Transitions And Lamentations
This is an episode of a fan-made series whose storyline may be invalidated by later official studio productions.
Stardate 59041.2: Summoned to Farius Prime for a private meeting, Commander Navar is given information on an upcoming raid – and he’s given orders to say nothing to the crew of the Intrepid, which will be caught in the middle of the attack. On the eve of the attack, Captain Hunter leaves Navar in command as he joins an away team – and that puts Hunter on the surface, defenseless, just in time for the attack. Will Navar turn his back on his past and save his shipmates, or allow them to fall to protect his secret?
Cast: Alan Christison (Lt. Commander Jacen Navar), Alan Johnston (Chief Thug), Gary Paterson (Fleeing Thug / Bar Patron), Mark Masson (Capt. Zobrin Navar), David Reid (Bar Patron), Jay Clark (Crewman Leighton / Bar Patron), Lucie Cook (Lt. Commander Yanis Caed / Bar Patron), Hilary Tasker (Vanya), Stephen Pasqua (Lt. Matthew Cole / Bartender), Lee Andrew (Bartender voice), David Reid (Lt. S’Ceris), Nick Cook (Capt. Daniel Hunter), Alex Matthews (Lt. Keran Azhan), Lynn Robinson (Lt. Commander Xara Tagen), Alain DeMol (CPO D’Gor), Nick Beckwith (Lt. Michael Simmons), Steve Hammond (Capt. Merik), Dave Lees (CPO Alex Quint), Bodo Hartwig (Lt. Solek), Michael Hudson (Lt. Ellis Gibbs), Martin Lejeune (Ensign Faldor), David Robertson (PO Josh Taylor), Ann Dixon (Scientist), Laura Mayne (Ensign Niraan), Chris Cassell (Lt. Mitchell)
Review: After a number of short vignettes that advanced the story surprisingly well, Scotland-based Star Trek: Intrepid returns with its first full-length episode in some time, and this post-Voyager-era production quickly reminds us why it’s such a welcome addition to the Trek fan film roster.
Intrepid’s production quality has improved markedly since its first episode, and Transitions and Lamentations boasts excellent, atmospheric location shoots (the opening back-alley ambush scene would do any modern crime drama proud, give or take a phaser blast or two), much-improved computer-generated “interior” shots, and the same fascinating batch of characters whose conflicting agendas, roiling just under the surface, seem set to collide in a big way at just any moment. There’s even a very nice new opening title sequence , with the cast’s names “projected onto” the surface of various parts of the ship – a beautifully executed, very creative alternative to the traditional montage-of-flybys usually associated with any given Star Trek series.
Even the computer-generated sets are integrated more gracefully with the live action taking place in front of them; getting the compositing right on a fully virtual set is a bugbear of many a fan production. Intrepid seems to be using a post-production filter that flares out the light sources in each shot, overlapping telltale matte lines and helping to sell these scenes as a single image.
As usual, this little Scottish-accented corner of the Star Trek universe has a local charm of its own, with some gorgeous outside locations; there are a few dandy shots in which CGI ships are composited into the exterior scenes to great effect, but there are also a few shots where the organic-tech attackers move in a distinctly video-gamey manner. High marks go to Alan Christison, who proves that he’s up to an episode focusing on his character. The backstory of Navar is fascinating enough that he’s rapidly emerging as one of the show’s focal points, and by the end of Transitions it’s clear that, while the depth his loyalty to Starfleet is a bit questionable, Navar is burning some bridges and can’t run for the safety of home either. What the payoff will be when Intrepid pulls the trigger on all of the character development is anyone’s guess.
Transitions And Lamentations is a nicely nuanced episode from a fan series that seems to be in it for the long haul. The slow build of character backstories and the gradual reveal of Intrepid’s arch rivals seems to indicate confidence on the part of the cast and crew that Intrepid will be around for a while.