Ex Post Facto (S1E08)
Airdate: 27 February 1995
Written by: Michael Piller & Evan Carlos Sommer
Directed by: LeVar Burton
Running Time: 45 minutes
The Golden Age of Star Trek, spanning the late 1980s through the 1990s, was a period defined not just by groundbreaking technology and production value, but by a distinct cyclical nature in its storytelling. It was common for the original series to recycle plots and premises, which were later revisited and expanded upon by The Next Generation. As the franchise matured, The Next Generation began recycling plots from Star Trek: The Original Series, and eventually, the newer shows began recycling premises from The Next Generation. However, a skilled writing team could often mask these similarities with high production values and fresh character beats, allowing even the most cynical viewers to perceive these episodes as fresh and original rather than mere retreads. An interesting example of this phenomenon is provided by A Matter of Perspective, a Season 3 episode of The Next Generation. That episode was, in a very specific structural way, remade as the early Voyager episode "Ex Post Facto." While it lacks the narrative complexity of its predecessor, it serves as a fascinating case study in how the formula of a classic murder mystery was adapted to the serialised, character-driven world of the Delta Quadrant.
The plot nominally revolves around Lieutenant Tom Paris, a character frequently defined by his roguish charm and penchant for trouble. While visiting the planet of a humanoid race called Baneans with the task of establishing scientific cooperation, Paris becomes arrested and convicted for the murder of the planet’s top physicist, Tolen Ren (Ray Reinhardt). The Baneans possess a particularly brutal judicial system; as a punishment for this alleged crime, Paris is given implants of Ren’s memory and forced to relive his alleged victim’s last moments every 14 hours. The implant shows, from Ren’s perspective, Paris in the company of Ren’s young and attractive wife, Lidell (Robin McKee), before stabbing the scientist in his living room.
Voyager learns about Paris’ fate when Ensign Harry Kim, who had accompanied him on the planet, finally returns to the ship. Kim explains that Ren was helping with a piece of damaged equipment and later brought them to dinner at his house. During the dinner, Paris became bored and apparently spent some time with Lidell. Soon afterwards, Tolen was stabbed to death in front of his wife. After Paris’ arrest, Kim was forced to depart without him, leaving him to rot in a cell while his crewmates searched for answers.
Voyager rushes to the Banean homeworld and has an unpleasant encounter with the Numiri, an alien race that is currently at war with the Baneans. This conflict serves as a backdrop that heightens the tension, but the primary focus remains on Paris. Captain Janeway is allowed to visit Paris, who vehemently denies murder, although he admits being with Lidell. Paris soon afterwards loses consciousness, and the Voyager crew believes it is an effect of the punishment. Kray (Francis Guinan), the Banean science minister, agrees to temporarily release Paris to receive proper medical care at Voyager at the advice of a Banean doctor (Aaron Lustig), who implanted the memories.
When Paris is at ship, Voyager gets attacked by Numiri vessels. However, B’elanna Torres and other ex-Maquis crew members use their unconventional tactics to defeat them. This scene is crucial as it highlights the diversity of the crew and their ability to adapt to hostile environments, utilizing the Numiri's own tactics against them.
The investigation, however, is led by Tuvok, the ship’s chief of security. As a Vulcan, Tuvok is the perfect candidate to deconstruct the emotional and confusing narrative provided by Paris. Using the Vulcan mind meld, he examines Ren’s memories implanted in Paris. He finds the lack of height difference between Paris and Liddell, which doesn't match Paris’ real height, as well as the murderer, unlike Paris, being aware of Banean anatomy in order to give a fatal blow. There is another detail in memory that catches his attention – a glyph, which is in reality a top secret information about a new weapon designed by the late scientist. Through these deductions, he uncovers that the Banean doctor is the true murderer, with his motive being to use Paris as a pawn to deliver the information which is to be extracted when Numiri board Voyager. The wife, Lidell, is revealed to be part of the conspiracy. Paris is exonerated, the doctor and Lidell are arrested, and Paris later thanks Tuvok for saving his life. It is a satisfying conclusion that relies on logic rather than just action.
Ex Post Facto is often considered the closest Star Trek ever came to film noir. Co-writer Michael Piller later went on record telling that he wrote previously regular murder mystery in that way. LeVar Burton, former TNG cast alumni for whom this episode was directing debut, was fully on board with this, and made the references obvious. The memory scenes are shot in black-and-white, evoking the chiaroscuro lighting of classic detective films. The character of Lidell was obviously modelled on great femme fatales of 1940s Hollywood, with Robin McKee, despite the usual alien make-up, having hair in the style of Veronica Lake and even smoking—a detail that infuriated some of Star Trek purists at the time, knowing Gene Roddenberry’s ban on depicting this practice in the future. Those scenes, although family-friendly, are also uncharacteristically erotic for Star Trek, adding a layer of adult tension that stood out in the early seasons of the show.
The episode divided production, with Jeri Taylor being unhappy over character of Tom Paris being shown as Kirk and Riker-like womaniser, and even being as immature to have an affair with married woman. This suggests an internal friction within the writing staff regarding the development of the character. While the episode succeeds as a mystery, it arguably weakens the characterization of Paris, forcing him into a stereotype rather than allowing his roguishness to develop naturally. This is a valid avenue of criticism, as it reduces a complex character to a plot device for the mystery.
A more valid avenue of criticism is of plot convenience, namely that Numiri, who probably learned of the existence of Voyager less than a week, suddenly develop extremely elaborate espionage plot that involves the complete race. It feels forced that a species at war with the Baneans would immediately pivot to targeting a Starfleet vessel for a weapons blueprint, especially given the limited time they've had to interact with the Delta Quadrant.
Yet, on strictly technical level, and on anything else, the episode works very well, especially as murder mystery. Music by Dennis McCarthy is very good, and even matte paintings depicting the Banean world—actually recycled from TNG episode Angel One—look fresh and original. This recycling of assets speaks to the efficiency of the production team, showing that they could make a distinct world feel vibrant even with limited resources.
The episode’s greatest strength is character of Tuvok, who emerges as a cold, calculating but extremely efficient detective, with Tim Russ delivering one of his greatest performances. Tuvok provides the intellectual anchor for the episode, grounding the fantastical elements of the memory implants in the grounded reality of detective work. He is the glue that holds the episodic plot together, proving that the ensemble cast could drive a narrative without the need for the bridge crew to constantly engage in interpersonal drama.
The concept of victims’ memories as a source of punishment is interesting, but not explored fully, with something similar later be used in DS9 episode Hard Time. The initial premise had the potential to be much more psychological, exploring the trauma of being a witness to one's own death or the dissonance of living another person's life. However, the episode chooses to focus on the procedural aspects of the murder rather than the existential horror of the punishment itself.
In conclusion, "Ex Post Facto" is a solid, if derivative, entry in the Voyager catalogue. It successfully channels the aesthetic of film noir and provides a compelling mystery anchored by a stellar performance from Tim Russ. While it suffers from plot convenience and character inconsistencies regarding Tom Paris, it stands as a testament to the versatility of the Star Trek formula. It proves that even when recycling the structural bones of a previous generation, the show could still deliver moments of tension and style that left a lasting impression on the audience.
RATING: 7/10 (+++)
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