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Biography [ ]

Doctor Timicin designed an experimental process to revitalize his world's dying sun, and tested it with the assistance of the USS Enterprise -D in 2367 . While aboard the Enterprise , he met Betazoid Ambassador Lwaxana Troi , and the two began a romantic relationship.

After the failure of Timicin's experiment, he was to return to Kaelon II and take part in a cultural rite called " the Resolution ", in which Kaelons commit suicide at age sixty. Lwaxana Troi convinced him to seek asylum and avoid this ritual; however, his daughter Dara was able to change his mind and convince him of the importance of their traditions. In the end, Timicin submitted to the Resolution, with Troi accompanying him. ( TNG episode : " Half a Life ")

Appendices [ ]

External link [ ].

• Timicin article at Memory Alpha , the wiki for canon Star Trek .
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• 3 USS Enterprise (NCC-1701-F)

An archive of Star Trek News

Stiers On Timicin And The End of Life

• Star Trek: TNG

David Odgen Stiers is probably best-known for his role of Major Charles Winchester III on M*A*S*H but to The Next Generation fans, he will always be Dr. Timicin from Half a Life .

Stiers did not have to audition for the role of Timicin. “It was an offer,” he said.

His first impression of working on the show started off on the wrong note. “On a particularly rainy day, my second day working…I went to my little, tiny dressing room thing parked out alongside the building and discovered there was a leak in this round-topped dressing room arrangement that had found my clothing,” said Stiers. “I had soggy, rain-soaked trousers and a soggy shirt. I was already stressed and not particularly in the mood when I heard, ‘Mr. Stiers, we’d like to see you on the set, please. We’re ready to rehearse 13A.’ I shouted back…I won’t tell you what I said exactly, but, ‘I’ll be there when I’m damned good and ready.’ There was this awful pause from outside, and then the same voice said, plaintively, ‘I have your umbrella.’ Heaven forbid we should get the costume wet, right?”

Getting past that, Stiers enjoyed the story of his character, Timicin. “That’s a nice chunk of drama for a guest star to chew on,” he said. “They really let it focus on the two of us, which was very unusual. I just watched a clip of it this morning. I had forgotten how beautifully written the arguments are. The whole moral dilemma was beautifully presented. I’m not jumping up and down, but I really like the idea that I live in a state with dignity legislation and physician assisted suicide, should it ever come to that. That seems to me to be an intelligent and mature middle ground. You don’t use it if you don’t want to, but it’s there if you are in need, for whatever reason, of a legitimate reason for ending your life.”

The episode led to a conversation with his parents. “I watched it with my parents, who were then alive, and we had a long talk afterwards about life, death, aging, eventualities,” said Stiers. ‘Are you in a position to be able to take care of us if we need that?’ ‘Yes.’ ‘What do you think about the episode?’ and I said, ‘You know, I’ve been dealing with this since I shot it. I’m more interested in hearing what you happen to think.’ They were very forthcoming, but very conservative about it. They thought it was a matter for extremis rather than a careful planning, were such a thing to ever come about. This is well before enlightened Oregon passed the Death with Dignity Act, so it was a fascinating light to turn on the backstory, the human, the most intimate human backstory. I think we left it unresolved, but a good deal more willing to talk about such things in the future, which was really remarkable.”

Stiers latest project has just been released. Neil Stryker and the Tyrant of Time is “an outlandish sci-fi/comedy/adventure that also features Walter Koenig .”

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Published Apr 11, 2017

Catching Up with TNG Guest Star David Ogden Stiers

David Ogden Stiers is the very definition of range. The actor has portrayed King Lear on stage… three times. He earned two Emmy Award nominations for his portrayal of the pompous, wry, all-too-human Maj. Charles Emerson Winchester III on M*A*S*H . And, in the Star Trek: The Next Generation episode “ Half a Life ,” he touched viewers as Dr. Timicin, a scientist who must undergo the Resolution, a ritual suicide, in order to save the people on his planet, Kaelon II. However, his plans were thrown for a loop – at least for a while --when he met and fell for Lwaxana Troi. The episode is well-regarded for its powerful story, rare focus on two guest stars, unusually serious Lwaxana arc and the touching performances by Stiers and Majel Barrett-Roddenberry.

StarTrek.com has long wanted to chat with Stiers, and we finally landed an interview, thanks to the release today of the mostly retired actor’s latest project, Neil Stryker and the Tyrant of Time , an outlandish sci-fi/comedy/adventure that also features Walter Koenig. The plot is impossible to describe succinctly, but it’s set in the future, centers on a master secret agent (Rob Taylor) determined to rescue his son from a mad scientist baddie (Rob Taylor… again), and features goblins and robots, as well as fights and explosions a-plenty. Stiers makes an extended cameo as a character named the Admiral. The film is available now on all major digital and on-demand platforms, including iTunes, Amazon, Dish and Direct TV.

Here’s what Stiers had to say about Neil Stryker , “Half a Life” and more:

When people recognize you out in public, what are the films and shows, or maybe the characters they're most excited to discuss or pepper you with questions about?

I am seldom recognized anymore -- and I really like that. Actually, this will be my time to live like a person, rather than some collectible figure or worse, a nostalgia act. But, when I am recognized, it's for the green show, for M*A*S*H . Occasionally, it's for Better Off Dead , which I understand is a cult movie. And it tells me a lot about a person if they remember a Larry Gelbart project entitled Mastergate . That was done, as I recall, by HBO. It was such a collection of famous actors, I can't tell you. They all came out of the woodwork to do this Larry Gelbart project, and it is savagely funny, cynical, enlightening, enraging, a great piece, and when people know that or include it in the body of work, I really like hearing that. It also helps a lot if anybody's seen me on stage. I've done Lear three times and I got approached a few years ago in L.A. doing Much Ado About Nothing with the LA Shakespeare Festival. Someone said, "I saw you in Much Ado and I loved it. My friends and I had a wonderful discussion about aging," which actually brings us rather to Star Trek , doesn't it?

Yes, absolutely. But before we go there, you only act sporadically these days. What does it take to get you say yes to a film or an episode of a show?

Really, usually it's because I know people involved in it so well that I want to work with them again. So, that's just a way of catching up with people. When you're playing a scene together, you really are together if it's a good acting friend. Or, I’ll be interested if it’s something I've never done before, something that is just so refreshingly different from the norm, whatever the hell the norm is. The nature of the piece attracts me more than certainly money.

Something I’m doing now… I'm narrating, actually embodying… the voice of James Beard, one of the first real foodie TV cooking show hosts. He was in the beginning and Julia Child was chapter two. It’s a PBS documentary on James Beard, and I'm reading from his diaries and letters, and trying to come as close as I can to his voice.

You’ve also got this crazy sci-fi comedy, Neil Stryker and the Tyrant of Time . The project took almost 10 years to make. How long were you involved?

It's several years, actually. (Writer-producer-co-star) Nic Costa just chatted me up in a hotel lobby and I was intrigued. I wanted to read the script, so he delivered one, two or three pages of Admiral scenes, one of which was lost in editing. I worked for a couple of days, and when I finally walked into the studio, to the former bakery, I went, "What the hell have I gotten myself into?" because it was all so by the seat of the pants. The trailer on YouTube is phenomenally modern, with beautifully crafted shots that are breathtaking. It's not the project I signed on for, but I'll take it. They came here. Nic and (director-producer-star) Rob came here a couple of weekends ago, and I shot the Blu-ray interview spot. They came to Newport (Oregon). They did me the favor to come to where I live.

Now, how much fun did you have playing the Admiral for those few days? Good laughs?

I had more fun than you're supposed to have and a lot of frustration because they're stealing it. They're stealing the movie. I mean that in a very particular way. They both made films before, but nothing of this scale. All the computer-generated stuff, I think, was done in New Zealand and the final editing was done there as well. But, as you say, Nic and Rob have been working on this for 10 years, and they're still friends. They still find ways to make each other laugh. That's really uncommon.

Walter Koenig is in the film as well. We know you didn’t shoot any scenes together, but any chance you overlapped on set?

What are you up to when you're not working?

Oh, I'm retired. I'm a resident conductor of the Newport Symphony Orchestra here, and happy as a clam. I bought a beautiful house overlooking a lot of water. I spend my days reading and doing a lot of online educating. I hope I'm educating myself with facts.

Let's turn back the clock to 1991. How did you land your role on The Next Generation ? Did they call you?

Yes, it was an offer. It wasn't an audition. You never know the circumstances. In the case of a Matlock episode a lot of years ago, I got a role because somebody dropped out two days before filming was to occur. I think a better offer or something tectonic in their life had shifted, and I had two days to learn how to play a blind person, to figure out what I was going to do. Star Trek wasn't that tight by any means.

You understand that things become, not mechanical, but once a show falls into its rhythm it pretty much runs itself. People are cordial, but they don't take time to bond because in a few days a whole new bunch of actors is going to walk in to have to adapt to. The Star Trek cast were thoroughly in the rhythm, but it doesn't speak to quality. It speaks to how people define their jobs and do them so well that they don't get caught doing a job. You see this on the screen and it's convincing, utterly convincing.

The only thing that bothered me walking into the set for the first time ... Well, there were two incidents that I actually recall. There were those beautiful hallways, those tubular, gentle-curve hallways. I was not prepared for the fact that you do not talk when one of the air doors is opening because what's actually recording is bluh-bluh-bluh-bluh-bluh-bluh-bluh. Somebody's on the other side of it. They're rolling it open as smoothly as they can, but it makes a lot of noise, so you don't talk, or you dub later.

The other thing was that on a particularly rainy day, my second day working… Television has a rough schedule. A lot of pages get shot in a single day. I went to my little, tiny dressing room thing parked out alongside the building and discovered there was a leak in this round-topped dressing room arrangement that had found my clothing. I had soggy, rain-soaked trousers and a soggy shirt. I was already stressed and not particularly in the mood when I heard, "Mr. Stiers, we'd like to see you on the set, please. We're ready to rehearse 13A." I shouted back... I won't tell you what I said exactly, but, "I'll be there when I'm damned good and ready." There was this awful pause from outside, and then the same voice said, plaintively, "I have your umbrella." Heaven forbid we should get the costume wet, right?

How familiar at the time were you with the Trek franchise in general and what did you know about TNG ?

I watched it. I was a dedicated watcher of Next Generation when I could, when you're not getting home at an impossible hour -- and there was no TiVo then. I’d also loved the first generation of Star Trek . That was the real hook and the honor of working with Majel and going to the Roddenberry home, to sit down and talk about my role and his relationship with Majel’s character, and to say hello to Gene.

Timicin, for a guest star role, had a full arc. He had to undergo, or not, his Resolution in order to save his planet's sun and have more time with Lwaxana.

That's a nice chunk of drama for a guest star to chew on, you are right. They really let it focus on the two of us, which was very unusual. I just watched a clip of it this morning. I had forgotten how beautifully written the arguments are. The whole moral dilemma was beautifully presented. I'm not jumping up and down, but I really like the idea that I live in a state with dignity legislation and physician assisted suicide, should it ever come to that. That seems to me to be an intelligent and mature middle ground. You don't use it if you don't want to, but it's there if you are in need, for whatever reason, of a legitimate reason for ending your life.

How did you enjoy meeting the Roddenberrys and working with Majel?

For a person I didn't really know and for someone whom I just met on the set, and meeting her husband in their home, that was the hardest kiss I've ever had from a woman. She planted it and it was pressing into upper and lower bone. It was a fiercely wonderful, unabashed, unalloyed kiss. It was eye-opening and eye-closing. And I spoke just a little bit with Gene (who by then had suffered a stroke). He was sitting with a blanket over his legs and had just come out of a nap and obviously wanting to get back to it, but it was an honor to meet him.

Timicin’s makeup was very striking. What do you recall of that process involving getting those vein-like applications put on?

Oh, it was two and a half hours in the morning to squirt that stuff on. They'd already had latex applications made, but it still took an awful long time, and 45 minutes to remove so my skin wouldn't go with the stuff. It was OK, but Michael Westmore and I both agreed that it would be much simpler to make a headpiece that just slipped on and would slip off, reusable, so the seams could be repainted in the morning rather than the entire makeup being reapplied. But it gave me time to learn the lines.

You mentioned seeing clips this morning, but did you ever see the finished episode. And, if so, what did you make of it?

Yes, I did, and interestingly, perhaps, I watched it with my parents, who were then alive, and we had a long talk afterwards about life, death, aging, eventualities. "Are you in a position to be able to take care of us if we need that?" "Yes." "What do you think about the episode?" and I said, "You know, I've been dealing with this since I shot it. I'm more interested in hearing what you happen to think." They were very forthcoming, but very conservative about it. They thought it was a matter for extremis rather than a careful planning, were such a thing to ever come about. This is well before enlightened Oregon passed the Death with Dignity Act, so it was a fascinating light to turn on the backstory, the human, the most intimate human backstory. I think we left it unresolved, but a good deal more willing to talk about such things in the future, which was really remarkable.

Nerd trivia coming up, but there’s a blink-and-you-miss-it tribute to you and to M*A*S*H in the episode. When Timicin takes his test, the camera holds on a display that reads, "Composite sensors analysis 4077." Is that news to you or are you fully aware of that?

Both (laughs). I didn’t notice it myself. They had to point it out. They couldn't let it go. And there were a couple of others. The group’s cleverness and craftsmanship were both also in evidence in that episode.

About 20 years later you were directed on Leverage by Jonathan Frakes. Did you have a chance to reminisce or did TNG not even come up?

I'm pretty sure those days are a blur to him and he's happy to have moved on. We chatted about it cordially, but we both had work to do. On a set we don't dawdle, so we would talk over lunch or little moments of re-lighting or a camera reset. So, we had a few moments of reminiscence, but mostly it was catching up with how he’d evolved. "How many more are you directing of this show? What are you branching out into?" He's a very bright man.

Star Trek just celebrated its 50th anniversary. We realize you only did the one episode of TNG , but what does it mean to you to be a part of the long legacy of Star Trek, especially with an episode as good, as memorable and as important as “Half a Life”?

Oh, wow. There are little highlights along my career, having shot a movie with Katharine Hepburn, doing Star Trek: Next Generation , certainly M*A*S*H , working with Zero Mostel on Broadway. To see Beauty and the Beast registered as one of the top 100 films, that’s an honor. There are little flags planted in the career map that are... Everything is privilege. We're lucky to be actors and to make the livings we do playing, just playing.

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http://tvtropes.org/pmwiki/pmwiki.php/Recap/StarTrekTheNextGenerationS4E22HalfALife

Recap / Star Trek: The Next Generation S4E22 "Half a Life"

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Original air date: May 6, 1991

Troi: Counselor Deanna Troi, personal log: Stardate 44805.3... My mother is on board .

The Federation is offering assistance to Kaelon II, an alien world whose sun is slowly going out. One of the inhabitants, Dr. Timicin ( David Ogden Stiers ), believes he has developed a method to "stoke" the sun , and the Enterprise is to assist in testing the procedure. Captain Picard carefully skulks through the ship's halls on the way to the transporter room to receive Timicin but utterly fails to hide from Lwaxana Troi. The incorrigible Betazoid eagerly inserts herself into the diplomatic meeting. But Picard's mood changes when Dr. Timicin beams up, and Lwaxana finds fresh meat to sink her hooks into.

Timicin's experiment for rekindling his sun involves launching modified torpedoes into the star. They're going to do a trial run on a star that happens to be in the same state of decay as their own. On the way to that system, Lwaxana continues to get in everyone's business , including Timicin. The gloomy doctor politely turns down her flagrant advances but obviously has a thing for her. He keeps his mind firmly on the test, and it initially seems to be working, until the sun heats up too much and goes supernova .

The experiment, Timicin's life's work, is a failure. Lwaxana goes to him to try to offer consolation, and he finally yields to her advances. In the morning, Lwaxana tries to cheer him up by assuring him that he still has plenty of time in life, both for his experiments and for their still-blossoming relationship. Timicin, however, reveals that he actually does not have that time: "You see, I'm going home... to die."

It turns out Timicin's society practices ritual euthanasia , dubbed "Resolution" , upon reaching the age of 60 (which Timicin is rapidly approaching). Lwaxana is appalled by this practice even as Timicin defends its merits by explaining that it prevents the old from becoming a burden to the young or losing their dignity due to old-age ailments. She is further infuriated when Picard cites the Prime Directive and refuses to intervene.

Meanwhile, Timicin has been re-examining his experiment notes and begins to see how he could address the problems therein, but because of his impending euthanasia, he doesn't have the time to do so. If only he could put off his Resolution for a while... Timicin goes to Picard and officially requests asylum, believing he can work out his experiment's flaws and then go home to die in peace. While this action pleases Lwaxana, Timicin's government is scandalized and dispatches warships to retrieve the "rogue" scientist. Making matters worse for Timicin is that, as long as he stays in his self-imposed exile, his government treats him as an Un-person , refusing to listen to his scientific discoveries even at the expense of the planet's future.

This episode features examples of the following tropes:

• Actor Allusion : A display screen features the number "4077", the number of the medical unit in M*A*S*H . David Ogden Stiers played a lead role in that show for 6 years and 131 episodes.
• A Day in the Limelight : For Lwaxana. It's the first episode to give the character some real depth and personality beyond "throwing herself at every man she meets".
• Alien Non-Interference Clause : Discussed. It seems that Kaelon II has enough contact with the wider galaxy for the Federation to offer help with their solar problem, but not enough to be a member planet that the Federation can impose its will and norms upon. Lwaxana tries to exploit Loophole Abuse and beam down herself to read the Kaelons the riot act (after all, while she sometimes speaks for the Federation, she is only a private citizen on this voyage), but Picard orders O'Brien not to allow her to leave. Lwaxana: Well, it's your Prime Directive. NOT MINE!
• Apocalypse How : Kaelon II is facing a Class 6 in the next thirty to forty years as its sun ages into a red giant. Timicin has a Solar CPR device that could fix the star, but it instead inflicts a Class X-2 on the uninhabited system the Enterprise tests it on.
• Attending Your Own Funeral : The "Resolution" is a ceremony which celebrates the person's life, just before they are euthanized.
• Bittersweet Ending : Despite now wanting to live and doubting the tradition of the Resolution, Timicin feels morally obligated to commit suicide. While Lwaxana is saddened, she agrees to see him through the ritual as his loved one. In addition, Timicin seems to have made promising progress on saving his planet.
• Blue-and-Orange Morality : The people of Kaelon II view it as immoral for the elderly to expect their children to take care of them when they're feeble. So immoral, in fact, that they'd rather risk extinction than allow a single exception.
• Both Sides Have a Point : Lwaxana and Timicin debate the merits of mid-life euthanasia as compared to growing old and dying naturally; although Timicin does go through with it in the end, the episode paints neither him nor Lwaxana as explicitly right or wrong.
• Break the Haughty : Seems to be this episode's raison d'etre. At one point Lwaxana bursts into tears (something she apparently hasn't done since her husband Ian died). At the end, when she elects to observe Timicin's Resolution, she exhibits uncharacteristic humility, contritely asking Picard for permission to go and promising not to cause trouble.
• Cerebus Rollercoaster : This episode marks the first time Lwaxana is shown in a truly dramatic tone, departing from her usual role as Plucky Comic Relief . Her next appearance, in "Cost of Living" , will see her return to her familiar comic hijinx (albeit including some semi-serious Character Development ), and then escalating the drama with her final TNG episode "Dark Page" .
• Deadly Euphemism : "Resolution." Downplayed in that the term is more about the celebration held in the person's honor than about the actual euthanasia that immediately follows.
• Deconstruction : The angry speech Timicin's daughter gives Lwaxana ("How dare you question my beliefs?") could be seen as a knockback against all the times Kirk and Company visited some backwater world, told the inhabitants in a nutshell that their belief system sucked, then destroyed the lynchpin of their society and flew off into the sunset after telling them how much better off they were for it. Not forgetting, of course, that Kirk usually did this because his ship and/or crew were in peril; but the attitude was always there.
• Defector from Decadence : Timicin seeks asylum on the Enterprise when he realizes he could find a way to correct his experiments if only he had a few more years. The asylum, and his resolve, prove fleeting.
• Foreshadowing : During his first briefing, Timicin states that he hopes to be able to fix his planet's star before he dies and then gets a far-off look, knowing how close that day is.
• Gone Horribly Right : Timicin's Solar CPR device actually works. The problem is, it doesn't know when to stop .
• Halfway Plot Switch : From a standard TNG science project to a debate over enforced euthanasia.
• Hint Dropping : At one point Lwaxana, in her own words, "fishes for a compliment" from Timicin. Played with in that he probably knows what she was doing, but he's in a funk and not in much mood to talk.
• Stiers was only 48, playing a character just shy of 60. His bald and bearded look helps him look older than he is (though perhaps not quite as old as the character he's playing). Given we don't see any other Kaelons his age, nor know the age of any other Kaelons who do appear, it's theoretically possible Kaelons actually age slower than humans, though there's no indication given of this in the episode.
• It's also mentioned in dialog that Timicin is especially virile for his age, so he might naturally come off as younger than he really is. This works out really well narratively, as it contrasts with Timicin's descriptions of the elderly all being invalids and makes it seem all the more absurd that he's expected to commit ritual suicide.
• Honor Before Reason : During Timicin's short-lived asylum, he starts documenting ways he could correct his failed experiments; however, his government declares him an outlaw and will not allow him to share his new findings even though it could (and is intended to) save their doomed planet. Lampshaded by a furious Timicin: "Even if I find a solution, YOU WILL NOT ACCEPT IT!"
• Hope Spot : Played for laughs in the opening scene. When Picard goes to meet Timicin at the Transporter Room, he first timidly pokes his head out of the turbolift to see if the coast is clear. It is and he exits his cover...only for Lwaxana to sneak up behind him moments later.
• Jerkass Has a Point : Lwaxana is trampling all over the culture of Kaelon II and their beliefs, but as she points out several times, none of that is going to matter if their sun dies.
• Mandatory Line : Doctor Crusher's brief appearance in this episode has her mysteriously on the bridge when the crew detect the Kaelon warships, with her only line being to tell Timicin that they should leave.
• Mercy Kill : "Resolution," upon reaching age 60. According to Timicin, the practice is to prevent people from becoming old, feeble, helpless, and a burden to others, allowing them to die with a measure of dignity and with their faculties intact. Of course that last point (intact faculties) is exactly why Lwaxana objects to the whole thing.
• Nobody Ever Complained Before : The Kaelons ritualistically kill themselves on their 60th birthdays, and they seem shocked and baffled when one of their own refuses to do so. Apparently none of their 60-year-olds had ever had any qualms about dying before. When Timicin first announces his intention, the Kaelon representative immediately asks if Timicin is being held against his will.
• O.O.C. Is Serious Business : Lwaxana is not a fan of travelling on transporters, as established in " Manhunt ". The fact that she is not only willing to take one down to Kaelon II, but straight-up demanding O'Brien let her beam down, speaks volumes to how much she cares for Timicin, as does her willingness to beam down with Timicin at the end of the episode to attend his Resolution.
• Opposites Attract : Extroverted, vivacious Lwaxana, and mild-mannered, sullen Timicin are immediately attracted to each other.
• Screw the Rules, I'm Doing What's Right! : Lwaxana has this attitude, but O'Brien won't beam her down to the Kaelons' planet. Lwaxana: ...You just energize this damned thing and get me down there! Troi: He can't, Mother. He has his orders. Lwaxana: His orders don't apply to me! Troi: No, they apply to him.
• The Silent Bob : Lampshaded by La Forge: Lwaxana: That's my valet, Mr. Homn. He doesn't say much. La Forge: How could he?
• Solar CPR : Kaelon II's sun is slowly dying out; it's got about 30–40 years left. Dr. Timicin's life's work is to find a way to revitalize it. His test involves using modified photon torpedoes to seed a similar star with hydrogen that it can begin fusing, attempting to use a precise amount and sequence so that it stabilizes at the optimum temperature. This fails, and the test star continues heating until it goes supernova, with the Enterprise barely warping out in time.
• Stating the Simple Solution : Lwaxana asks Timicin why his people don't evacuate their planet if they know that their sun will die in a few decades. Timicin tells her that it's simply not an option, as his people are too connected to their world.
• This Is Gonna Suck : The episode begins, "Counselor Deanna Troi, personal log: Stardate 44805.3... My mother is on board. "
• Ugly Guy, Hot Wife : Lwaxana is notably more glamorous than the rotund and awkward Timicin.
• Visible Boom Mic : A boom mic pole appears in the reflection the first time Lwaxana passes by the mirror in Troi's quarters.
• We Will Have Euthanasia in the Future : Zig-zagged; The Federation does not practice it (although they don't specifically outlaw it, as seen in Star Trek V: The Final Frontier ), whereas Timicin's people celebrate it.
• What Does This Button Do? : "Madam, please! That is a photon torpedo launch initiator !"
• Star Trek: The Next Generation S4E21 "The Drumhead"
• Recap/Star Trek: The Next Generation
• Star Trek: The Next Generation S4E23 "The Host"

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Timicin is a Legendary [5-star] crew member.

Timicin is a version of Timicin from the Star Trek: The Next Generation episode "Half a Life" (4x22) .

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Star Trek: The Next Generation : "Half A Life"/"The Host"

"Half a Life"

Or The One Where There Really Are Death Panels

Hey, it's a Lwaxana Troi episode. No, wait, come back! This one's pretty good.

Perhaps it's the human need to find connections even when none present themselves, but I've noticed lately that a lot of the double features I've been doing share thematic elements and not just the sort of elements that are common to the series as a whole. Like this week, "Half a Life" and "The Host" both deal with the difficulties of managing encounters with unfamiliar races, but what makes them interesting is the very specific impact they deal with: Namely, what happens when you fall in love with an alien? I don't mean in a  Starman  or a  My Stepmother Is An Alien  kind of way, either. These are aliens with different cultures and different biologies. On the one hand, it's a moving testament to the idea of the soul, that anyone could find and build a connection with a stranger that strange. On the other hand, you kiss a dude with a bumpy forehead, god only knows what diseases you'll wake up with in the morning.

Not that such considerations have ever stopped Lwaxana before. She's a problematic character, an irritant to the regular cast who needs to be hilarious to be at all tolerable but who rarely ever is. I've spent enough time in these reviews griping about how misjudged Troi's mother is, how she's shrill and grating when she should be boisterous, how her agonizing joie de vivre marks her as that most frustrating of all television presences: the comic relief who is neither comic nor relieving. And in a sense, she's not much different here, but it's a mark in "Half a Life"'s favor that Lwaxana's presence is so immediately acknowledged as tiresome.  TNG  episodes always begin with a log entry, bringing us up to speed on whatever plot elements we need to get the story going; here, all we get is Troi's simple, pained, "My mother is on board." The first scene shows Picard failing to dodge her as he makes his way to the transporter room to greet an important guest. Picard is always at a loss around Lwaxana, and Deanna doesn't do much better, but for once, these reactions are more funny than they are cringe-worthy.

What really makes "Life" work, though, is that Lwaxana spends most of her time on-screen wooing a character who seems uniquely suited to appreciating her, ah, gifts. The  Enterprise  is working with the people of Kaelon II to help find a way to reignite their dying sun. To this end, they've brought a Kaelonian scientist on board who thinks he has a way to solve the problem. Dr. Timicin (David Ogden Stiers) is polite, quiet, and, unsurprisingly, very driven. No one knows much about the Kaelons. We're told their isolationist policies are stringent to the point of xenophobia. But Timicin doesn't appear stand-offish or arrogant. The opposite, really ;  he's so unassuming at times he threatens to disappear into the sets. Stiers, whose best known from his work as Major Charles Winchester on  M*A*S*H , is a decent-sized dude, but for most of the episode, he seems to be doing everything within his power to shrink into himself.

Which is maybe why he serves as such an excellent foil for Lwaxana. We've seen people shy away from her, and we've seen ridiculous villains become infatuated with her, but this is the first time we've seen her actually inspire someone in the way she intends to inspire him. (Well, first time when it wasn't a hologram, anyway.) One of the best ways to make a strident personality seem more charming is to offset them by someone who actually appreciates their clowning; while  TNG  has done its best in the past to make Lwaxana work by showing how everyone, deep down, thinks she's swell, Timicin's almost instantaneous awe of her is something new. It makes her seem less ridiculous. I still wouldn't want to spend any time alone with her (honestly, people who try and cheer you up by  insisting  you be cheerful make my teeth hurt), but at least I can believe the relationship between the two of them actually makes sense.

That's important, because for "Life" to work at all, the immediate connection between Lwaxana and Timicin has to be something we can get invested in.  TNG  doesn't have great luck with romantic relationships; the only real successful ones on the show seem to be the ones that aren't really entirely formed, like Troi and Riker's occasional sparring or the so-subdued-it's-practically-subliminal flirtation between Picard and Beverly. So it's a relief that even if Timicin and Lwaxana's courtship is broad and arguably rushed, it at least has a believable core. It's not perfect. Lwaxana's forcefulness is, as always, off-putting. (Just imagine if a guy tried to put these moves on a woman. Actually, you don't have to imagine it, just go watch "Galaxy's Child" again.) But Timicin is so clearly delighted by the attention that Lwaxana soon calms down into something approaching a reasonable person.

Once that happens, it becomes very clear what draws these two together: loneliness. Timicin is at a stage in his life when everything is winding down, when all his energies are committed to saving his world, without any consideration for anything beyond that. (For good reason, we'll soon see.) His wife is dead, his children are grown, and while we don't ever see his home life, it's easy to assume he's spent all his waking hours in the past few years in the lab, working towards the solution that should be the legacy he leaves to his world. Lwaxana is brash and crazy, and while the "quiet guy who gets brought to life by the nutty female" is a rank cliche, there's some truth to it. And on the flip side, well, of course Lwaxana is lonely. She's well past the prime of her life, she throws herself at anyone without the good sense to run the other way, and even her daughter is embarrassed to have her around. The show generally plays her as a free-spirit, so enamored of her self and of existence that she can't be contained, so it helps to remember the other side of all that shrill cheer: knowing that as soon as you stop having such a good time, you realize how many of the good times are behind you.

Of course, this wouldn't be much of an episode if it was just two middle-aged people jumping into bed together, so there's a catch: Kaelon II law dictates that its citizens be put to death once they reach the age of sixty. And guess who's just a few days shy of a birthday? One of the things that makes  TNG  such a distinctive show is its commitment to respecting the cultures it creates, and this one is no exception; Timicin explains the reasoning behind the law with enough dignity and compassion that it almost makes sense. It's essentially a way of fighting the humiliating effects of mortality on the individual and on society at large. Instead of the elderly being abandoned to die alone in "deathwatch facilities" (which sounds just a tad more ominous than "nursing home"), their faculties gone, their time of influence and vitality long behind them, the dead-at-60 law means that folks shuffle off the mortal coil surrounded by family and friends. It's called "The Resolution," and Timicin almost makes it sound noble.

Well, no, not really. Lwaxana objects stridently to the idea, and while her motives are fairly selfish (she's mostly upset that Timicin is being taken away from her), it's hard not to side with her when she points out that Kaelon II didn't really find a solution to the problem of age; they just found a way to avoid the problem. For the most part, Picard and the rest of the crew stay out of the argument. It's not till Timicin starts to have second thoughts that the captain gets involved. The doctor's attempts to rejuvenate the star fail, and Lwaxana is fairly persuasive, so Timicin gets it into his head that hey, maybe he  doesn't  want a lethal injection, or however Kaelon bumps off its golden oldies. (I have my fingers crossed for tiger pit w/optional ninjas.) The government of Kaelon doesn't look to highly on his decision, so out come the warships.

Again, though, Picard doesn't really do anything here. If Timicin wants to stay on the  Enterprise , Picard is prepared to make that possible. We've had episodes where our heroes had to decide just how much they could interfere with a local culture without violating the Prime Directive; this is not one of those episodes. Timicin's decision becomes increasingly difficult to stand by. The people on the planet below have shut him out, refusing to acknowledge his attempts at solving the problem of the failed tests. The only person who'll talk to him is his daughter, who visits the ship to tell him how embarrassed she is of him. (Hey, it's Michelle Forbes! Who does fine here, given the script she has to work with, except her hair-do is ridiculous.) He could probably escape with the  Enterprise  if he really wanted to and spend the rest of his days with Lwaxana, but to what end? Even if we assume that time spent with Lwaxana would be time spent well, he'd still be abandoning everything he'd ever known and loved.

It's a tricky moral problem, and one that I'm not entirely convinced "Life" pulls off. No matter how convincing Timicin's arguments in favor of the Resolution are, they become irrelevant once he decides he maybe doesn't want to die; the strongly negative reaction from the government and from his daughter are impossible to sympathize with, because their arguments make no real sense. Partly this is a cultural thing, and the episode is laudable for trying to to honestly depict a people who sincerely believe that enforced euthanasia is noble. But it becomes too easy to hate them by the end. A daughter who is angry at her dad for not getting murdered like he's supposed to isn't a sympathetic character, even if she doesn't much care for Lwaxana. (At least the idiots in  Logan's Run  have the lie of "renewal" to believe in. Here, all we get is "peace" and the daughter's obsession with being buried next to Dad.)

Of course, the episode doesn't need us to believe Timicin makes a good choice in the end; we only need to believe he made the only choice he could make. There are some powerful moments in "Life," and it's pleasant for once to see Lwaxana adding, rather than subtracting, from a storyline. Her decision in the end to accompany Timicin to his suicide makes her legitimately honorable, and while that doesn't make up for all the tepid theatrics we've had to endure in the past, it at least shows that she's not a complete loss as a character. "Life"'s major flaw is that it pushes too hard to force Timicin into an untenable position, and in doing so, it turns some of its supporting players into villainous caricatures. But the episode largely redeems itself by staying true to its main point: No matter how much time you have left, it's never enough.

Stray observations:

• Really, one of the reasons Lwaxana works so well here is that her edges aren't sanded down; she's still a self-centered ninny. It's just that she's a ninny who's also well-aware of her own short-comings, which makes her easier to like.
• Line That Would Sound Much Different Coming From Lex Luthor: "Alive, I am a greater threat to my world than a dying sun."

"The Host"

Or The One Where Beverly Gets Her Groove Back But Then Loses It Because This Isn't College Anymore And She's No Longer Comfortable Experimenting

So I guess Beverly decided to stop waiting for Picard, because the very first shot of this episode (after we establish that, yes, the  Enterprise  still exists) is her playing tongue tag with some bumpy forehead dude in a turbolift. How very gauche. Then Data interrupts Beverly and her handsome stranger, aka Ambassador Odan, who fits the "calm, taller" type that Beverly and Deanna both seem so fond of, and there's some mild comedy as Odan and Beverly try and find some way to keep Data from invading their together time. Really, having that android around is like having a 5-year-old on the ship. Somebody should really sit him down and explain the facts of life to him. Or at least the verbal cues that indicate he's being intrusive, since I'm pretty sure Tasha already helped him out with the whole birds and bees back in season one.

Like "Half a Life," "The Host" is about the challenges of interspecies courtship, and both episodes don't quite live up to the ambition of their premises. (Premisi? Man, I so wish that was a real word.) "Life" fumbles in its attempts to turn a philosophical dilemma into a real world one, while "Host" can't really make the romance at its core sing. The story requires Beverly to be so passionately invested in Odan that she's ultimately willing to follow him across bodies (though not genders), but it mostly seems like a passionate affair because we're  told  it's a passionate affair. Beverly goes through the expected motions of a tightly-wound woman in love, and I suppose Odan is charming enough, but the actual relationship that drives the episode is bland as every other affair on the show. Lots of throbbing music and intense close-ups, but not much in the way of actual believable emotion.

And yet, I can't really hold that too much against "The Host," because the idea here is so clever and fascinating that I don't mind it not entirely living up to what it might have been. This is just not a series that can really handle romance, for whatever reason, and really, "Host" doesn't need Odan and Beverly's love to be all that profound in order to work. This is more a problem of relationships than it is anything about specific characters. Like, remember  Indecent Proposal?  Yeah, the movie where Robert Redford turned Woody Harrelson into a pimp and Demi Moore into a, ahem, lady of the evening. It was a ridiculous movie, all slick visuals with no real soul or character, but the concept was so intriguing that it didn't  need  to be good to be successful. Everyone was just so fascinated by the moral question at the heart of the story that everything else was just gravy. Stupid, stupid gravy.

Thankfully "The Host" is quite a bit more successful, character-wise. Beverly is still Beverly, and while Odan is a little too wish-fulfillment perfect to be memorable, the actor playing him exits the episode at roughly the 10-minute mark, so that's not a huge problem. (Yes, once the symbiant is moved into Riker, Jonathan Frakes is basically playing Odan, but we still see him as Riker, with all the baggage that carries.) The actual model for the symbiant is effectively cool/gross enough looking to sell the point, and the conflict which tightens the screws on the relationship, while being yet another in a long line of "aliens who squabble" plots, is solid enough. Maybe I'm just seduced by the tech details. (There are moons and stuff!) But in a way, none of this really matters. Beverly's personality isn't really that important; apart from a brief mention of Wesley at the start of the episode, she's more here to be a stand in for the audience than because of who she is. Of course, her job as the ship's doctor is relevant, given Odan's specific health requirements, but… well, as with Geordi in "Identity Crisis," while it's hard to imagine anyone else pulling the duty Bev does here, this is more something that happens to her, than something she instigates.

Which brings us back to the  Indecent Proposal  angle. Nobody's offering anybody money to sleep with the good doctor (although just imagining the expression on Picard's face if somebody made the offer is enough to get me through a lot of bad mornings), but we are presented with the sort of philosophical problem that's fascinating to contemplate in the abstract. Odan is a Trill, which means that oh-so-attractively non-threatening body he's wearing at the start of the episode isn't really "him" at all, but a host that the real Odan wears until its no longer viable. The real Odan is a freaky purple and brown thing that looks like a cross between a slug and a bigger, freakier slug, and it/he/whatever has been jumping from host to host for a long time now. This isn't a negative process; the creature isn't leaching off of anyone or taking over bodies without permission. If that were the case, it would be much easier to dismiss. Instead, we simply have a different form of life than what we're accustomed to, and when Odan's host body is killed in a shuttle attack, Beverly is forced to come face to, er,  something  with her form-jumping suitor.

This raises some interesting questions about the nature of love, about what it is that pulls us to someone. Is it purely physical? Purely spiritual? Or is it some combination of the two that makes it difficult to accept a new face and a new body, even if the personality is unchanged. I rather think that last is true, and it's not hard at all to sympathize with Beverly's distress here. "Host" is a tad melodramatic, of course. Beverly's only known Odan two weeks when he "dies," and the amount of angst she goes through on realizing his true nature is a little much at times, even if it is entirely understandable. We need strong pressures to drive her back into the new Odan's arms, but this could've been underplayed a bit more to help balance out the strangeness of the situation. Beverly comes off as weirdly unstable, as though her lack of romance has made her nearly as lonely as poor Lwaxana. It's not that she wouldn't be upset, or troubled, or confused, but… well, it was two weeks. Falling like crazy for someone in two weeks happens all the time, but if something interrupts the fall, it's usually not  that  difficult to walk away.

Odan doesn't really make a great case for himself, either. While Beverly's freaking out, he spends too much time acting baffled as to why she'd be uncomfortable around him. Like just about every lover on this show (seriously, do people in the future ever just meet and decide, "Hey, let's hang out again some time"? Is it  always  a case of one side or the other forcing their attentions?), Odan seems to have difficulty understanding the concept of "personal space," just barely managing to restrain himself from grabbing Beverly in his arms post-transformation and forcing her to see reason via lip assault. She does eventually succumb, at least in part because after Odan's original host dies, Riker volunteers to temporarily support the Trill until a new host can arrive. While there's never been any implication on the show that Bev is into Riker (or the reverse, although seeing as how this is Riker, I doubt he hasn't considered it), he's at least a familiar face and someone she trusts. Admittedly, the fact that she knows Riker so well makes the alienness of Odan's condition even more apparent, but there's a friendship there already. Only I think the host bodies experience/remember everything that happens to them, so there was probably some awkward eye contact after Odan left.

As always with new races on  TNG , I can't help wondering at just how the Trill society works. Are the host bodies from another species? Why would someone willingly give up control of themselves to another creature? And how is it that nobody at Starfleet as any idea how any of this works? None of this really stretches credibility, and I appreciate that it isn't over-explained, but given that, so far as we can tell, Odan's control over the body he inhabits is a dictatorship rather than a democracy, it's the sort of connection that could use a little more justification. (Since the Trill don't exactly disappear from the  Trek  franchise after this episode, I imagine we'll get more explanation down the road.) Really, though, the details aren't the important part here, as much as I enjoy them. The important bit is trying to decide if you could love someone even if they stopped looking like themselves.

Beverly decides she can, but only to a certain point. I made the joke last week that "The Host" compromises at the end in the face of potential controversy, but I did the episode a disservice. After a long struggle to keep Riker alive long enough for Odan to get his job done, Odan's new host body arrives, and it's female. While this She-Odan still has the same feelings for Bev that Riker-Odan did, Beverly isn't able to make the gender jump and sadly ends their relationship in the episode's final scene. This makes perfect sense. We like to pretend that love is a wholly spiritual thing, but that does the sensation a disservice; we fall in love with features, with shapes, with bodies, as well as with minds. And, more crucially, when we fall in love, we admit that we're willing to sacrifice a piece of ourselves in order to get closer to someone else. But everyone has a line, and if you love them, you won't ask them to cross it.

Stray Observations:

• "Listening with skill seems to have evaporated with the heat of argument." President Obama should totally have quoted this in his State of the Union speech.
• Beverly turns to Troi for comfort in her distress, and Troi, well, she tells Beverly to go get with Odan in Riker form, because Troi's in love with her dead father? Or something. A very odd scene. It's supposed to be about the importance of love and so forth, but it really just plays as poor Troi having some serious Daddy issues.
• Odan's behavior post-body swap is fairly hideous, although I think we're supposed to take it as "forceful" or "romantic." You didn't tell a woman you love that you were really a sentient slug body-jumping its way through life, dude. You can't pretend that  she's  the unreasonable one here.

Next week: We check out "The Mind's Eye" and "In Theory."

Dara (Kaelon)

• View history

Dara was the daughter of the Kaelon scientist Doctor Timicin .

In 2367 , Dara came aboard the USS Enterprise -D , where her father was conducting experiments on their sun . Timicin had reached sixty years of age, the time of the Kaelon Resolution , but was considering forgoing the Resolution in order to continue his work. Dara appealed to him to think of his family and the social stigma they would face if he did not follow Kaelon tradition. She also challenged Lwaxana Troi , who had become attached to her father, insisting that Troi had no respect for Kaelon traditions and no right to influence her father.

Dara was the mother of an almost-seven-year-old boy . ( TNG : " Half a Life ")

• 2 Star Trek: The Next Generation
• 3 USS Enterprise (NCC-1701-G)

Screen Rant

Dafne keen's the acolyte jedi & obscure star wars species explained.

The trailer for Star Wars’ upcoming show, The Acolyte, just released and featured Dafne Keen as a new Jedi character—but who, and what, is she?

• The Acolyte trailer introduces Dafne Keen's Jecki, a new Jedi character who will face dark side threats in the High Republic Era.
• Jecki, a Padawan to Lee Jung-jae's Sol, is a Theelin/human hybrid with unique features, projecting calmness and maturity in her role.
• The upcoming series will explore the rarely seen Theelin species, honoring Star Wars history and offering a unique twist on Jedi characters.

The Star Wars: The Acolyte trailer has just been released and has given audiences their first look at Dafne Keen’s character, who is a member of an obscure Star Wars species. Footage from The Acolyte ’s first trailer shows that Keen’s character is a member of the Jedi Order who will be facing a new dark side threat. The Acolyte will be the first time the High Republic Era of the Star Wars franchise will be seen in live-action, with the show taking place about 100 years before Star Wars: Episode I—The Phantom Menace .

With an era largely unexplored, it seems The Acolyte will feature a lot of brand-new characters. However, characters like Vernestra Rwoh will be familiar to those who have read the Star Wars High Republic Era novels . The Acolyte will follow Lee Jung-jae’s character, Sol, and other Jedi as they investigate someone who is murdering Jedi. This Sith infiltration will likely be led by Mae (Amandla Stenberg), who was seen dueling Jedi in trailer footage. The Acolyte trailer also featured footage of Jedi like Indara (Carrie-Ann Moss), Yord (Charlie Barnett), Master Kelnacca (Joonas Suotamo), and Dafne Keen’s character, Jecki.

Star Wars: The Acolyte - Cast, Story Details & Everything We Know

Dafne keen's jecki is a jedi padawan.

While Keen is hardly shown in The Acolyte trailer, she will likely be working closely with Lee Jung-jae’s Sol. Jecki is the Padawan learner to Master Sol and will likely be accompanying him on his adventures in the Disney+ show. While Jecki can only be seen twice in the trailer, she is described as an individual who projects calmness and is mature. It’s unclear how old Jecki is, but based on Dafne Keen’s age and the fact that she is a Padawan, Jecki is likely a teenager in The Acolyte.

Jecki can be seen with white braided hair and pale skin that has streaks of orange and black dots near her temples. Keen had previously described her character at Star Wars Celebration as “pretty cool, pretty badass, [and] she gets to play with lightsabers.” Keen seemed quite happy that Jecki was an alien Jedi as well, saying it was an honor. It was revealed soon after The Acolyte trailer that Jecki is a Theelin/human hybrid, and she isn’t the first in Star Wars .

What Is A Theelin? Dafne Keen's Character Species & Star Wars History

Theelin is an alien species that is said to be rarely seen in the Star Wars galaxy and can be identified by skin tones, which are usually lavender, white, bronze, silver, or green. Additionally, Theelins have brightly colored hair, head horns, spotted skin, and hoofed feet. Theelins are mostly seen in their hybrid form in Star Wars , including Jecki - who is part human and part Theelin. In Legends, Theelins were doomed to extinction because of genetic mutations, leading them to interbreed to keep their species alive. This detail is being honored in The Acolyte with Jecki being a hybrid.

Headland was inspired to create a Theelin/human hybrid for The Acolyte after seeing the character Rystáll Sant in Return of the Jedi.

The Acolyte showrunner Leslye Headland has said it was a dream of hers to create a Theelin character, and that the creation of this character was something she wanted to do. Headland was inspired to create a Theelin hybrid for The Acolyte after seeing the character Rystáll Sant in Return of the Jedi . Rystáll was a singer and dancer as part of the Max Rebo Band and can be seen with bright orange hair in the film. Rystáll’s line of work wasn’t uncommon for Theelins, as they usually became artists, singers, or dancers - which Jecki could bring to her Jedi training.

Star Wars: The Acolyte Cast & Character Guide

Dafne keen's movies & tv shows before the acolyte.

Dafne Keen is best known for her role as X-23/Laura in the 2017 film Logan , where she played a pseudo-daughter to Hugh Jackman’s titular character. Keen went on to star in His Dark Materials on HBO and BBC One. The show had three seasons, running from 2019-2022, and featured Keen in the lead role, playing Lyra Belacqua. Keen also played the titular role in the 2020 film Ana, which also starred Andy Garcia. Even though Keen’s filmography isn’t extensive, her work in Logan certainly helped prepare her to take on the role of a Jedi in The Acolyte.

Many more details regarding The Acolyte will become available as it gets closer to its two-episode premiere on June 4th. Hopefully, in that time, audiences will get to know characters better, including Dafne Keen’s character, Jecki. With so much still unknown about Jecki and the direction The Acolyte will take, it’s truly an exciting time to be a Star Wars enthusiast.

Star Wars: The Acolyte starts streaming June 4th on Disney+.

All Star Wars movies and TV shows are available to stream on Disney+

The Acolyte

The Acolyte is a television series set in the Star Wars universe at the end of the High Republic Era, where both the Jedi and the Galactic Empire were at the height of their influence. This sci-fi thriller sees a former Padawan reunite with her former Jedi Master as they investigate several crimes - all leading to darkness erupting from beneath the surface and preparing to bring about the end of the High Republic.

Star Trek: The Next Generation (1987–1994)

David ogden stiers: timicin, photos .

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