself in the ways of the 24th century, and attended

Starfleet Academy." Until "Tattoo," Chakotay showed no signs of being

contrary and had, in fact, been portrayed as deeply spiritual. He has an

animal guide; he has a medicine bundle; he has a medicine wheel--and he has

taught someone else the ritual. He performed a ceremony in memory of his

father in "Initiations." If he's doing all that, could it be that he has

merely adopted the trappings of his people's spiritual beliefs, but has not

accepted what lies behind those trappings? Being at one with the Land and

all the Peoples that dwell within it--animal and plant--is at the very core

of Native American spirituality. Could Chakotay actually be so shallow in

his approach to that spirituality?	

	At first that thought disturbed me greatly, that Chakotay could be such a

poser--but then I kind of liked the idea. That flaw makes him much more

human and a much more dynamic character. In this episode we learn that, in

his "contrariness," Chakotay virtually divorced himself from the beliefs of

his people. His younger self was little better than a brat. You'd have

thought the adult Chakotay would know better--yet he spoke deprecatingly of

the structure he, Torres and Tuvok found on the surface of the planet:

"You'd think with warp technology they wouldn't be living like this." If he

has, indeed, paid lip service to his spiritual path, then it will be

interesting to see him try to deepen his understanding in future episodes.

One way to show him doing that would be to develop his relationship with

B'Elanna. After all, she mentioned she could use some spiritual guidance in

"Twisted."



[Photo of Janeway and Chakotay bonding over religion]



	Obliquely, this brings me to the question of the significance of the hawk

in the episode. My interest was piqued enough to do some research about the

qualities ascribed to animals in Native American spirituality. According to

one source, "Hawk medicine teaches you to be observant, to look at your

surroundings...the test is your ability to observe the nuances of power

lurking nearby... Hawk's cry signalled the need for the beholder to

heighten awareness and receive a message." Seen in this light, the presence

of Hawk makes sense. But I have no idea why it would want to attack Neelix

and try to pluck out his eye. It would have been far more interesting if

Hawk had attacked B'Elanna, who tried to kill her animal guide. Is Hawk

trying to tell her it's time for her to open her eyes and develop her own

spirituality? Or is it telling her to back off, that Chakotay is not for

her?

	The frustrating part of all this speculation is that I don't know whether

there is a "master arc" for developing Chakotay's character, or if the

writers are making it up as they go along. I think "Tattoo" opened a real

Pandora's box of questions about Chakotay--and I hope that was Michael

Piller's intention. But if these ideas aren't followed up, the character

will be shallow and meaningless. I hope the writers will avoid giving

Chakotay the "trappings" of a Native American and will develop more

substance to the ideas introduced in this episode. At the end of the

episode, we learn two key facts about Chakotay: that his father fought in

the Maquis, and that Chakotay left Starfleet and joined the Maquis to carry

on the fight when his father died. What happened between the time he

resigned his commission and started fighting for the Maquis? How much time

did he have to absorb the spiritual principles of his people--principles he

had apparently rejected? If Chakotay did join the Maquis out of guilt, does

that make him any better than Tom Paris, who joined for mercenary reasons?

Wouldn't that bother the hell out of Chakotay, to the point where he might

project his own anger at himself onto Tom? Given Chakotay's prickly

relationship with his father and Tom's with his, I think these two may have

more in common than either of them know. I'd love to see a script centered

around this idea.

	The B-plot of the Doc giving himself the flu was very cute, nicely written

and nicely acted. I thoroughly enjoyed it. But it had absolutely no place

in "Tattoo". The Chakotay story was more than enough to fill up the hour,

and the B-story was merely a distraction. Ditto all the Bridge scenes when

Voyager entered the cyclone ("I don't think we're in Kansas anymore, Toto

-- or is that Tattoo?"). It would have been more than sufficient to show

Voyager spinning into the funnel cloud, then show the very last few scenes

where they realize they're going to impact. Again, it distracted from the

main story.



--Alanna Whitestar



	Another episode that I awaited with high hopes. Backstory for Chakotay!

Maybe we'll finally learn what tribe he's from! Sigh...no. Instead we learn

that aliens gave the Native Americans their language and culture, and watch

them leave behind another shuttle. At least they finally got the raw

materials they were searching for.

	I'm not Native American, but if I were, I think I would be insulted. At

first, I thought the "Rubber Tree People" (did they make them up?) had

ritual scarification, but upon further inspection, they seemed to have

alien foreheads. Ritual scarification would have left a very different

mark. And the alien-given language and culture? That very much undermines

the actual linguistic and cultural achievements of the Native American

peoples. If Trek did an episode where it was revealed that Jesus was from

outer space, Christians all over the world would start screaming. Why are

Native Americans fair game for fictional cultural revision?

	Oh, the nits I could pick. But I think one of the most jarring things was

the cheesy special effects. The bird in the sky was very obviously shot on

a different kind of film than the rest of the episode. It looked like a

shot from a '70's National Geographic. And the entire "alien touches snowy

guy in the past" scene was just tacky beyond belief.

	I must say, however, that the acting was very good (except from the "young

Chakotay"), and the naked butt shot took me completely by surprise. That

was interesting. And I'm glad that they are indeed continuing with

Wildman's pregnancy story. The Doctor's story was cute too, as was the

Captain Sulu reference. But overall, I was disappointed. I wanted

Chakotay's backstory, I got Chakotay's backstory, and frankly, it stinks.



--Jennifer Pelland (Siubhan)



	This long-awaited episode, filling in some background on Chakotay, far

exceeded the hopes I held for it. Though I was initially thrown by

Chakotay's youthful skepticism and cynical, antitraditional attitude, I

believe that making this choice turns Chakotay into a real person rather

than just a cardboard cut-out of some "new age" Native American stereotype.

I found that my respect for the character grew after this episode, and I

hope the writers continue to write him with all the quirks and twists of

human beings.

	We see that Janeway is truly interested in the history of her First

Officer as she permits his investigation while exploring for the needed

minerals for the ship. I think she is also instrumental in helping Chakotay

to open to the experience of meeting the legendary Sky Spirits when she

interjects her own doubts about anything in science being hard and fast

truth, just as with myth. A true bond is developing between the Captain and

First Officer which is a definited Star Trek hallmark. I genuinely hope we

get to see more interaction between the two as their relationship

strengthens and grows.

	The use of imagery and symbolism in this episode was well done. As this

was another character growth episode, I was pleased to see the writers

allow Chakotay to make the step to a deeper understanding of his father and

his people. Though not a fan of flashbacks, I found them to be an addition

to the storyline here, rather than simply a convenient method for

information giving. Of course, the B plot with The Doctor and his flu was

cute and nice comic relief; I do wish that the time had been lent to the

main storyline which could have used the few extra minutes to save the

"information dump" near the end.

	This was generally a fascinating episode and its time was due. I think

viewers will look on Chakotay in a different light from here on out. I hope

that this episode signals the end of the use of Chakotay as a bridge

ornament.



--Siobhan Wolf



COLD FIRE



	There's an old Ocampan saying that goes something like, "Sometimes you've

got to stop and incinerate the roses." Okay...cheap shot. Nevertheless, I

very much fear that this week's episode will generate more jokes than it

will inspire fond memories. At first glance, "Cold Fire" should be a good,

old fashioned adventure as well as a way of moving the larger story of

Voyager's odyssey in the Delta Quadrant forward. On further examination, it

doesn't stand up to further examination.

	Here we have Voyager, for the first time in a long time, getting close to

finding the creature they've been lookingfor, the sporocystian life form

that wacked them into the middle of the Delta Quadrant in the very first

episode. Seems pretty serious to me. After all, the desire to go home is

the fundamental tension upon which the entire series is based. So why, for

example, early on do we find Janeway and Chakotay exchanging smiles after

the captain catches him staring at her butt on the bridge? Or maybe it

wasn't that, maybe they were just smiling over Torres's figuring out a way

to use the dead mineral deposit/body of the Caretaker as a way to locate

the other Caretaker--a parental sort of moment: "Oh, that crazy kid of

ours, she's made a compass out of an alien..." It's a moment that sort of

hangs there.

	Then we have the melodramatic story of Gary (Alien Nation) Graham playing

the Ocampan version of Count Dracula against the tender innocence of Kes.

Neelix puts his knee-jerk jealousy on hold for this episode while Kes

learns that the true appreciation of nature means never having to run for

the fire extinguisher. If this really is the way the Ocampans sample their

environment then it's enough to give a vampire the heebie jeebies. At least

the undead do what they do to survive. To the Ocampans, mass destruction is

all part of getting the most out of life, so to speak. I go along with Kes'

youthful naivete, but her being even momentarily drawn to Graham's

philosophy argues against her basic character. On the plus side, the

visuals were very well done, and Jennifer Lien pulled off some wonderful

acting that made the viewer almost see the point. Lien's combination of

youthful exuberance and an unconscious sensuality make a potent mixture.

	But back to the silliness. Janeway's confrontation with the Susperia

entity was a study in nonsense. Why, after being told that Voyager's PR is

at an all time low in the Quadrant, would Janeway waltz into the meeting

thinking that she wasn't going to have to do some heavy explaining? I

expect Kathryn to be upbeat--heck, I want her to be that way. But you don't

have to render up all caution to be idealistic. In the past, I've consider

it to be one of Janeway's strengths, the melding of wisdom with idealism.

The writers didn't let her demonstrate it here. Partially, she makes it up

by the way she didn't hesitate to use the gun...a tad late, Kate. Again,

great visuals. The crewmen suspended in thin air and dripping blood onto

Janeway's uniform was a truly spooky moment, one I won't soon forget, and

the escape/transformation of the Susperia/Alice In Wonderland character was

beautiful and creepy at the same time. Odo would have fallen instantly in

love.

	At the end of the show, we are subjected to Janeway's log in which she

re-dedicates herself to finding Susperia and to somehow convincing her to

get the crew back home. The Array houses a bunch of Ocampans looked after

by Susperia. We know that the Ocampans are frequently in contact with the

entity. We know that Voyager is looking for Susperia. So why, oh why, at

the end of the show, is Voyager heading away from the Array? Granted, their

first meeting was nothing to beam home about, but we've got to assume that

the Delta Quadrant is a big place. If I wanted to get back together with

Susperia and my only other option was a 75 year trip back home, I'd be

attaching myself to that array like a barnacle. Oh well, things could've

been worse all around. Kes might have ended up liking the idea of torching

the roses as the path to true happiness.

	Or--Heaven forbid--Kirk might have been in command. "Engineering, we're

going to need top speed in a minute...the captain's going to put the moves

on the Alien." "She's jelly, Jim."



--Richard Hanson



MANEUVERS



[Photo of Janeway chewing Chakotay out]



	I am an unabashed Seska fan, so when I heard that she was coming back, I

was a bouncy wreck. I would find myself thinking of her at odd moments,

like in staff meetings, and getting all excited. To keep calm for the

actual episode, I poured myself a stiff drink and sat in a hard chair so I

wouldn't be able to bounce with glee without hurting myself. Needless to

say, all my precautions were necessary, because Seska stole my breath away

again.

	Forget the Kazon, never mind the Vidians, Seska is the best damn villain

that Voyager has going for it. She's intelligent, ruthless, has deadly

insider knowledge of Federation technology, and, best of all, is

Cardassian. The Cardassians and the Bajorans are the best alien

civilizations in the Star Trek universe, and Seska's been both, which makes

her doubly endearing. Martha Hackett chewed through the scenery every time

she was on screen, and was truly a wonder to behold.

	Chakotay, on the other hand, was very disappointing. This seemingly noble

character degenerated into Kirk. Cradling his bruised male ego, Chakotay

sets off alone to confront the woman who wronged him and made him look bad

in front of all his friends. Gack! Aren't we beyond that yet? I loved the

scene where B'Elanna pled his case, but frankly, Janeway should have chewed

him up one side and down the other once he was better. He got off the hook

too easily. B'Elanna, get over Chakotay and tie Tom to your bed. As much as

I never thought I'd say this, Tom is less likely to play macho games than

Chakotay is.

	And as much as I didn't like the "surprise" ending (which unfortunately I

already knew about), it did fit with general tone of the episode. Chakotay

plays wronged man, and Seska gets back at him in the most womanly of ways.

Fitting, really. Of course, the one truly beautiful thing about the way it

ended is that we get to see Seska again!!! Ah, be still my beating heart!



--Jennifer Pelland (Siubhan)



	Tonight, Martha Hackett returns to reprise her role as the arch traitor,

Seska in an episode that leaves no doubt as to just how far some

Cardassians will go to have the last word.

	In the initial battle, we are treated to one of those pinpoint timing

raids that are always so impressive on Star Trek. A little disconcerting to

find that this one's been mounted by a Cardassian, but--hey, it's always

fun to watch a professional work. At the end, we're left with some concern

at how much longer the ship can handle weekly bashings like this. But even

though there are enough battles in this episode, that's not what this story

is all about. This is a story about Chakotay and right from the start of

the show, he proves that he is no Will Riker. This is a man who knows how

people think, and how to use that against them. From the way he messes with

B'Elanna's head to his shrewd game of cat and mouse with Seska to the way

he plays with the Kazon leader's fears and jealousies is a clinic on human

manipulation techniques. In a way, that's what this episode is all about,

the pitting of Seska's Machiavellian techniques against Chakotay's more

principled psychological maneuvers.

	B'Elanna's role in all of this is interesting. First we find her reacting

in true Klingon fashion to Chakotay's sports psychology. Then we have her

advising Chakotay on learning to control his emotions. Then we have her

advising Janeway to pay more attention to her feelings than her judgement.

Is there something more going on here than the obvious? Remember that

B'Elanna represents the alliance of Klingon and human. In a single person,

she is the spirit of Klingon revenge and blood feud united with human

principles of teamwork and duty to principle. At least in this story, the

voice of B'Elanna is the human urge to strike back and damn the

consequences versus the human desire to remain responsible to one's fellows

and to higher authority. There's even one point where B'Elanna reminds the

captain of those two facets of human decision and forces her to choose

between them, judgement vs. visceral intuition. It's instructive to note,

within the context of the story or our own lives, that extreme situations

can make it nearly impossible to mediate between these two sides of our

nature. That Chakotay makes the decision he does comes as no real surprise,

but neither should we be surprised at the unsatisfactory nature of the

conclusion, nor at the price he has to ultimately pay.

	I was also struck by Janeway's reaction to Chakotay's disobedience. When

B'Elanna argued in Chakotay's defense, Janeway's reaction was typically

insightful. Kirk would have gotten a different point. Chakotay had a score

to settle--well, maybe we'll confine him to quarters for a day or

two--after all, men will be men. But Janeway perceives it as inherent

selfishness, a way of trying to make the ship's crisis all about him. This

is the root of the issue and, like it or not, that is the motivation behind

most strong human reactions. It's obvious that a ship can't operate with

everyone in the crew feeling free to take everything personally. Janeway is

open and honest enough to point that out, and that's what's unique about

her character. Insight and the courage to be honest about it, coupled with

real compassion and mercy are the kind of attributes that make her a hero

we can all look up to, regardless of our sex.

	We seem confronted by a ambivalent ending. Chakotay notes that he will

find it hard to live with the fact that he has let the captain down.

Personally, I'm with him on this.  Serving under someone like

Janeway is an honor. Letting someone like Janeway down isn't something to

be taken lightly. Some might feel it a small price to pay, but Janeway is a

stand-in here for the wounded Self, the disappointment we all feel at being

unable to find a temporizing path between the extremes of personal

behavior. Of course, Chakotay didn't know at that moment that Seska had

impregnated herself with his DNA, but personal loss is also the result of

giving in to petty reactions. Seska gets away in the end and she gets away

with a part of Chakotay. Played out against the all-too Klingon-like Kazon,

the war between Seska and Chakotay is a testimony to the penalty of giving

in to the temptation to react without thought. There is always a danger of

losing part of ourselves to the darker side of our own nature.



--Richard Hanson



	OK, in some ways, I really liked this episode. The Starfleet-Maquis

tension has been absent for far too long. It just seemed like things

settled down too quickly after "State of Flux." This episode should have

been produced last season, maybe as a season finale. We have no way of

knowing how long ago this episode was written. Things that don't make

sense:

	1)  The conversation between Chakotay and Torres at the very beginning of

the show. Chakotay seemed very cold when he discussed the captain's order

to report to the bridge. He said that it better be good. This does not jibe

with the friendship we have seen develop between Chakotay and Janeway. He

went to her to talk about his father in Tattoo. Torres was not his first

choice. While it makes sense that he would enjoy recreation with Torres (he

has been friends with her for a long time), his statements do not fit his

character.

	2) Torres pleading for Chakotay's case. This was a great scene, well acted

by both women. But there was a notable lack of warmth between the two that

was reminiscent of very early episodes last season when Torres was still

proving herself. I also noticed that Janeway stressed that Chakotay was

lucky to have B'Elanna for a friend. It did not sound to me like she

considered herself his friend.

	3) Chakotay going off blindly without permission. This is very definitely

something the old Chakotay would have done. But given his strong statements

in Initiations about Starfleet and what it means to him, it didn't make

sense. He has demonstrated a strong loyalty to Janeway and this did not

fit.

	4) Chakotay's macho trip. Although I found this mildly amusing the first

time I saw it, I later realized it was wildly out of character for him. He

was walking around in a testosterone fog the entire time he was held

captive. Must have been something in the environmental controls on the

Kazon ship! His pride was so badly damaged by Seska that he was reduced to

his most primal urges? Maybe he only wears a thin veneer of civilization.

Who knows? I just thought that Chakotay was above such tactics.



[Photo of Janeway with a gun]



	Tense scene between the Captain and Commander at the end. Janeway's

statements about cowboy tactics were right on. She looked betrayed and hurt

more than anything else. Yet right to the end she was being considerate

when she would have given Chakotay a private moment. She does a lot with

this character.

	Seska was great in this episode. No proclamations of love for Chakotay. We

know she wants power and she will do what she has to to get it. I loved the

way she played the Kazon against each other. Now she has another card to

play against our beloved Commander. Although I don't see how she could

impregnate herself from DNA, it was a great finish to the episode. It gave

the show a jolt of some much needed tension. I just hope that next time we

can get an episode where all the characters are well written that also fits

into the present timeline. I am going to chalk this one up to bad timing

and hope that things get back on an even keel next time.



--Elizabeth Klisiewicz



RESISTANCE



	Joel Grey gives a top drawer performance in this week's story of sacrifice

and courage. Like most good stories, it's relatively simple. There are

essentially three stories going on and a third story hidden underneath it

all. First, there is the story of Tuvok and B'Elanna trapped in an

interrogation cell with no obvious hope of escape. Secondly, the story of

Janeway and the old man, Kalin. Third, the inevitable story of the crew's

attempts to save the away team.

	B'Elanna and Tuvok reminded me of Spock and McCoy in the TOS episode

"Bread and Circuses." There's the same fascination with Vulcan reserve, the

tension between the human (Klingon?) response to misfortune (aggression and

bravado) versus Vulcan coolness. And of course it ends in the same

stalemate. Mr. Tuvok is, like Mr. Spock, a stand-in for the real issue--the

fact that most human beings just can't stand anyone who doesn't seem to

react to what's happening. Sherlock Holmes had the same problem with Doctor

Watson. One [fan?] I know commented that the best thing about the show was

Tuvok getting the stuffing beaten out of him. Mmm. See what I mean? It was

this sort of uneasiness that found good old Mr. Spock constantly confronted

with problems that strained his reserve. Tuvok seems destined for the same

fate. However, unlike Spock, Tuvok has no human half to pester him. So far,

Russ has done a first rate job of demonstrating that difference though I

fear some fans perceive it as a lack of acting ability.

	Mulgrew and Grey, meanwhile, put on an acting clinic, making me grateful

that no one else in the cast was included (would we have noticed if they

were?). Grey, a scene stealer of the first order, put on one of his best

performances as a father driven out of his mind by guilt and loss. Mulgrew

kept up admirably and brought more depth to an already complex character.

This one show fully explores the depths of Kathryn Janeway...her

discipline, her courage, her intelligence, her compassion. And, yes, she

really does cry at the end of the story. Under the circumstances, anyone

have any problems with that?

	Meanwhile back on the ship, Chakotay and Kim wrestle with the problem of

how to get these people out. Basic Treknobabble and plot contrivances. The

Mokra have an incredibly sophisticated planetary defense system for a race

that seems so technologically backward. And why do fascist civilizations

all look like they had their uniforms designed by Darth Vader? The comment

the chief bad guy makes about Voyager are an echo of an interesting

observation already made in "Cold Fire." The ship has gotten some fairly

bad press in the Delta Quadrant. The image of an intrepid (and lost)

starship as an evil invader to the inhabitants of the Quadrant is more of

the mixture of darkness and light that has made Voyager a tad darker than

TNG without being quite the blackout of DS9.

	The final story of Grey's guilt over the death of his wife and daughter

comes as no surprise. Janeway's lie to him in the end is a tribute to her

humanity (would even a Vulcan have insisted on honesty at this point?), and

a way of bringing the story full circle. Again, compassion is the pivotal

issue around which the larger story of Voyager revolves.

	One small point... When Janeway decides to use her not inconsiderable

assets to lure the security officer to drop his guard, I wonder if she

thought he might just notice she didn't have a hole in the bridge of her

nose. I've decided the whole thing can be simply explained on the basis of

what we know about our own society. Mokran teenagers no doubt grow up under

the same peer pressure as our own little darlings. Currently, the planetary

craze is to have drastic plastic surgery around the age of sixteen or so,

remove the hole and the ring and fashion a [Yuk!] straight smeller. Of

course, no adult Mokran would think twice about it (so much more polite to

pretend not to notice). Grey's daughter did the same thing, of course,

which is why he didn't get sick the first time he saw Janeway. "My precious

daughter...What the hell happened to your nose!?"



--Richard Hanson



	"Resistance" started out with me wondering how they had located this

parti- cular planet and when they had become so desperately short of some

needed substance, but that is the only problem I had with the episode. From

start to finish, we were treated to action and adventure in the best of

Star Trek fash- ion. Curious societies, intra-planetary conflicts, and

Starfleet right in the middle of it all harkens back to the best of TOS

days.

	Kate Mulgrew was superb in this episode. I am so glad that they finally

wrote her a meaty Captain's role. I think that it is finally catching on

that she is the Captain, and I am ever so grateful for this! Though I am

sure there are those who would question the wisdom of sending the Captain

on an undercover away mission to a hostile planet, I am glad that they did.

Kate did a wonderful job portraying the action-adventure side of Captain

Janeway. I was thrilled to see a female Captain in the action role and hope

that they do more with this as the series progresses.

	As is constant with Mulgrew's portrayal of Janeway, she can in no way be

seen as a one dimensional figure. Her scenes with Joel Grey were some of

the finest of this second season. The compassion and care that Kate puts

into this character keeps me always coming back for more. The more I watch,

the more Captain Janeway becomes my hero, and she was already that from the

beginning.

	This was a well put together episode. The ending did not seem rushed at

all, and I hope that indicates that the writer's are beginning to hit their

stride with the timing during episodes. Action and feeling were well

balanced. The supporting cast did a nice job as well. I think we were due

for a Janeway episode. Kudos to the writers for providing one that alllowed

her to fulfill so many roles while keeping the viewers on the edge of their

seats.



--Siobhan Wolf



[Photo of Janeway with her paws on the guard]





*THE KATE MULGREW FILM FESTIVAL COLUMN*



THE MANIONS OF AMERICA

by Joan Testin



	The Manions of America is a 1981 mini-series that is available on video (2

tapes, about 5 hours) starring Kate Mulgrew, Pierce Brosnan, and a host of

others.  Although the movie is not without its flaws, it is well worth

watching.  Kate Mulgrew fans will love the film as the movie revolves

around the character she plays.

	The story begins in Ireland in the 1840's where an English girl, Rachel

Clement (Mulgrew), and her father have come to the estate he has inherited

upon the death of her uncle.  Almost immediately upon arrival, Rachel meets

Rory O'Manion (Brosnan), who is one of the tenant farmers on the land, and

an ardent supporter of the cause to free Ireland from English domination.

Rory holds an instant fascination for Rachel, and she arranges to hire him

as her groom.  Their relationship begins quickly, but it takes many years

and many changes before they are finally married. The chemistry between

Mulgrew and Brosnan sizzles.  Those who enjoy passionate love scenes will

be happy with those scenes which, although sanitized for network

television, leave no doubt that Rachel and Rory have a powerful attraction

for each other.  The best may be their first kisses--shared as he rescues

her from breaking her neck on her horse.  If her brother hadn't arrived at

an inopportune time...

	The relationship between Rachel and Rory is the best part of the movie.

However, as is typical of a mini-series, there are many different

storylines:  the historical (Rory is involved in the rebellion to free

Ireland, then immigrates to America and becomes involved in the Industrial

Revolution),  the love story (Besides Rachel and Rory, there is her brother

David and his sister Dierdre, then Dierdre and an American lawyer Caleb,

then David and Dierdre again), incredible plot-twists (coincidences abound,

people are lost and then happen to run into each other, die and are then

found to be alive, etc. etc.).  The story actually works for much of the

film; the characters are engaging enough to allow the viewer to ignore the

plot flaws.  However, about 130 minutes into the film, the pacing becomes

more uneven, and the story is harder to follow.  Events that take years are

covered in a few brief scenes, yet a wagon-train of gunpowder seems to take

forever to reach its destination. There are also problems understanding

some of the dialogue--especially some of the thick Irish accents, and many

of the scenes are very dark.

	Yet with all of its faults, there are many great moments--more than enough

to please the most ardent fan.  Kate Mulgrew shines in the role of

Rachel--a spoiled English girl who grows into a headstrong woman who will

do anything to be with the man she loves.  Rachel begins the movie as a

breathless, flirting young girl who is looking forward to being rich, and

by the time the movie ends eighteen to twenty years later, she has learned

about the realities of life and of love. Mulgrew plays each of Rachel's

ages with perfect believability, and Rachel comes to life on the screen.

The viewer benefits by an actress who is dedicated to the craft of acting

and who is gifted in her ability to create real, believable characters.

Each gesture and tone of voice is used to help us see beyond Rachel's

immediate actions to the woman underneath.  Rachel Clement-Manion is not

always an admirable person, but the viewer is forced to empathize with her

choices, and mourn the "happily-ever-after" that she never quite attains.

She chooses to love Rory O'Manion--a man with two loves, Rachel and

Ireland.  It is ironic that in the end, he loses them both.  Perhaps the

theme of the move is best summed up by  Rachel herself, on her honeymoon,

when she says that "I think perhaps, all we can ask for, is to be perfectly

happy for a little while."  At the end of the movie, the viewer, like Rory,

is left to remember those perfectly happy moments -- and mourn that they

were so few.



[Drawing of Kate Mulgrew and Pierce Brosnan in Manions]





*THE FUNNY PAGES*



[When I first read this story I laughed my butt off, but was afraid that it

was too risque for Now Voyager.  Then I rewatched "Naked Time," "Naked

Now," "Fascination," and "Persistence of Vision," and decided that I'd be

hard-pressed to think of anything too demeaning to print!]



JUST A PINCH

by Jennifer Pelland (Siubhan)



	"Good morning, Captain!"

	"Good morning, Neelix. What's for breakfast?"

	"Well, I have some laola root with spiny lobefish that I think you'll

like. Oh, and I've whipped up something special for you." He waddled back

into the kitchen, then reappeared with a steaming mug in his hand. "In my

continuing search for coffee substitutes, I've stumbled across this. Let me

know what you think."

	"I'll do that, Neelix. Um, do you have any toast to go with this spiny

lobefish?" she asked hopefully. The entree was pulsating, and she wasn't

too eager to put it in her mouth.

	"Oh, yes. Of course. Here you go."

	"Thank you."

	She walked over to an empty table and stared balefully at her breakfast

plate. Stabbing a fork into the spiny lobefish, she was rewarded with a

hiss of yellow gas that reeked of sulfur. Right, toast and coffee

substitute it was.

	Hmm, this attempt at coffee substitute wasn't bad. Not bad at all. It

certainly wasn't coffee, but it had some of the enjoyable properties of the

brew. It made her feel quite pleasant, actually. Quite pleasant indeed. In

fact, after finishing it, she felt like she could single handedly conquer

the universe. She picked up her tray, dumped it down the recycling bin, and

walked to the door.

	As she got there, Harry Kim walked in. "Good morning, Captain."

	"Good morning, Ensign," she said with a friendly pat on the butt.

	Harry's eyes grew wide, but he said nothing as she grinned and kept

walking down the hallway toward the bridge.

	She entered the turbolift and was pleasantly surprised to see Lieutenant

Paris on his way to the bridge as well. "Good morning, Captain," he said

with a smile.

	"Good morning. I trust you had a good night's sleep?" she asked.

	"Oh, not bad," Paris replied with all the nonchalance he could muster. It

was kind of weird to have the Captain ask him about how he'd slept.

	"That's good," she purred. The lift stopped and she gave his rear a good

solid pinch. He yelped and jumped away just as the doors opened, then

bolted for his chair. He would be safe in his chair, right?

	Janeway strode to her seat with a smile on her face. Ah, that had felt

good. She hadn't pinched a tush that nice in far too long, although Harry's

had felt pretty good as well. She sat back and tried to compare the two in

her mind, but decided that she needed to get a good grab of both of them

again in order to truly compare their favorable qualities.

	Chakotay walked into the bridge to report for duty, and with a sly grin,

Janeway put her hand on his seat, palm up. He started to sit down, then

noticed and said, "Captain?"

	"Oh, excuse me," she said as she withdrew her hand. Well, she'd manage to

get a grip later.

	Life went on as normal for the next few hours. Janeway managed to lose

herself in her work, pausing only occasionally to think about Chakotay's

butt. At one point he stood up and walked over to talk to Paris, and she

was riveted. Her eyes tried to make out the contours through the black

fabric, but the light was hitting it all wrong. Then he leaned over to look

at the console and she got the view she'd been waiting for. Oh, that looked

nice. She could practically feel it.

	Harry watched with her with trepidation. He'd gotten used to the Captain

putting her paws on his shoulders and arms, but her sudden fixation with

derrieres was making him a little nervous. He'd have to tell Chakotay about

this at lunch time. In fact, it was just about time to leave. Chakotay

turned around and said, "Kim, Paris, time for lunch. We'll be back in half

an hour, Captain."

	Janeway nodded. The three men got into the turbolift, and Harry said, "Um,

Commander, I have something I think I should tell you."

	"Yes, Ensign?"

	"The Captain...well, the Captain patted me on the behind this morning."

	"You too?" Paris blurted. "She pinched my butt on the turbolift!"

	Chakotay looked incredulously at the two officers. "Are you serious?"

	"Yes, sir," Harry said with a squirm. "And I noticed her looking at yours

and making little squeezing motions with her hands."

	"When?"

	"Just a few minutes ago when you were bending over and talking to Tom."

	Chakotay shook his head incredulously. "I'll have to have a talk with her.

I knew she was touchy-feely, but this is over the line."

	Their lunch break ended and they returned to the bridge. Kim and Paris

dashed for their posts in an effort to evade Janeway's inquisitive hands,

and Chakotay said, "May I speak to you for a moment, Captain?"

	"Not right now, Commander. It's lunch time," she replied with a grin. She

walked towards the turbolift, and Chakotay carefully kept his body

positioned so she couldn't make a grab for him. With a wistful sigh, she

stepped into the turbolift and the doors closed behind her. A huge sigh of

relief emanated from the men on the bridge.

	Chakotay sat in the captain's chair, dutifully minding the bridge and

mentally rehearsing what he would say to her when she returned. "Excuse me,

Captain, but why the sudden predilection for butts?" Too vulgar. "Captain,

some of the crew have noticed that lately you've been conducting

unauthorized inspections of certain crewmembers' gluteus maxiumuses...or is

that maximi?" No, too weird.

	His train of thought was cut off as Torres stormed onto the bridge.

"Chakotay, tell her to keep her paws off me!"

	"You too?" Paris gasped.

	"Me, Chell, Henley. She even made a grab at Neelix! Not that he complained

or anything, but she's having quite the little squeeze-fest in the mess

hall. If she doesn't stop touching my butt I'm gonna rip her arm off!"

B'Elanna fumed.

	Chakotay stood up stoically and steeled himself for the confrontation he

was about to provoke. Someone had to stop the Captain's fondling rampage,

and as First Officer, that duty fell to him. "Mr. Paris, you have the

conn."

	"Aye, sir."

	But just then Janeway blew back onto the bridge, hair slightly disheveled,

and a huge grin plastered across her face. "Captain," Chakotay started.

	"Commander, may I see you in my ready room?" she said.

	"Ah, my thought exactly," he replied, following her off the bridge. The

doors closed, and he cleared his throat and said, "Captain, it's recently

come to my attention that..."

	"Oh, shut up and get over here," she purred as she launched herself at him.

	Chakotay made a dash for the desk, hoping to use it as cover, stammering,

"Now just hold on a minute, Captain. You're acting very out of character."

	Chasing him around the desk, she growled, "You talk too much. Now keep

that cute posterior of yours still."

	"No can do, Captain," he said as he tried faking her out with a quick

feint to the right. But she jumped up on the desk and hurled herself at

him. With a strangled cry, he tried to get away, but she managed to give

him a hard squeeze before he wiggled loose.  "Chakotay to Tuvok," he

shouted.

	"Tuvok here."

	"Get in here fast."

	The doors opened, and Tuvok surveyed the scene. The Captain was chasing

Chakotay around the desk, panting, "Get back here and let me do that

again," and Chakotay was evading her with an expression of utter panic.

	"Yes, Commander?"

	"Give her a neck pinch, now!" he yelled.

	"Is that really necessary?" Tuvok calmly replied. Just then Janeway

whirled on her Vulcan friend and said, "I'll bet you've got a nice tush,

Tuvok." And with that she rushed him.

	Tuvok quickly deduced that yes, a neck pinch would be the proper thing to

administer right now, and managed to knock her out just as her hand touched

his buttock. He lowered the captain gently to the floor and looked over at

Chakotay who was desperately trying to catch his breath. "I believe the

logical thing to do at the moment is beam her to sickbay, Commander."

	"I believe you're right," Chakotay wheezed.



	Kes and the Doctor hovered around the unconscious form of Janeway,

frantically trying to figure out what had caused such a radical change in

her personality. "There's something interesting in her bloodstream, but

it's very difficult to analyze," the Doctor said, brow wrinkled in

frustration. "Is it really necessary to keep her strapped down like this?"

	Chakotay, Paris, and Kim all nodded in unison. Just then Janeway's eyelids

fluttered open. She looked at the Doctor and grinned. "Hello, you cheeky

monkey. I'll bet you're a handful."

	The Doctor looked back at the solemn group of men and said, "I see your point."

	"Doctor," Kes said breathlessly, "look at her neural readings. They're

very unusual."

	"Hmm. Hmmmmmm. Hm. Very unusual. Hmmmm. Captain, other than the obvious,

has anything out of the ordinary happened to you in the past two days?"

	"Not that I can recall. Oh, Neelix made this wonderful coffee substitute

for me this morning!" she said with a grin.

	Kes shook her head. "I'll go get him."

	After a quick chemical analysis of the coffee and the spiny lobefish

gasses showed that they were indeed the culprits, the Doctor whipped up an

antidote and gave it to Janeway. The veils of butt-crazed dementia parted,

and she blushed furiously. "Oh good lord, I can't believe I did that," she

muttered.

	Chakotay nodded at the Doctor and the restraints were removed. Janeway sat up and buried her head in her hands. "This is mortifying. It's a terrible breach of protocol," she groaned.

	"No harm done, Captain," Chakotay replied. "I'll be sure to inform the. .

.affected  members  of  the  crew  that  you  were under the influence of a

drug interaction."

	"Certainly. And tell Neelix no more coffee substitutes."

	Paris  and  Kim  mumbled  their  forgiveness  to  the  Captain and ducked

out of sickbay. Chakotay turned to her and asked, "Why don't I accompany

you to your quarters?"

	"That's a good idea. I don't think I want to walk around by myself out

there right now," murmured a still-bright red Janeway.

	She slid off the bed and jumped as she felt a hand squeeze her behind. She

glared at Chakotay, who merely smiled and said, "Oops."

	"I suppose I had that coming, but don't try it again!" she warned.

	"I wouldn't dream of it. Shall we?"

	With a sigh, she steeled her shoulders and exited sickbay.



THE END





TOP TEN WAYS JANEWAY COULD HAVE PUNISHED CHAKOTAY FOR DISOBEYING ORDERS:



Seen on AOL, believed to be by ChapShan, hilarious enough to share...



10. Write on replicated chalkboard with replicated chalk 1000 times:  I am

not a space cowboy.



9. Force him to partake in holodeck program where he is a Maquis captain

again; half of his crew are Cardassian spies, the other half, Federation.



8. Replicator privileges revoked for one month.  Force him to eat Neelix's

hair spaghetti.



7. Make him spend time alone in the brig with B'Elanna after she's had a

really, really bad day.



6. Make him spend time alone in the brig with Neelix (doesn't matter what

kind of day he's had).



5. Force him to have sex with a holographic Seska, fully restored to her

Cardassian physiology.



4. Tell him that every woman that he has ever slept with has impregnated

herself with his DNA.



3. Make him be Kes's guinea pig when she's in the mood to telepathically

move molecules.



2. Order him to play Lucy in Janeway's holonovel, including wearing her

dress and pursuing her affair with Lord-what's-his-name.



AND THE #1 WAY JANEWAY COULD HAVE PUNISHED CHAKOTAY FOR DISOBEYING ORDERS:



1. Tell him that Seska is expecting quints...





[Photo of Janeway freaking out in Persistence of Vision]



YOU'VE GOT THE TOUCH

She's slowed down, yet the touchy-feely count continues to rise:



Chakotay: 14 [back on top after Tattoo]

Kes:  12 [a woman who can make your blood boil]

Paris: 12 [saved the ship...again!]

Kim:  7 [slow month]

Neelix:  7 ["Get this to the ship"]

Torres: 5 [saved Chakotay...again!]

Doc:  3 [aaaaah-CHOOOOOO!]

Tuvok: 3 [no wonder he's been so jealous of Chakotay!]

Kalem: 5 [although in most cases he started it]

Lord Burleigh: 3 [and if it happens again I'll puke]

Mark:  2 [real men don't get jealous of holograms]

That sleazy jail guard in "Resistance": 2



[Tiny Trek cartoon with Captain and T'Neelix joke]





*VOYAGER PEOPLE*



ROBERT PICARDO

by Jennifer Pelland



[Siubhan interviewed Bob Picardo at Farpoint, where many Now Voyager

members were lucky enough to meet him and hear him sing!  Her initial con

report was full of hilarious anecdotes about her tape recorder which had to

be cut for space reasons, but you can see what happens when you get two

comedians in a room together from this report nonetheless!  Thanks to

Felicia Green of the Gersh Agency, Heather Koons of BGH and Melissa Honig,

Jennifer's photographer!]



NV: I have to ask you at least one question about Kathryn Janeway--Kate

Mulgrew--because it's her fan club newsletter after all. So, standard

question:  what is it like working with Kate Mulgrew?



RP: It is the best possible professional experience for an actor. She is

immaculately prepared when she arrives on the set. She knows all of her

dialogue perfectly. She has already thought about the material. She has

made choices. She is extremely well prepared. And when you do a regular job

with another actor, that is the most important aspect of your working

relationship--that the other actor pays you the respect and courtesy that

you also are obliged to pay them, which is to come to the set prepared to

do your best work so you do not waste anyone else's time, you don't waste

the crew's time. Kate is the Platonic ideal of an actress, someone who is

perfectly ready to go the moment she hits the sound stage. I know you print

this verbatim, which scares me, because I'm the most redundant human being

on the face of the Earth. I say everything once and then I repeat it five

times.



NV: Well, that's fine. It'll be the first time it's been in Now Voyager.

What has your favorite episode been so far?



RP: I would say, personally, probably "Heroes and Demons," because it

afforded me so many different things to do. It was basically an Alice in

Wonderland story where the holographic Doctor got to go through the looking

glass, so there was a lot of fun, fun stuff. And the whole look of the

show, because of the exotic surroundings on the holodeck, made it a lot of

fun to do. One of my favorite shows of the series as a whole is "Eye of the

Needle." Also I enjoyed "Elogium" very much and I thought Kes' scenes with

Kate were particularly, uh...



NV: It seemed like it had the potential to be an awful episode and I was so

impressed when I saw it, because from the preview it sounded like she slept

with everyone on the ship and it sounded horrible.



RP: (Wincing) You're going "they're heading for a male audience"

(laughter). No, I agree with you. When I first heard what the story was I

thought it was very dicey, but I thought that Kate's scene with Jennifer in

my office was a particularly lovely scene. I like when Janeway is given

character, situations where we get to see the depth of her humanity and not

simply the command aspect, and I think that she was particularly wonderful

in that one.



NV: What weak points have you seen in the show so far?



RP: Well, I'm not new to genre, but I'm new to science fiction, pretty

much. I haven't done a whole lot of it; certainly not on television before.

So that sometimes the redundancy of the technobabble or the technobabble

situations, the, you know, spatial anomolies and all that, seem like

just... well, how many spatial anomolies can we go through, in three weeks?

I like the goal of exploration on our show. The unfortunate thing for my

character is I'm stuck back in sickbay so I'm like the little lamp burning,

waiting for everyone to come home. Although I like the shows where we have

away missions and visit other planets and all that, I feel a little like

the odd man out, because I

never get to go along for the fun. But I think that that is our primary

directive, that we reach out and explore on our mission home, and I think

that those are the episodes that grab me the most, the ones that get us off

the ship.



[Photo of Picardo as The Holodoc]



NV: Well, that segues nicely into another question. As the character who is

sort of the lamp burning, the character of the Doctor is very much stuck on

the ship and everyone is just dying to get back to the Alpha Quadrant, but

the Doctor possibly faces being shut off permanently when he gets back,

because he was only supposed to be a stopgap measure until a new doctor

shows up. How do you think the character feels about that, or deals with

that on a daily basis?



RP: I think that's one of the reasons I liked "Eye of the Needle" so much,

because it really presents that situation for the first time. That when

everyone else has the opportunity to fulfill their immediate dream, which

is to return to their loved ones back home, the Doctor, that doesn't have

any meaning for him, because his only existence has been defined by his

experience on Voyager, and once he gets back, then he goes from however

much humanity he has developed, he simply goes back to being a tool.

Because that is his purpose. The purpose of creating the program was for

medical emergency situations and the moment they're back home, whatever the

Doctor has managed to accomplish in growing beyond his initial limitiations

will become meaningless. In fact, they'll probably become disadvantages,

because it will have, dare I say, cultivated expectations in him that

cannot be fulfilled. So, I think that that is anirony that's just not

going to go away, that is a core irony to the holographic doctor's

situation.



NV: Do you think if you stay out there long enough, the character might

actually get rank pips?



RP: They would have to be holographic pips, but I think, absolutely, I

should have pips. I do have a rank, and I deserve some pips. I'm sure I'll

get pips some day.



NV: Buy some at the convention downstairs and sneak them on your costume!

If you could sit down and interview him, what kind of questions would you,

Robert Picardo, want to ask the Doctor?



RP: Are you anatomically correct? (Much laughter). Is there any future for

you and Freya or any of the other holographic babes you might encounter?

Um, let's see. I would ask whatever happened to Rogaine? (more laughter)

Everytime I see the commercial on television that says, "I'd like to find

out more about a real relationship, I'd like to find out more about working

out, I'd like to find out more about Rogaine," I think that I should do

those commercials in my Starfleet uniform as the Doctor.



NV: There's no emergency holographic hair?



RP: (Laughing). So, let's see, what questions would I like to ask? Um, I

would like to ask the Doctor why he has to communicate verbally with the

computer system on board the ship.  Why he simply doesn't have to think it.

I suspect it's for dramatic reasons, otherwise they would have to subtitle

all of my scenes alone in sickbay. Um, I would like to ask the Doctor how

he manages to plan on not aging physically during the next six years of our

television run if we're so fortunate as to have one.



NV: You should ask Brent Spiner.



RP: Yeah (laughs), I should ask Brent. Brent still looks...Brent is older

than me and looks younger than me, so he's probably the wrong person to

ask. But uh, what else would I like to ask the Doctor? Mmmmm...I'll have to

think on that.



NV: If Jeri Taylor walked up to you tomorrow and asked you where you'd like

the Doctor's character to go, what ideas do you think you'd have to give

her?



RP: I would like to, in exploring the notion of what name the Doctor should

choose, whether or not he should name himself after his programmer, which

was the original concept, is that I was going to be called Zimmerman, after

the man who programmed me. In exploring that notion I would like to know

more about our programmer. Once you've named yourself after the greatest

medical humanitarian of the twentieth century and then decided not to do it

because it reminds you of this sad ending to a brief holographic romance

that never was, it sort of begs the question, "who do you name yourself

after next"? And to name myself after a programmer that we know nothing

about seems to open a lot of questions. What was so special about him that

you want to make this tribute to him? Or is it simply like being named

after your dad, which I think is cute, but not terribly meaningful. So I

would like to know the story of my programmer. And I have suggested what I

thought would be an interesting notion, and whether or not they'll do it I

don't know. I think it would be fun if we met the programmer. You don't

have to meet them on video in Star Trek. You can meet them on the holodeck,

of course. I would like my program to be a extremely shy, pathetically

unentitled human being, so that it becomes clear that the holographic

doctor's arrogance and brusque manner was the creation of someone who did

not have the courage to deal with people that way himself. The question

becomes, what was it about this man that made him so unable to deal with

people - so not only reserved, but actually frightened of human contact.

And have the backstory be that this particular doctor who became an

engineer, who retreated from the actual practice of medicine into

theoretical medicine and created this emergency medical program, had

witnessed an experience, such a trauma in a medical situation that he was

unable to treat people any more. In other words, he was the kind of person

who would volunteer in absolutely horrific emergency situations where,

like, Kalax had the metrion cascade, right? The equivalent of the 24th

century nuclear war. And that something had happened to him that had so

deeply affected him that he needed...he could not practice anymore, so he

in fact created the holographic doctor as his arms, to finish a job that he

couldn't do anymore. Which I thought would be sort of an interesting

notion. Whether or not they'll ever do it, I don't know. But this was sort

of a vague, sketchy outline that I pitched to them in my vague, sketchy way

(snickers). I'm hoping that they'll do that story someday, or something

like it.



NV: Do you know if all the emergency holograms on all the ships look

exactly like you?



RP: That is a question that I have posed to them. In theory they would. And

in theory the holographic doctor, well, let's put it this way, if you were

a brand new spaceship, or suppose you were a spaceship that had been around

for twenty nine years that was destroyed, for example, in a feature film in

recent memory and they build  an  entire  new  spaceship that has state of

the art technology in every critical area of the ship. It raises a question

to me, what about you?    At  least  it's  a  technology  that  would  have

been  examined,

offered, and then refused, or turned down. Who knows? But it seems to me

that there's a question there that has to be dealt with sooner or later. Or

maybe all the emergency medical holograms, maybe they have different faces

that you can program. And it would be my voice and Claudia Schiffer's body

on the Enterprise since they have a male captain and, you know...I am

kidding (much laughter all around).



[Photo of Picardo and the Warrior Queens at Farpoint '95]



NV: Have you actually run into anyone dressed up like the Doctor at a

convention?



RP: I have not. There is someone here at this convention who claims to do

an impression of my voice, and it sounds pretty good, but you know what? We

have a parrot at home that sounds better. (laughing)



NV: I have a friend whose parrot does the whooshing of the doors on the

Enterprise.



RP: Oh, our parrots do everything. They do the screech of the rusty pool

cover motor. Our parrots are very talented. I think I'm going to teach my

parrots to say "Please state the nature of the medical emergency." That

would be funny. They tell our children to shut up when they cry. That's

really sad (laughter). You hear a four year old crying in the other room

and you hear, "shut up! Quiet!"



NV: Well, I know that yesterday you mentioned a little bit about that the

Doctor's big fear is that at any moment he could be shut off. He could be

doing anything and just be shut off in the middle of it. Is that, you

think, his biggest fear?



RP: Well, I think that was initially. But now that Captain Janeway has

graciously granted him control over his command sequence, he can turn

himself on and off. And that was the first sense of entitlement, the first

sense of self, I think, along the Doctor's long road to individuality.

Hopefully, we'll have more stories like that. Individuation, maybe the

process of becoming an individual. Maybe individuation, I don't know. I'll

have to check with a professor, somewhere.



NV: Do you have a new worst fear, do you think, or getting home to the

Alpha Quadrant and being redundant?



RP: I think that the Doctor has anxiety about being put in a situation that

he was not designed for. Well, obviously his entire position on the ship is

a situation that he was not programmed for, since he was supposed to be for

emergency medical purposes only, and now he's the chief medical officer.

But I think that beyond that, any particular situation like Heroes and

Demons where he's transferred to the holodeck, where he wants to - in order

to satisfy his secret desire to become a full fledged member of the crew,

he wants to complete any task that Janeway has assigned him, and yet he may

be completely unprepared to do that. So in situations like that where he's

called upon to do things that he really does not have...the expertise, the

programming, the know-how, however you want to put it, he must come

through. Those are the situations that generate anxiety in the Doctor but

also I think will be the most fulfillng for him. So, I would think that

whatever the steps are for getting the Doctor out of sickbay and ultimately

on an away mission, all of those are going to be the Doctor's greatest fear

and simultaneously his greatest desire.



NV: Last question so you can go to your reception. Do people, when you come

back from conventions, do you sit around and talk about things that

happened? Trade weird stories when you come back?



RP: I would say I talk to my wife quite a bit about it. The other cast

members, depending on our relationships maybe not quite as much. It seems

to me that there are only one or two cast members that I tend to talk about

convention experiences. I don't know if that's because the other cast

members haven't had as many convention experiences or they're not as

interested in the experience. The way it seems to shake down is that I talk

to John Ethan about convention experiences. Different people...I think...my

wife has once described me as a lounge singer waiting to be born, so

(laughs) the convention experience has been an easier adjustment for me I

think. It might be for another actor once they stumbled upon this new

opportunity in their career. I'm not saying I'm proud of this talent, I'm

merely telling you what my wife said about me. I tend to babble, but you

know that by now. Thank you very much.



NV: That's fine. That's more for the newsletter, so thank you.





JERI TAYLOR

by Michelle Erica Green



[This was over the telephone, November 29, 1995, and I actually asked her

everything people asked me to ask her--so much for my chances of ever

getting invited in to pitch!  She was really, really lovely, did not scream

at me for asking about J/C, said everything I hoped she'd say about women

and the future...]



NV:  What is your idea of the guiding principle of Voyager that makes it

different from the other Trek shows?



JT:  The franchise is completely different in that our mission is to get

home.  We're stuck 70,000 light years away from everything that we've known

and loved, and we are trying to get home, which is not a mission like any

of the other ventures.  And we have decided to embrace the adventure and to

behave like Starfleet explorers, and learn what we can along the way. It is

very much Trek because it is Starfleet people behaving in a Starfleet way,

which means that they are enlightened human beings who do not go around

imposing their values on the rest of the galaxy, who try to behave in a

good and decent way, and who are upholding all the Roddenberry principles

as they move through this strange part of space.  So that's all very

familiar.  Some of the aliens that we have on the ship are familiar. We

have a half-Klingon, we have a Vulcan, we have things people seem before,

so there is that comfort level.  But of course all of the other alien

species that we encounter in the Delta Quadrant, we've never seen before.

That makes it somewhat different.



NV:  I asked Kate this question, so I'll ask you, although I expect that

you'll think about it differently since you actually created the character:

if you could sit down with Kathryn Janeway, what would you want to talk to

her about?  What don't you know about her that you think, "If only I could

ask her!"



JT:  I'd really love to tap into the mind of a 24th-century woman which is

not encumbered with our 20th century limitations, and discuss what it's

like to be captain and female.  Now, in the 24th century it won't be an

issue, I would imagine, but today it still is, whether we'd like to pretend

that it is or not.  There are things that we think twice before we let

Janeway do because we think that the audience views her in a different way

from a man and we feel we need to protect the image of the captain.  I was

one who, in the beginning when we created Janeway, said that by the 24th

century a woman can have a position of power and authority without acting

like a man.  But in the 20th century that's not true, and there are certain

emotional levels that I think the captain ought to have access to that

we're not entirely comfortable giving to her yet because we fear that it

would undermine her sense of being a captain. So I would love to talk to a

real 24th-century woman and just see how she balances the idea of

femaleness--is there a female essence, is there a female side of people, is

that something we have constructed in our own ignorance or enlightenment,

does that really have anything to do with it?

NV:  Are you a feminist?



JT:  Define it.



NV:  Great answer! I guess the question is how do you define it...do you

see Janeway as a feminist heroine, were you consciously trying to make her

one when you created her?



JT:  Absolutely not because, as I say, I genuinely believe--I hope--I

choose to believe that in the 24th century there won't be any need for such

terms, and that issues of gender simply won't exist.  These are names we've

had to concoct now to deal with very troubling issues, and I felt very

strongly that in the 24th century that wouldn't come up, it simply wouldn't

exist so she could never be defined in that way.  Can I be defined in that

way?  I wouldn't even attempt a definition.  They are so widespread and

far-flung that you tend to get yourself in trouble no matter what you say.

Do I care about the place of women in society? Very much. Do I uphold

positions that I think are helpful to women, do I rail and protest against

things that I think are derogatory to women?  Absolutely!  Everybody here

on the show will tell you that they are gradually being weaned away from

calling 40-year-old women "girls."  That's a very tiny thing. But I take my

stands, and I fight the battles that I can.  Do I go out and get

politically involved in feminist issues?  Rarely.  I don't get involved in

many because I simply don't have time.



NV:  What's been your favorite episode so far?



JT:  I would say it would be a tossup between "Prime Factors" and "Eye of

the Needle. " I thought "Prime Factors" worked on all levels.



NV:  You're writing the novel of Janeway's life before Voyager.  How much

of that did you have mapped out before the show was on the air?



JT:  None of it.  I am making it up page by page.  When Pocket Books

contacted me,    I had no business saying yes to a novel--I have even less

of a life than I ever did and that wasn't much!  But I gave them an outline

which was very short and very broad that just kind of hit some high points

of where I thought I'd be going--no details, no specificity--and they said

great.  So I sit down each day, and I usually do this all weekend, with my

little laptop computer--I have no idea where I'm going.  It's very much a

moment-to-moment thing and it's a very frightening yet exhilarating way to

write. We don't do that in television, we don't have the luxury of that

kind of time. We have a very tautly constructed outline before we start

writing the screenplay.  So it's kind of fun but it's very perilous, and I

always kind of have a lump in my stomach when I start, because I truly

don't know what the next page is going to bring.  And so it's unfolding,

and I'm discovering things about her, or the way that I envision her, that

I might never have arrived at if I weren't going through this sort of

Zen-like process.  I have thought that I must sit with Kate and get her

input as well.  I'm drawing a lot from me, which is what writers do, the

incidents in my life and that kind of thing, and it's all very cathartic

and fun to do, but I think it would be interesting to get her thoughts too.



[Cartoon of B'Elanna Torres having a bad day]



NV:  You created Janeway as a scientist, which I guess automatically means

that there's going to be more technobabble coming out of her mouth than any

of the other captains we've had.  Are there plans to get more science into

the science fiction because of that opportunity?



JT:  We certainly have the freedom to do that.  The way we do stories

around here, people always think we know what we're doing more than we

do--we sort of don't set those goals and say "Ah, here's what will happen

because she's ascientist" and then try to live up to those goal.  We let

the characters unfold as we go along, story to story, and we develop

stories because a story seems really wonderful--it's something we'd like to

see, it's provocative, it's intriguing, it's mysterious, it's spooky--it

has some emotional hook that gets us involved so we tell that story.  It

may be a story about Janeway, it may be a story about Torres or about

Paris, and that's how the character is developed.  We tend not to say.

"Okay, now we're going to do this arc for so-and-so."  We let them evolve

as people do evolve, which is sort of day to day.



NV:  So there aren't any long-term story arcs.  Are there plans to explore

some of the things which have been vaguely established, such as the fact

that Tuvok and Janeway have a rather interesting past together, the fact

that a lot of the people who were in the Maquis came together during fairly

intense situations in the past--do you have plans to cultivate these

eventually, or do you wait and see what people come up with?



JT:  A little of both.  We put some things in place because obviously we

felt it would give us grist for future stories, and yes, it would certainly

be fun to see how Janeway and Tuvok first met, that's something I want to

deal with in the novel so maybe I don't want to use it on an episode, but

it's there to be used.  We tend not to tell flashback stories.  Anything

that happened in the past is harder to tell on TV than it might be in a

novel form because you just have a lot of talk about what went on. But we

have dealt with relationships with the Maquis, we have gotten into a kind

of an arc involving one of them that's going to be coming up in January,

and so we dip into all the things we've set up and hope they work.



NV:  I'm going to ask you a very fannish question. We got a lot of these

questions from people on the Now Voyager mailing list, which consists of

several dozen fans who really, really love the show--



JT:  The kind I like!



NV:  Literally a hundred people asked me to ask you this one.  I realize

this was probably not intentional on the part of the producers, but large

numbers of viewers are under the impression that there's something going on

between Janeway and Chakotay. The chemistry seems obvious--I know that Kate

and Robert get asked about it all the time at cons. I've heard both you and

Kate say that you think it would be unwise for Janeway to get romantically

involved with a member of the crew, and in past couple of weeks it has

seemed that there's been a concerted effort to separate her and Chakotay

and throw B'Elanna at him as a sort of consolation prize.  I was just

wondering whether you have considered the extent to which your audience may

feel you've let them down by sweeping the issue under the rug.



JT:  I was one who sort of tossed this out for consideration way, way, way

back early, and everyone else responded very badly to it, and I think with

justification.  Again, we have to be very careful about what we allow this

captain to do and not do.  I think that for her to breach one of the most

fundamental sort of rules of any profession, really, which are in place--if

not on paper, then it's an unwritten kind of thing, but for very good

reason--then we would be making her look terribly weak.  "She's a woman who

just can't say no to her feelings, she's not enough of a captain that she

puts the well-being and functioning of her ship ahead of her own need to

have a man in her life."  I think it really undercuts her. It's very

fetching, and I know that there is a large segment of fandom, and

particularly of women fans, who love to see our characters get romantically

linked. It provides problems not just for what I've stated, but because if

they do, then what do you do with that relationship? Does it stay in place

so that the opportunities for other romances are never there for them? Does

it become a soap opera in space instead of what Star Trek sort of is at the

core, which is science fiction? It's very tempting--I am one who is

constantly trying to inject little bits of romance and attraction and that

kind of thing in stories because I think it's a big part of people's lives,

and they like to see it reflected.  But I just think in terms of Janeway

and Chakotay that would be a really bad idea, and I cannot see us doing it.

We put in the B'Elanna thing just because then it's there to play with.

Does she feel this way or doesn't she?  Are they friends, is there a danger

if they become close friends because maybe that's going to be too hard for

her if he's attracted to someone else, what is that going to do to her?  I

think we can play with some of those sort of deep-seated feelings that we

all have without compromising the captain.



NV:  No decisions have been made on any of this?



JT:  No decisions have been made. But I don't want to kindle hope that

something's going to happen between Janeway and Chakotay because I don't

think it will.



NV:  I don't think anyone was really expecting it on the show--I think the

reaction was more that people don't want it killed.  But it seems

contradictory...I keep hearing you say you don't want Janeway not to be

able to be emotional just because she's a woman in command. But every time

she's looked even close to tears, that's been something a lot of the net

people have jumped all over. How do you see being able to explore her

personal relationships at all in a way that's not going to have the macho

crowd crying foul?



JT:  I think that it is perfectly all right for the captain to be feeling

and emotional when she's not in front of the crew, with someone like Tuvok

who is her close confidante and whom she can kind of unwind with.  It's in

situations like on the bridge or the briefing room, when she is functioning

on duty as the captain, that if she becomes too emotional, this creates a

feeling of weakness. We get people immediately saying, "Who made that woman

captain of a starship?  She's falling apart!" If the captain loses it, who

can you trust? You've got to have an anchor, you've got to have a rock that

is that solid in that position or everything else is hollow.



NV:  Kate said that she gets into trouble because she's always taking

risks, since that's the only way to learn anything, and they constantly

tell her it's too emotional.



JT:  We've had those discussions. We have a wonderful, fully textured

actress in Kate Mulgrew, who likes to use all of her instrument. And I know

it's frustrating for her, that it is her job to kind of push at the edges

and see what works. She is a marvelous actress, and she simply wants to use

her full self. It's a really fragile situation. I certainly do not want, in

the first instance of a woman being captain, to come out of it with people

saying, "That was a mistake."  I'd rather err in the direction of her being

too captainlike than to stick her out there and have people say, "Let's get

back to a man who can really do the job."



NV:  We only saw her lose it once, in "Persistence of Vision," and everyone

else was losing it too.  I was intrigued that Janeway and Torres's

fantasies that were focused on--we saw a couple of seconds of Tom and a

couple of seconds of Tuvok, but we didn't really learn anything new about

them--I wondered about the choice to focus on the women.  It seems like

some women viewers were upset because it seemed like the female characters

were becoming sex bimbos.



JT:  I think that's a very fair comment. I got that same comment much after

the fact here--I wrote that episode--and certainly it wasn't my intention

to leave people with that taste in their mouth. As I said, I'm always

trying to inject a little romance and a little sex, sometimes our show is

very sterile, so when I have the chance I like to bring those sensibilities

to it. Part of the reason that was set in motion is that we want to resolve

Janeway's love affair at home with Mark--she needs to be able to get on

with her life, for her to become romantically interested in anybody would

seem like betrayal unless she comes to a decision and says, "He believes

I'm dead, he's gone on with his life, I have to do the same," and then can

moveon. So we started it by having this funny attraction to a holodeck

character which seemed like a very safe thing, it's not real, but clearly

it was disturbing her more than she was willing to admit.  If you have a

program that is all written for you in essence--this is a book, she didn't

write it, she's simply playing a part--and it turns out that the hero in

that is attracted to you, that's the role you're supposed to play. It's a

way of having feelings that she's having to repress repress come to the

surface, except that she finds out--is it so safe? So to me it was a very

provocative way of her beginning to get at these feelings and come to grips

with the fact that she will need to get on with her life. I certainly did

not intend for the women to look like sex bimbos, I was trying to deal with

the real needs and feelings that it seems to me people would have in this

situation.



NV:  I think it's what you were talking about at the beginning, the double

fact that you're writing about 24th-century people for a 20th-century

audience. I keep hearing who the demographic audience is, but it seems like

the advertising is equally targeted towards women and men. And I was

wondering if there is a consciousness that there is an increasingly female

audience, or conversely sometimes it almost seems as if that is seen as a

liability, like there's a sense of let's get back to techno Trek...



JT:  Certainly the network and the studio perceive this as a show which

attracts young males, which is the audience they want to attract.  And

there is a certain amount of encouragement for us to do stories, i.e.

action-adventure stories, that appeal primarily to young males. However,

the staff here, which includes not just myself but a number of enlightened

men--they have no interest in just doing shoot-em-ups. Rick and Michael are

much more attracted to the kind of shows that you would think women would

be attracted to. So I don't think we're in danger of not programming for

women--if anything our tastes go toward that and away from programming for

men, and we have to be reminded to do the other kind of shows.



NV:  We hear conflicting things about Voyager's ratings: UPN is delighted

with them, they hate them, they're OK--are they pretty much where they were

targeted to be?



JT:  They're either there or even a little better.  Being on the UPN

network is a great disadvantage. If we were syndicated I think we'd be

doing even better than we are. The network does not have full coverage of

the country, so in terms of sheer numbers which are the ratings, we can't

compete with the other networks. We're hitting 85% of the country and

they're hitting 100, and even in those markets where there is an affiliate,

we're on Channel 71, very often the top channels have already gone to other

outlets and we, just like the Warners network, had to settle for like the

dregs. I get letters from people who don't get it at all, or don't have

cable--there's nothing I can do about it, but it's just going to be

impossible for us to compete when we don't even have access to the same

numbers of people.  Basically we're at a very good place, we're at about a

ten share every week, and that for one of the big three networks would be a

pretty low rating; for UPN it's four times as high as anything else they

have, and so it's very good.



NV:  What do you think Voyager is really on top of right now and doing

exactly the way you hoped it would be doing, and what conversely do you

wake up in the morning saying, "OK, we have to do something about this

problem?"



JT:  That's a really good question, and I am not one whoever wants to get

too complacent and say, "Boy, we're doing this just right."  I don't allow

myself to feel that, or I'm not able to feel it--I never feel that about my

own work. Other people will say, "That was a really good script"; I have no

sense of it, because I am afraid of becoming comfortable and satisfied and

I don't think that that's a good place for a creative person to be.

It's a lot easier for me to focus on the things that I want to shore up,

and they range from I'd like us to find better stories, they're getting

hard to find because the Star Trek incarnations over the years have done so

many that finding a fresh story is really tough, and I think that sometimes

we kind of sink back and do something that's familiar because we're just

not able to find that new, fresh, exciting sci-fi notion that's going to

boggle everybody's mind. I would love to have more of those. As long as you

produce some response, that's the important thing, to get people stirred up

one way or another, then you've touched their feelings.



NV:  Do you ever think about doing what Classic Trek did and drawing upon

professional science fiction writers?



JT:  Oh, of course. We have. We sent out years ago an open invitation of

the Science Fiction Writers of America to pitch, and got some response, not

very much, it didn't really prove a very fruitful way to go. The door is

open, and we've even made it easier for them than for others, and just not

gotten the response.



NV:  Well, I think we all know that Janeway is a lot of people--she's part

the writers and part Kate and part you--



JT:  Of course she is, and she will always be dear to my heart because I

drew on so much of me for her, but when Kate came along she was Janeway,

she is, as a person, that captain. And I just think we couldn't have made a

better choice, she's fleshed her out and I wouldn't even assign percentages

now because she's really the one who's brought her to life.



NV:  Thanks very much!



[Drawings of Janeway]





*KATHRYN JANEWAY, FEMINIST HEROINE*



LEND HER A COMPASS:   SHOULD JANEWAY HAVE TO PULL ALL THE WEIGHT?

by L.R. Bowen



	Kathryn Janeway is the center of Voyager: her captain, her guide, her Rock

of Gibraltar. That's as it should be. She has the toughest job in

Starfleet, and handles it like the trained, talented professional she is.

Thrown into an impossible situation, she has managed to gain the loyalty of

renegades, defeat determined enemies, foil treachery and save her crew from

countless dangers. She has her principles, and although there is no one to

check up on her, she keeps faith with the Prime Directive. She's determined

to get her people home again.

	But she's been led along a convoluted course of backtracking, blind

alleys, and dead ends. Wandering around in mazes of tunnels or corridors is

one of the recurring motifs of the series. She threatens the Vidiians with

"the deadliest of force" should they attempt to molest her crew, yet when

they do just that, she sneaks off. She works for months to find the

Caretaker's mate, but after confronting her without result, speeds away

again "on course." Is she heading straight for the Alpha Quadrant, or

looking for the magic solution to the journey in an anomaly or

technological trick? Is she going to duke it out with the bad guys, or back

down to save her photon torpedoes? When her officers disobey orders, is she

going to impose punishment, or just tell them they've been naughty? Is she

going to find solace in the arms of a hologram or those of a real person,

or not at all? A Starfleet captain of her caliber should have these

questions well in hand.

	None of this is Janeway's fault, or Kate Mulgrew's fault. It's the writing

and the planning, or the lack of planning. Taken individually, most Voyager

episodes are enjoyable on a surface level, but suffer from worrying

inconsistencies. The basic science in the science fiction doesn't hang

together, even when the Star Trek laws of physics are taken into account.

The Voyager blasts through shell-like event horizons, gets annoyingly

tangled in time-travel, meets alien races with impossible reproductive

biology, and blithely transports people through shields. Dang, you just

can't DO that. People will notice. And this kind of carelessness spills

into the plots and characterizations, contributing to a general feeling of

chaos.

	The producers say they want to show Janeway's emotional side, but they're

afraid to have her relax too much for fear that it will be perceived as

weakness. Her femininity is not a liability in the 24th century, but to a

20th century TV audience, it still makes a difference. There are

constraints on her actions, especially her love life, that Kirk or Picard

or Sisko have never had to face. But with more support from the writing,

Janeway would be in a better position to behave in a way that makes sense

for her warm, passionate nature. Many viewers have taken exception to

Janeway's misty eyes, but if her actions otherwise were less ambiguous, if

the show seemed to have a handle on her purpose, such criticisms would be

lessened. Janeway can only come off as a strong character if she is allowed

to exist in a universe whose underpinnings are also strong. Sloppiness on a

writer's part or indecision on the producers' part comes across as the

character's weakness, especially when she is the center of the show.

	Taken as a whole, the oeuvre of the Voyager writers has no clear focus, no

theme. The producers have been quoted as saying there is no long-term plan

laid out, and that the character development has been at random. No arcs

seem to have been made at the beginning for any of the characters. It is

inevitable that they will change under the circumstances, so different from

what they are used to, but without a sequence mapped out for them, they

have stagnated, or taken huge steps all at once and then relapsed. Some of

them, notably B'Elanna Torres, vary so much from episode to episode that

there is no sense of her in the audience's mind yet. Why? Don't the

producers realize that viewers can sense this lack of consistency with

perfect clarity? There doesn't have to be a five-year arc worked out in

advance for every element, but some kind of general idea should drive the

motion of the series.  There is no discernible direction. And in a show

that nominally concentrates on the idea of finding a way home, that comes

across as floundering in more ways than one.

	The goal of "home" cannot last as a compelling one for very long.  It was

weak to begin with, and passive. The Voyager noodles around hoping to fall

into a rabbit hole? That's not heroic or inspiring, and depends on random

luck. The people in isolation together are the real subject, but that

wonderful setup is stunningly ill-served except in flashes. We see brief

glimpses of something greater, get all excited about them, hope to see them

develop--like the attraction between Janeway and Chakotay or the general

idea of the bond of the crew--and then find out they were practically

accidental and will probably be ignored in future. The best things about

Voyager are casually introduced and then casually thrown away.

	But if the producers had made some plans ahead of time about things like

what will happen in the way of romantic relationships, then the path of the

stories would not seem so twisty and confusing. Whether there is an agenda

or not, people will assume one and look for it. It's disingenuous to

pretend that any route to the goal is all right. This is all out in public

and what they might think of as "discovery," the viewer may well think of

as indecision and spinning wheels. And that rubs off onto Janeway and

weakens the perception of the character. The best thing that could happen

to Janeway would be for the show as a whole to acquire a decisiveness of

manner. Then she would be freer to act comfortable. Some of the burden

comes off the character directly and goes on to the structure of the show.

	Take some of the weight off her shoulders. Let her breathe. Build a solid

structure around her and let Janeway be a person, not a monument. She'll be

stronger for it, and more real, and Voyager as a show far better off.

Janeway is a Colossus of a character, and Kate Mulgrew a powerful actress

and incandescent personality, so the temptation to let it all rest on her

slim shoulders is understandable. But the strain is too much, her strength

has been used as an excuse to let the other elements slide, and damages the

integrity of Janeway in the long run. As the credibility of her universe

grows, so will she grow to fit it. The possibilities are as large as the

Milky Way.



STARSHIPS AND THE SINGLE WOMAN

by Jennifer Loehlin



	There have been numerous calls out there in Trekland for romance on

Voyager, beyond the somewhat improbable Kes-Neelix relationship. I do agree

that it would be nice to have some stable relationships depicted on Star

Trek, i.e. relationships which aren't over by the time the producer's name

appears astern. So far, it has tended to be a swinging singles scene. And I

certainly would expect Voyager's crew to begin "pairing off." That said,

however, I also think there's a strong case to be made for continuing the

existing Trek tradition whereby a starship captain is first and foremost

married to his/her ship and does not get involved in relationships lasting

more than about 43 minutes plus commercials. This tradition is there for

some very good reasons (in other words, reasons beyond the desire to let

Kirk have some fun with some alien babes).

	For one thing, being a starship captain is an extremely demanding career,

even under less extreme circumstances than Janeway's. There's a lot of

travel involved, and as far as we know most starships still don't have room

for family members. Some couples, like Geordi LaForge's parents, seem to

manage to get by with commuter marriages, but that probably hasn't gotten

any easier by the 24th century than it is now. Also, of course, it's

dangerous work--the starships we've seen seem to run into major crises

about once a week. The responsibilities are very heavy. And no one becomes

a starship captain by accident. Janeway made the decision to switch from

science to command track, and she's presumably worked hard to accumulate

those pips. She may not have made a conscious decision not to marry, but

she's surely accepted that as a possible outcome of her career choice--she

doesn't seem to have been in any hurry to marry Mark. Under the current

circumstances, it hardly seems likely that she could muster the time and

energy for a relationship, even if there were no other obstacles. But, as

it happens, there are.

	The barriers to a relationship between a captain and an officer under her

command are not just some impulse of Starfleet bureaucrats. Relationships

between unequal partners are inherently problematic. Chakotay (the favorite

candidate) might well have difficulty refusing to get involved in or

breaking off a relationship which Janeway wanted, or trying to initiate one

if he weren't sure she wanted it (and how often are both parties, at the

beginning of a relationship, sure what the other wants?). For anyone of

lower rank, these obstacles would be even greater. Consequently, becoming

involved in such a relationship would be highly unethical on Janeway's

part.

	In Chakotay's case, the inequality is reduced somewhat by the fact that he

has commanded his own ship in the past (and by the fact that they're not

back in Federation territory--he's her first officer, not her prisoner).

There's another, very large problem, however--they have to work together

closely every day. Now, the rule against getting involved with one's

co-workers is like the Prime Directive--a good idea, but frequently

violated--but on Voyager, the potential problems loom especially large. If

they had an affair and it didn't work out, there's no place for either of

them to hide, short of staying behind on some M-class planet. People lower

down in the hierarchy can establish relationships with those in other

departments (almost all the people shown in the background in the mess-hall

scenes in "Persistence of Vision" were male/female couples with

different-colored uniforms), aiding their chances of not running into each

other too much if the thing goes sour. Janeway and Chakotay don't have that

option. Their professional relationship needs to work for the sake of the

whole crew--it would be poor judgment on both their parts to jeopardize it

for the sake of their personal romantic inclinations.

	Add to these 24th-century obstacles to a romantic relationship between

Janeway and Chakotay or any of her other subordinates a 20th-century one:

would the show's writers be capable of depicting such a relationship in a

way which would be acceptable to an audience without either diminishing

Janeway's authority or making her lover appear weak? The convention that,

in a heterosexual relationship, the man should be more powerful (and older,

taller, smarter, etc.) than the woman is not one I personally endorse, but

historically speaking it's certainly been one of the more widely and firmly

held beliefs among human cultures, and it's a long way from dead.

	I think there's some purpose to be served by sending the message that

finding Mr. Right doesn't need to be the highest aim in a woman's life and

that a woman who doesn't marry and isn't a failure. This may also be

somewhat difficult to get across, but I think it has a better chance of

success than a believable romance. I would like to see Janeway as a

successful, confident single woman with the respect of her crew and the

viewing audience. That doesn't rule out an excursion into other

possibilities, along the lines of "The Inner Light" or "The Paradise

Syndrome," nor the occasional fling with an alien, preferably a more

attractive one than Slinky-head. Nor does it rule out stories exploring her

relationships with the members of her crew--because there are interesting

connections other than romantic ones.



"JANEWAY/CHAKOTAY '96!"

by Julie Aiken



	I met Michelle because of that provocative saying of hers, but I'm not

sure I want Paramount to put Janeway and Chakotay together. It's not that I

don't think they belong in a mature, sexy, respectful, funny and loving

relationship; they're already in one. But I'm afraid that the show wouldn't

do a J/C romance right. I haven't seen evidence that "Star Trek" can do a

long-term, passionate romance between two adults without reducing them to

muddled-thinking, hormone-driven adolescents. And one other point on which

I agree with Michelle is that it would be more than a little demeaning to

create the first major female on Trek and then make her incomplete without

a man--just the sort of thing I would expect from Trek, frankly. (Deanna

Troi craving chocolate and worrying about her weight when she's

lonely--please!)

	But most of us have played J/C out in our heads, and they remain mature,

respectful, funny and loving even when they get sexual. First and foremost,

they do what's best for Voyager and her crew.  They live, breathe, eat and

sleep duty and honor; that's one of the main things binding them together

so closely, and I seriously doubt that could change even if they began

living, breathing, eating and sleeping with each other. I cannot picture

Janeway faltering over sending her lover into danger like Picard did. It

might be painful, but she knows her duty, and she respects that he knows

his. And we know that Chakotay was a good captain in perilous situations

even while sleeping a high-ranking member of his crew. They are fair and

respectful no matter what: when Seska was accused of treason, Chakotay

treated her fairly yet managed to do his duty to Voyager.  I don't see

jealousy and favoritism coming into play. We're not talking about Tom

Paris, who might give a girlfriend preferential assignments. These are not

teenagers, nor are they inexperienced with command. Their leadership styles

remind me of things I've read about President Kennedy.  According to

legend, he would engage his cabinet members in discussions on issues,

actively seeking out their opinions--including ones which conflicted with

his own--and listening with respect. He didn't put them to a vote; he did

what he thought best, even if his advisors disagreed, but only after he'd

heard them out and let them know their input was valuable. This biography

may be apocryphal, but still it seems to define important qualities of

authority, qualities both Janeway and Chakotay possess.

	I think someone at Paramount is secretly planning to do J/C whether they

admit it or not. They're already in that mature, sexy, respectful, funny

and loving relationship and it's utterly charming; he's crazy about her;

they sizzle whenever they come within 15 feet of each other; love between

two equal, independent people is a positive thing, not a demeaning one; and

neither one of them should have to be punished with celibacy for 70 years

just so they can appear not to be as sleazy as Kirk.  (Are we going to be

dominated by Christian "the body is filthy" thought-forms in the 24th

century?  That's not my idea of a bright future.) As to why, after the

Paramount-bashing I indulged in, I think they could do it right: I've never

seen the interpersonal aspect of Star Trek done so well as on Voyager.

>From the beginning, the characters have had more dimension than on previous

shows. Some examples: the deepening friendship of Harry and Tom, the

respect growing between Harry and B'Elanna, the mentor/protégé bond between

Chakotay and B'Elanna, the flirtation between Tom and Kes. All of these

relationships began in the very first episode, and have not been dropped

but rather have been sustained, explored and broadened into the current

season.  Often in unexpected moments we will be reminded of the characters'

connections, as when B'Elanna sought out Chakotay in "Twisted."  This is

great stuff!

	Being the good pagan that I am, I wondered why Janeway saw an animal which

represents fire and thus her own passionate aspects while Chakotay was

guiding her in meditation. According to The Thirteen Original Clan Mothers,

the Kiowa (a Mexican Native American Nation) tradition's 13th Original Clan

Mother is named Becomes Her Vision.  She is, among other things, "The

Guardian of Transformation and Transmutation," "The Mother of Rites of

Passage Into Wholeness," and "The Guardian of Personal History, Becoming

and Myth." What is Voyager's odyssey but a transformation, a passage of two

separate crews and philosophies into one whole?  And who is there to

nurture them through it all, who keeps "a record of every choice made by

each life...noting how those choices alter and/or assist each individual's

path," like a Captain's Log?  Becomes Her Vision's major learning

experience was meeting a lizard!  "In the eyes of flame...all illusions

were shattered, revealing the purity of the Eternal Flame of Love."

Chakotay leads Janeway to her animal guide, and she sees a lizard. Just a

coincidence? Well, probably. But The Thirteen Original Clan Mothers is one

of those popular books on the market right now which someone creating a

Native American character might pick up and browse through. I just like the

thought of Janeway and Chakotay finding the Eternal Flame of Love together.

It's got a nice ring to it, no?  Like Janeway/Chakotay '96!



[Drawing of the Voyager crew]





*COPYRIGHT VIOLATION CORNER*



[Paramount owns the names, but the characters have free will, and so do the

people who fill in the blanks for the show's writers.]



MEDITATION

by Diane Nichols



...dusted eagle wing

sweet prairie medicine

comfort me your lonely son...



[From "Impressions of the Peyote Ritual" by Lance Henson, Keepers of

Arrows: Poems for the Cheyenne, Renaissance Press, 1971.]



First Officer's personal log, Star Date 48539.3.	

	It's been a long time, and it's something I didn't think I'd ever be doing

again, keeping a log. Those last months in Starfleet before I left, I had

stopped altogether. It got harder to justify staying, and harder to keep my

disillusionment and endless questioning from turning every log entry into

an interior debate. Should I stay? Should I go? How do I live with my

decision, either way? Then, after I left--well, being a Maquis didn't

require personal logs. There was no time to think, and nothing to think

about, really. Or was it that there was too much? In any case, life in the

Maquis was lived, not reported. I doubt whether anything I might have said

at any point during that time would have made much sense to someone who

hadn't been there or somewhere similar. War stories aren't much good until

years later, when you've had time to rewrite them in your head, to edit out

all the pain and terror, so that you only remember the rare triumphs and

the funny parts. Of course, you have to survive the war in order to get to

that point, and it seems I have survived. I never expected that. And I

never expected it to happen the way it has.

	I sit here in a Starfleet uniform, looking around the first officer's

quarters of a ship which, a few weeks ago, was sent out to find me and,

probably, blow me out of the sky. Captain Janeway won't tell me what her

orders really were, but I know that getting Tuvok back was incidental, and

that capturing us and transporting us back to face charges was simply the

first option. Nobody from the Federation would have wept had she found it

necessary to wipe us out in the process, and she and I both know that. It

didn't work out that way, though. Instead of sitting in Voyager's brig, or

having my molecules scattered all over the Badlands, I'm here, in this

uniform, in this room. It's something that I never dreamed could happen,

and I'm not sure how I feel about it. Maybe that's why I'm here, doing

this. Old habits die hard, especially old Starfleet habits, and I hope that

I can make some sense of everything that has happened to me--to all of

us--by picking up where I left off--how long ago?--a hundred years, it

sometimes seems. If nothing else, I can make up for lost time by recording

every trivial event of every trivial day here on Voyager. Or maybe,

hopefully, I can find some peace.

	I talked to B'Elanna earlier. Our new Chief Engineer looks more than a

little bit uncomfortable in her Starfleet uniform, and she told me she's

not sure she can adapt to the changes, but I know better. B'Elanna can do

anything she puts her mind to, including proving to Captain Janeway that

she belongs in that position, in that uniform. She says that I look like I

never left, but I don't feel that, at least not most of the time. Oh, there

have been moments when the habit of command reasserts itself. A bridge is a

bridge, whether the ship belongs to Starfleet or to a bunch of rebels, and

I've never had much trouble making command decisions. But there are also

moments when I wonder if I've been away from it for too long, and I'm as

unsure as B'Elanna is about my ability to take orders from my new captain.

Maybe it's no longer in me to be a first officer. I understand the function

of the job well enough, but I'm not sure that I can easily fall back into a

subordinate position. Already, I find myself making decisions, rather than

offering suggestions, and I know Captain Janeway has had it to the top of

her bun with me stepping on her toes. I tell myself that I can adjust, but

I admit here that I'm not sure. This new role is as ill- fitting as my

uniform is. I spend my days tugging here and pulling there, and trying to

make it fit, but it doesn't, and I don't know if the problem is with me, or

with the rest of this strange new life I'm living. I thought about trying

to talk to B'Elanna about all this, but suddenly my rank asserted itself.

We have fought together, shared meals and living quarters and too many

close calls, but now I'm not just her friend and comrade, I'm her superior,

and there's a distance between us that Starfleet regulations won't allow me

to cross. Even if I could ask her for help, though, I wouldn't do it. She's

got enough of her own problems to deal with right now, without taking on

mine, too.

	I've tried to work through these doubts by talking to my animal guide. She

has always helped me in the past, though sometimes I've doubted her

counsel, and sometimes she remains silent at the moments when I most need

her to speak. This seems to be another of those moments, but I suppose

she's as disoriented as I am right now. Do spirit guides need periods of

adjustment, too, I wonder? I need her to tell me what to do, and she only

wants to play. I wish I knew what she's really trying to tell me...

	When Captain Janeway offered me the position of first officer, I thought

that she probably didn't expect me to accept it, or want me to. She was

backed into a corner, by her own actions, and by the situation we found

ourselves in. Maybe she thought she could press me into doing something

rash, like trying to seize control of the ship, and she could justifiably

stand back and let Tuvok shoot me, and be done with it, and with me. That's

what I figured, and I'm pretty sure it's what B'Elanna and the other Maquis

anticipated, too. Of course, I didn't know Captain Janeway then. I had no

way to judge the sincerity of her offer, so I decided to accept it, and

then wait to see what would happen. I expected her to be surprised, but

instead she was--grateful. No, that's not it--she was pleased, almost

excited, as if she had some kind of a vision of how things were going to

turn out, and by deciding to cooperate with her, I had done what she had

hoped for. I remember thinking that, and asking myself which particular

cabbage leaf I had just crawled out from under. It seemed like a naive

assumption, and if there's one thing I'm sure of, it's that I lost my

innocence a long time ago. Now, though, I know that my instincts were

right. From the moment she decided to destroy the Array, Kathryn Janeway

knew that she had one goal to achieve, and that's to get this ship and

everyone on board back to the Alpha Quadrant. Everything she does,

everything she thinks, relates to that goal, and I assume that includes

choosing me to be her first officer. I guess it's a good thing I didn't say

no.

	It was a hard decision to make, though, and made harder by the fact that

I've got certain problems with people on her crew. Tuvok--I thought I knew

him. During the time he was with us, I found myself trusting his judgment

more and more. I never doubted his integrity, or his devotion to the cause

I thought we shared. I didn't think of it like that, of course--we never

sat around telling each other we were heroes, or freedom fighters, or even

terrorists, as some would have it. We just did what we had to do whenever

it had to be done, and then we crawled back to our holes and got ready to

do it all again. But Tuvok, he fit in right away, or at least I thought so.

B'Elanna had her doubts, but I never could question the intentions of a

Vulcan. I assumed there could be no hint of subterfuge in him, no

possibility that he could be playing a part. I suppose he has justified his

actions to himself, if Vulcans feel that need, by saying that he was

following orders he believed in, given to him by a captain he believes in.

That's the Starfleet code, and as an officer he's expected to live by it.

The problem I have with it, though, is that by following those orders, he

betrayed me, and, yet, all I felt from him during our dealings together was

acceptance of my role as leader and even respect for me as a man. Shouldn't

I have sensed that something wasn't right? How could he have fooled me so

easily? Or, was it so easy? Maybe I'll never know the answer to that, and

maybe I'll never be able to give him my wholehearted trust. I've been

fooled once, and it's not something I'll be able to forget, or to forgive.

Is that my problem, or his? And how much of the anger and resentment I feel

toward him is caused by the fact that his loyalty was given to Captain

Janeway, not to me? She would understand that, I think. I've known

Starfleet captains who didn't have it in them to feel loyalty, or to

inspire it, but she's not one of those. It's obvious that she and Tuvok go

back a long way and mean a great deal to each other, which really makes me

wonder why she chose me, and not him, for this job.

	And then there's Tom Paris. I don't know what to make of him any more, I

admit it. I never had any use for him during his short and spectacularly

unsuccessful career as a Maquis. He was the type who joined up for the hell

of it, because he thought he could make some money, cause some trouble,

and, probably annoy his father by doing it. He had the potential to be

whatever he wanted, whether in Starfleet or out of it, but he was always

more interested in finding the angle or scoring with the women or feeding

his own ego. When he came back for me in the cavern on the Ocampa

homeworld, I assumed it was to put me in his debt, because he knew how much

I would hate owing him anything. Hell, he admitted as much, didn't he? But

there are timeswhen I see him walk onto the bridge with the same look of

pride in his eyes that Harry Kim has, or Captain Janeway has, and that

surprises me. I think it surprises everyone, except her. It's almost as if

she saw something in him that no one else recognized, something worth

redeeming. She would be willing to give him a second chance--or a third, or

a fourth-- if she believed in him.

	And, Paris, to give him credit, seems determined to live up to her

expectations of him, at least, so far. Maybe I'm more cynical than she is,

but I'm planning to keep an eye on him. If he keeps his nose clean, I'll

leave him alone, but if he sets one foot out of line, he'll be sorry that

he chose to save my life, because I'll spend the rest of it making him pay.

Out here, who knows what kind of opportunity might arise for him to do

something shady? I can picture the son of a bitch selling technology to the

Kazon, or something equally low. I can't help wondering if I should warn

her about him--but, then, she's got access to his complete record, and I'm

sure she's read it. Hell, it would make for an interesting bedtime story.

Well, let her make a project out of Paris, if it pleases her to do it.

Maybe before our time together is over, we'll all be needing to find

projects to keep us occupied. Maybe B'Elanna will take up crocheting, and

Tuvok can learn to juggle. Or flamenco dancing would be good, too. Pottery?

That would be practical, at least--you can never have too many pots...

	Erase that last part, I'm getting tired and stupid, I think. But, I

wonder, what project will there be for Voyager's first officer? Learning to

be a Starfleet officer again? Allowing myself to trust the system that

betrayed my people? Or, considering how far away we are from the nearest

Federation outpost, is it only necessary that I give my trust to Captain

Janeway? Maybe I've already done that.

	I wonder what she thought of my official record...

	[Computer notes a lengthy pause in the first officer's monologue at this

point, and shuts down recording.]



First Officer's personal log, Star Date 48546.2.	

	I almost gave this up as a bad idea, especially after my thoughts

degenerated so quickly into farce. I had hoped that giving voice to my

concerns might be a good thing, for me personally, and for my role as first

officer on Voyager, but I wasn't ready to face my own thoughts that night.

I played the log entry back just now, and heard the frustration and anger

in my voice, and it shamed me that I could be so petty, and that I could so

neatly sidestep the truths waiting to be told and instead concentrate on

small, ultimately inconsequential details. I sounded bitter at times, my

words those of a man caught in a situation not of his own making, and

determined to see the worst in everyone and everything around him. What

happened before we came here--even who we were back there--doesn't matter

any more. Nothing can change the fact that we are here now, forced to rely

on ourselves and on each other to find some way to go back, or, failing

that, to forge onward and create a new way of life together. Holding

grudges against Tuvok, or Paris, or Captain Janeway, as some of my former

crew seem to do, is not just pointless, it's perilously close to treason.

We have to learn to work together if we're going to survive this test. I've

been giving lip-service to Starfleet since the day I put this uniform back

on, but something happened today that made me realize how far away from

acceptance I really have been, and how wrong I am not to give up the hidden

resentments that dictated my words in that last entry. I started to erase

the whole thing, but then I decided to keep it, as a reminder of how ready

I am to persist in my own folly.

	What happened might seem like a small thing, but it made a profound

impression on me. I've known for a while that Kathryn Janeway is not the

average Starfleet captain. The other thing I noticed when I replayed my log

entry was that I said only good things about her, and it's fair to say that

I've been impressed with her from our first meeting. I never met her during

my Starfleet days, but I knew that she was one of the young hotshots on a

career track that had her earning pips in record time, so it didn't

surprise me to be confronted by Captain Janeway. What surprised me was that

she didn't fit the image I'd formed of her, based on the stories I'd heard.

>From the beginning, she seemed willing to listen to me, or to anyone else

who had something to say. Even the greenest ensign's opinions carry weight

with her. She hasn't developed that "captain knows best" mentality that

sometimes prevails in Starfleet. What could be considered a lack of

self-confidence, a weakness, in others, is a major strength in her. She

takes the best of whatever is offered to her, and acts decisively on it.

She's the most goal-oriented person I've ever met, and she's willing to do

whatever needs to be done to achieve her goals. She's capable of making

tough, unpopular decisions, and willing to accept the consequences, without

shifting blame or making excuses.

	As I said, some of the Maquis, and even several of her own crew, have

expressed anger at her for destroying the Array and eliminating the

possibility that we could use it to return to the Alpha Quadrant. I've

asked myself more than once if I could have done what she did, and I

honestly don't know the answer. Her decision was immediate, true to her

convictions, and irrevocable. Even more impressive, she gives no indication

that she regrets it, or that, if faced with the same situation again, she

would act differently. I've come to feel that Starfleet morality is a pious

sham, but when confronted with Captain Janeway, I'm forced to admit that my

judgment may be in error. There is at least one captain with a conscience,

and a heart, and she--

	But I was about to mention the incident, the thing that happened today,

wasn't I? We were on the bridge, and she leaned over and asked me what I

thought about the crew's morale. Of course it's a major concern at this

point, and as a good captain, she knows that. I thought that her intention

in bringing it up was to put me in charge of some kind of counseling

program, to shift her worries onto my shoulders, since crew problems are a

major part of my job. I waited for her to suggest it, but she didn't. In

fact, it didn't seem to occur to her that such mundane issues are supposed

to be below her notice. She was looking for answers for them, and for

herself, and not just pointing out to me that I might be lax in my duties,

as I first thought. As we talked, I heard myself babbling on about my

animal guide, and Carl Jung, and who knows what else, and I could see that,

far from being offended by my presumption in offering my own personal

experience as a possible solution, she was completely caught up in my

words, obviously intrigued at the idea that anyone can summon his or her

spirit guide.

	That was when I realized that things are changing radically on Voyager,

that we are becoming a new entity, and that the old rules, in many cases,

no longer apply. She has recognized it, long before the rest of us, and by

confiding her fears to me, has acknowledged that the change is necessary,

even desirable. I tried, afterwards, to imagine any other Starfleet captain

of my acquaintance who would be willing to contact his animal guide, or

even one who would have sat there and listened and asked questions with so

much interest and intensity in his or her eyes, but could not think of one.

I heard myself suggesting to her that, as a first step, I could help her to

contact her own guide, something I had vowed never to do again after the

fiasco with B'Elanna, and, even more surprisingly, I heard her agree. This

captain, this woman knows that we are in for a long haul, and she knows

that unless we can begin to bond-- all of us, from captain down to the

lowest-ranking ensign--we are not going to survive it.

	Even when confronted by this revelation, I didn't want to believe it. I

had to test it, to see if she was just playing a part, pretending to be

enthralled by the quaint and colorful traditions of my people. At the first

opportunity, I was off to my quarters to get my medicine bundle, to

demonstrate to myself and to her that she wasn't sincere. I even felt smug

about it, believing I could prove to her that, in spite of her words, she

would react with the same condescension that had been exhibited by those of

her race toward those of my race for countless millennia. She would have a

hundred excuses not to do it, I thought, or maybe she would try but fail to

conceal her amusement. As I think back, though, I admit that part of me

hoped to be proved wrong. I have begun to give her my trust, at least as

much trust as I'm able to give to anyone. I admire and respect her as a

person, and as a captain. But I've held something back, waiting for some

word or action that will show me that my initial reaction to her is wrong.

I'm like the dog whose former master abused him, and who can't bring

himself to believe that the kindness shown to him by his new owner is

genuine. Not to push the metaphor too far, but I trust only to a point, and

then I shy away, just like that dog...

	I will never forget the look on her face as she surrendered to the trance

state--there was such wonder there, and such joy. I have deliberately

distanced myself from humanity these past few years. In part, it was

necessary in order to keep my sanity in the face of the horror of the

Cardassian occupation, and the willingness of the Federation to remain in

their state of benign ignorance while fostering a political solution. I

suppose it was also necessary for me to become remorseless myself, to set

aside my natural feelings and to become like my enemy in order to destroy

him. I've turned my back on lifelong commitments, and denied myself the

comfort of home and family. I've watched my companions die, and never shed

a tear. I've fired on Cardassian ships, knowing that there were probably

innocents on board, people who did not deserve to die. I've compromised my

own innermost beliefs, even though I continue to express them in an attempt

to convince myself that they're still there. Today I looked into the soul

of one person, and saw her goodness, and I felt something stir inside me

that I believed was gone forever. I was reminded of myself, catching my

first glimpse of the spirit world, and wanting to howl like the wolf whose

eyes still haunt me, out of excitement and fear and love. I expected to be

convinced that no one is worthy of my trust, but instead I was humbled by

her willingness to experience something new, and to allow me to witness her

joy.

	I know that what I said before is the truth. This is a new time, and we

must become new as well. What happened before means less than nothing now,

because even if we are able to make the long journey home, we will be

different people when we get there. And, if we can follow Kathryn Janeway's

example, we won't just be different, we'll be better.



First Officer's personal log, Star Date 49437.5.

	Months have passed since I spoke these words, words which I've just

listened to again because it seems to me that they contain answers to

questions I hadn't even begun to ask myself back then. I've kept this log

only fitfully, I'm afraid, sometimes allowing weeks to go by during which I

make no entries at all. At other times I find myself rambling on for an

hour about some incident or problem, and at the end of that time pausing

with my finger on the delete key, as if imagining that by erasing the

entry, I could edit my life--with one keystroke, Seska ceases to exist,

Durst is alive and well, we never encounter that Bothan obscenity which

toyed with our minds in what I can only consider an act of rape...

	It's tempting, but I can't do it. One thing my father always told me was

that willingness to face the entirety of life, taking the bad with the

good, is the true measure of a man. He always seemed to reach out, as if to

embrace even the worst life had to offer, and I never understood that. For

a long time, I almost hated him for being so many things I never thought I

could be. I convinced myself that if I turned away from him and from myheri

tage, it would be easier for me to make my way, to become someone separate

and apart from him, no less a man, but different. I suppose on some level,

I succeeded, didn't I? My career in Starfleet was an honorable and

fulfilling one, or so I thought. Then, when my father was dead and I had

never reconciled with him, when my people were dying and the Land with

them, I realized that there was a hole inside me, the place where my soul

should have been. I did what I could. I took up the fight. I embraced the

old ways almost desperately, because I realized I had nothing left to hold

onto. I had a tiny flame of hope inside me, though, some legacy from

Kolopak, perhaps. Sometimes during those long months with the Maquis the

flame flickered and nearly died, but I went on, because I had no other

choice. In time, with the help of my spirit guide, I came to understand

that my efforts could not absolve me from my feelings of guilt, or give me

the peace that I craved, because I had not yet found that one thing I

needed to center my faith in.

	The year we've spent in the Delta Quadrant has been full of personal and

professional challenges for everyone on Voyager. Some of us, notably Tom

and B'Elanna, and I think even Neelix, have used this experience to make a

fresh start in life. Some, like Kes and Harry, have broadened their

horizons and even reminded old spacehands like me that there is fulfillment

to be found in of exploring each new region of the galaxy we pass through,

not because we have to but for the sheer joy of it. Our holographic doctor,

even though he stubbornly refuses to choose a name for himself, has made

huge strides in understanding and extending his own consciousness, and has

far exceeded the limitations of his program, to the point where we have

come to regard him as simply another member of this varied and vital little

crew. Tuvok--? Well, Tuvok serves, as always. There are times when I try to

put myself in his place, just to see what it feels like, but I can't do it.

His Vulcan habit of reserve confounds me at every turn. And yet, there are

also times when I get a glimpse of something, a hint that this unique

experience has changed him, too. We still have our problems, Tuvok and I,

and I suppose that we always will, because of our past history, and because

we both feel the need to compete with each other for--

	For her. For her attention, for her approval. Why is it that a simple

"Good work, Commander" from her makes even the worst day bearable? Of

course, I know the answer to that. It was there, in the first entries I

made in this log, and also in my thoughts tonight when I said that before I

came to the Delta Quadrant, I had not yet found something to center my

faith in. I found what I needed in the person of Captain Janeway, who has

taught me what faith really means. She starts every day in the sincere

belief that this will be the day that we find a way to go home. I know that

her faith has wavered, and that she sometimes feels unable to go on, but

she fights those feelings, and she wins. When we met the 37s and considered

staying with them--that was a difficult time for her, I know. She could

have made the decision for the entire crew, and been within her rights to

do so. Instead, she allowed us all to choose, knowing that if more than a

few elected to stay, Voyager would be undermanned and unable to proceed

without great difficulty. A big challenge, and she faced it with dignity

and heart. The smaller challenges--the dwindling resources, the encounters

with the Kazon and other alien life, the day-to-day stress which the crew

feels more keenly all the time--she meets them all with the same fortitude,

and the same confident smile, as if she has this quadrant by the tail and

she won't let go until it kicks us back to familiar space. This mission of

ours may not be successful, but she will never give up hope, or allow any

of us to do so.

	For me, this journey has been one of self-discovery. There have been

problems--Seska springs to mind--but amidst all the drama, I've managed to

find some peace, with myself, my father, and my ancestors. Unlike many on

this ship, I could probably resign myself to living out my life here if

need be. But I also know that I would never willingly abandon Voyager, or

Voyager's captain. I've found my purpose, and my place, at her side.





END





[Tiny Trek cartoon]



*ALL ABOUT NOW VOYAGER*



Welcome to the officially sanctioned Kate Mulgrew Appreciation Society.

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*CREDIT WHERE CREDIT IS DUE DEPARTMENT*



Kate:  See you in Denver in April, hopefully!

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FIRST CLASS

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