In
“The Deception,” Diana (Jane Badler) is determined to get her hands on
Elizabeth (Jennifer Cooke) – the Star Child -- but is unaware that the child’s
accelerated growth has transformed her into an adult.
Unaware
that her information is faulty, Diana captures Mike Donovan (Marc Singer) and
with a combination of powerful drugs and holograms, attempts to convince the
Resistance fighter that the war is long over, he is married to Julie, and that
his delivery of Elizabeth to a rendezvous point on the way to New York was
crucial in defeating the Visitors.
When
Donovan spies a mock-up newspaper trumpeting the victory -- but revealing
Elizabeth as a child --he recognizes Diana’s plot. He also realizes that his son, Sean (Nick
Katt) has betrayed him…
“The
Deception” is a pretty strong episode of V: The Series (1984 – 1985). The early episodes of the NBC series are the
best of the bunch, and it is apparent here that neither money nor imagination
has yet entirely run out.
A
replacement for “Break Out,” which went unaired in the original schedule, “The
Deception” concocts a more appealing back-drop for Kyle Bates (Jeff Yagher),
and ramps up the series’ sense of kink.
In
terms of Kyle, he’s less combative and more heroic here than the man we met at
the prison camp in “Break Out.” He is
clearly being set up by series writers’ as a maverick-type character, one who
works with the Resistance, but isn’t a joiner.
In
regards to kink, this quality seems a crucial aspect of the TV series, frankly.
The kinkiness arises from Diana’s avaricious nature. She is clearly a sexual being, but one that --
as we shall see -- is curious about
humanity in that regard.
This
is a disturbing (and even a bit arousing…) character trait because Diana also
devours humans as a food source. Thus when attractive humans are captured by
Diana, it’s an open question whether she will serve them up on a dinner
platter, or sleep with them…or perhaps both.
Diana
gives new meaning to the term “bi-curious,” since she feels sexual attraction
both towards Visitors and human beings.
In
“The Deception,” Diana pretends to be Julie, Mike Donovan’s wife, in the
deception scenario described in the synopsis above. She kisses him passionately while they are in
bed together, and doesn’t seem bothered at all by the intimacy, though Lydia
(June Chadwick) -- watching from behind a two-way mirror -- is clearly
disgusted by Diana’s fraternization with a lowly human being.
In
their previous encounters (in the two mini-series), there has been an odd
undercurrent of attraction between Singer and Badler, so it is amusing and
appropriate that the series almost immediately plays into that unspoken
chemistry. It’s too bad the scenes didn’t
go further…
The
kinky aspects of “The Deception” make it extremely entertaining, though even
this story -- of deception and deceit -- is a far cry from the franchise’s
original task of documenting the nature of a fascist state.
V
has
officially and permanently moved into soap opera territory here, with
smattering of action (mostly in the form of car and motor-bike chases). So while “The Deception” doesn’t represent
the franchise at its best, it does represent the series at its apex of
quality. Future episodes begin the
down-hill descent, especially after the cast-massacre mid-way through.
That
established, I couldn’t help but notice in “The Deception,” again, that to its
credit, V features many strong, individual female characters. There’s the charismatic Diana, of course, but
Julie is also a leader, and one who -- in the tradition of male heroes like
Captain Kirk on Star Trek -- reckons with self-doubt and worries over her
decisions.
Similarly,
we have Elizabeth, a woman in the process of seeking and finding her own
identity outside the constraints of her society. She is determined to be
someone that she likes, not what Diana or anyone else expects her to be.
Beyond
those three significant female characters, we also have the power-hungry Lydia,
and insecure Robin Maxwell (Blair Tefkin).
Off-hand,
I can’t think of another science fiction TV program in the 1980s that features
such significant -- and numerous -- female roles. Basically, the action in the series is driven by women, and their choices, on both sides of the combat divide.
By
point of comparison, Star Trek: The Next Generation (1987
– 1994) features women characters mainly in care-taker/nurturer roles,
especially after the early death of Tasha Yar (Denise Crosby). As late as the fourth season of that series,
Dr. Crusher (Gates McFadden) and Counselor Troi (Marina Sirtis) are breaking
crockery over bad guys’ heads (“Q-Pid”) instead of showing competency in
hand-to-hand combat or taking charge of away teams.
V: The Series may degenerate into soap opera silliness in short
order, but it was also forward-thinking in terms of women’s roles and
characterizations.
Next
week: “The Sanction.”
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