Storytime with Rachel F Hundred

A good old-fashioned Stargate story

The basic premise of Quarantine is a good old-fashioned Stargate story; a new planet brings new challenges and the team have to find a way out of it, the twist of course being that the planet is the one the entire city is now based upon. The success of such stories is usually down to the team’s ability to come together and solve the crisis and Quarantine is successful in that. However, Quarantine is also a good old-fashioned ‘let’s trap the characters together and force them to interact’ story; a wonderfully classic fictional plot device for provoking character interaction. The success of these stories is in how engaging the character interaction is for the viewer and here Quarantine produces mixed results for me.I love the core premise of the story; its heart is firmly in the Stargate tradition of a new planet, new problem with character development driven from the team coming together to resolve the situation. It’s a gentle story but it keeps momentum through the original thought of an outbreak, the realisation they are broadcasting a beacon and the self-destruct suddenly being triggered. At each turn, the danger escalates and there is a subtle tension built in because of that.

What is also lovely to see is the character development provided as the characters’ race to solve their predicament; the way everyone assumes McKay will fix it; Sheppard reaching out to reassure Teyla her child will always have a family; Zelenka proving himself a hero again as he climbs through vents; Teyla’s moment of realisation all on her own that she has to stay where she is; Keller stepping up to take action; Ronon confiding his personal life; McKay’s self-destructive behaviour.

So, as a Stargate story, it delivers everything required of it; good premise, fantastic special effects in Sheppard climbing the tower and some lovely acting – Rachel Luttrell’s portrayal of Teyla’s bemusement and incredulity at Sheppard’s explanation that 42 is the answer to the universe deserves a mention.

But – and there is a but – the forced character interaction provided by the plot device really serves up a mixed bag. The most successful is Teyla and Sheppard. Their interaction is a nice follow-on from previous episodes dealing with the ramifications of Teyla’s pregnancy where Sheppard finally makes the shift from commanding officer to friend. The gentle humour of worry that Teyla will go into labour like in the movies coupled with some sweet scenes both of Sheppard reassuring her and the baby kicking is great.

The ‘McKay and Katie’ scenario is also good in that it serves to graphically show the breakdown of a relationship as Katie’s disappointment in McKay’s fatalism and disinterest in her potential answer to the not-asked-proposal and his inability to comfort her in their predicament makes her visibly reassess everything. ‘It doesn’t take much for a good situation to turn ugly,’ McKay states and subsequently proves himself right as he goes from planning to propose to taking a rain-check on what seems to be the entire relationship at the end – the closed door providing a final symbolism.

Less successful is Carter and Zelenka. The pairing is simply not as interesting despite the being stuck in a lift predicament yet there are glimmers of magic. Tapping’s acting is great; the moment Zelenka just doesn’t get the pigeon reference, as a viewer I felt Sam’s aching wish to be with someone who actually got her in the way her old team did.

The pairing that doesn’t work all that well for me though is Keller and Ronon. While there may be similarities between Ronon’s past love back on Sateda and Keller, some twist in opposites attracting and, while I wouldn’t claim there is no chemistry, the brief flashes I can see still don’t completely sell this to me. The sections where there is implied romance – with Keller’s response to Ronon’s ‘what did you have in mind?’, the almost kisses and the personal confidences don’t work for me but the working together to find a solution with the tank – that interplay felt natural and came across well. I think some of the awkwardness is down to the direction in how the couple are placed but also the actors’ seem uncomfortable in delivering the lines.

My other only gripe with the entire episode is the occasional school-boy humour that is allowed to creep in with the Rodney plant and Zelenka copping an eyeful of Carter’s bosom. So unnecessary and for me so unwanted. The humour in Stargate has always worked best when it relies on wit, banter and the visual rather than crude innuendo.

These scenes aside, Carl Binder does a great job with this multi-layered story. As each pairing provides a contrast of approach consistent with characterisation; Teyla/Sheppard showing the considered strategist approach – gathering information before ultimately taking action; McKay/Katie shows McKay’s usual reaction of doom and gloom; Ronon resorts to using force and blowing things up; Carter/Zelenka immediately go into data gathering and fix-it mode as scientists.

Yet this is not the only sub-text; each pairing also seems to present a fandom fear or complaint before offering a reply although whether this was intentional or not, only the producers can know: Keller too weak and young? Let’s tell you about her prodigy childhood; McKay and Katie’s relationship too sweet and wishy-washy to end up in marriage? Well, we’re breaking them up. Worried Carter would just take over the science/tech and make others look stupid when she joined Atlantis? Well, she eventually steps back to let Zelenka be the hero. Why would Teyla continue fighting the Wraith after the baby? Well, here’s a justification. If intended, it was very cleverly and subtly done.

In conclusion

The layers of story-telling are well done and much to be admired but the core of the story – that simple Stargate story is why the episode is so successful. Perhaps it is not as action driven as some but it captures the interest, provides good drama and allows us to get to know the characters a little bit more. And really, what more could anyone want?