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Warning: This review contains significant spoilers for Voyager's
"Renaissance Man." If you haven't seen the episode yet, beware.


In brief: A reasonably entertaining romp, but it bears almost no scrutiny.

Plot description: The Doctor is forced to carry out a secret mission where
he must impersonate members of the Voyager crew.

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Star Trek: Voyager -- "Renaissance Man"

Airdate: 5/16/2001 (USA)
Teleplay by Phyllis Strong & Mike Sussman
Story by Andrew Shepard Price & Mark Gaberman
Directed by Mike Vejar

Review by Jamahl Epsicokhan
Rating out of 4: **1/2

"Ensign, at your recital last month, I told Lt. Torres that your saxophone
playing reminded me of a wounded targ. I should've put it more delicately!
I'm sorry!" -- Doctor deathbed confession
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So, here we have Voyager's penultimate episode, and what is it? A routine
kidnapping plot. Why this and why now?

On the other hand, why not this? Voyager has proven long before this
week's "Renaissance Man" that the show is rarely about its characters or
bigger picture but instead about its stories. And aside from last week's
"Homestead" where we actually had some sort of closure for a character,
the entire wrap-up for everyone and everything is going to apparently take
place in the final two hours of the series.

On some level, sad as it is to say, this episode is a microcosm of much of
Voyager's legacy to the Trek franchise: It's a reasonably entertaining
action plot that has no lasting significance whatsoever. The Doctor is a
great character who seemed to get the perfect final focus episode with
"Author, Author," which followed his theme -- that of wanting to be more
than his programming -- to a logical conclusion. But for the purposes of
character theme, "Renaissance Man" is at best simply redundant, a routine
action storyline that exploits his technical abilities and not so much his
personality.

At one point, disguised as Torres, he runs sideways up a wall and flips
right over Tuvok, grabbing the phaser out of his hand. I've never seen Doc
pull a "Matrix"-like move like that before, but then why did I need to?

The framework for the story is a contrivance and a cliche: In the midst of
an away mission, Janeway is held captive by two thieves from the
"Hierarchy race" (see "Tinker Tenor Doctor Spy"), who say they will kill
her if Doc doesn't return to Voyager and find a way to steal its warp core
and bring it to them. Doc must then impersonate other members of the crew,
starting with Janeway (adjusting his holographic appearance at will) and
working on down from there.

It's probably a good thing this is the end of the series, because that's a
pretty damned flimsy premise. It's the sort of thing that deserves to be
banished to the land of sitcom fodder. Only a nitpicking jerk would bother
to question whether the Hierarchy aliens should be here, at the very least
5,000 light-years away from where we last encountered them. Yadda, yadda,
yadda; blah, blah, blah.

It's worth noting that even the goofiest and shallowest of premises can be
made palatable with decent execution, and we get that here, which makes
"Renaissance Man" a fairly enjoyable hour of silly plotted mayhem instead
of brain-dead drudgery. Call it enjoyable, silly, brain-dead mayhem.

This is an episode sold on amusing little moments, not iron-clad logic or
solid storytelling. For amusing moments we have ourselves a scene where
"Janeway" is on the bridge and begins talking to invisible voices in her
head, which prompts MST3Kings of, "Well, Janeway has finally completely
lost it." There's something hilarious about it, while at the same time
weird and offbeat because we don't initially know what's going on (the
plot begins as a series of subtle mysteries that are gradually revealed to
us).

The gimmick is that the Hierarchy guys are constantly monitoring Doc's
actions, so he has to do the entire operation in secret, undermining his
crew's own attempts to catch on to him. This must've been justified by all
sorts of end-vs.-means discussions in story staff meetings, since the
whole exercise is absurd and exists simply so that Doc can run around
impersonating people.

Honestly, is this plot even worth discussing at any further length? I
doubt it. There's nothing significant about it, no issues to ponder. It's
a romp, plain and simple. On that level it can be fun, like when Tuvok
finally catches on to Doc's game and tries to subdue him: There's a point
where Tuvok chases Doc into the holodeck and finds a room filled with
holographic Doc clones, which is an amusing visual that fits the action
relatively well. Clever, and appropriately goofy.

I also liked the way the unconscious bodies started to stack up, making
Doc's task harder. He has Chakotay and Harry stashed in the morgue while
also running around impersonating Janeway and Torres. At one point he has
to pretend to be Tom's wife, which is your Classic Awkward Situation [TM],
although one wonders if all plot devices are recyclable; Doc earlier this
year had to pretend to be Seven in "Body and Soul."

The two Hierarchy guys (Andy Milder and Wayne Thomas Yorke), one nice and
one mean, are low-rent pseudo-villains that don't honestly seem capable of
carrying out their threat of killing Janeway if Doc fails his mission.
These guys are devices of the plot and nothing more, but then the whole
episode is a massive plot device -- including the use of the warp core as
this week's McGuffin, which is hauled around from A to B in order to move
the people from A to B. Meanwhile, Doc's abilities here open a can of
worms that, fortunately, might not get very long to squirm seeing as the
series is basically over. (In particular, I'd like to know how he is able
to activate his emergency command subroutines and take control of the
ship's command codes solely on his own volition, without any sort of
authorized transfer from the captain or first officer. Perhaps because
neither is present?)

My griping makes it sound like I didn't enjoy "Renaissance Man," which
isn't entirely true. Like many Voyager outings, it proves that a
fast-paced episode where the plot moves effortlessly along can hold
interest when lesser execution might've led to an unpleasant slog. By the
time the show got to Doc's deathbed confessional, I was chuckling too much
to feel annoyed. Little of the plot is believable in retrospect, but it
has the will to carry us along for the ride with some snappy dialog, a few
technical twists that are mildly clever, and actors who are convincing in
the middle of a world of absurdity.

Come to think of it, this episode may be even more of a microcosm of this
series than I thought. Maybe it's appropriate as the penultimate outing of
Voyager after all. But, then again, it must mean something when the most
appropriate story for Voyager is one that doesn't begin to unlock the true
potential at hand.

--
Next week: Time travel, Klingons, and Borg. It's all here for Voyager's
series finale.

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Copyright 2001 Jamahl Epsicokhan. All rights reserved.
Unauthorized reproduction or distribution of this article is prohibited.

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