Season One
One of numerous shows based on ideas by sci-fi legend Gene Rodenberry, Andromeda (2000 - 2005) is one of the most fascinating TV shows to come out of the golden age of syndication; mostly genre shows produced in Canada, with modest budgets.
What makes Andromeda stand apart from the rest of the pack is how ambitious the concept is, as summarized in the opening narration of the first season:
“The Long Night has come. The Systems Commonwealth, the greatest civilisation in history, has fallen. But now, one ship, one crew, have vowed to drive back the night and rekindle the light of civilization. On the Starship Andromeda, hope lives again.”
Centering on Captain Dylan Hunt, captain of the warship Andromeda Ascendant, who, after being frozen in time for over 300 years, tries to rebuild The Systems Commonwealth, a sort of intergalactic NATO/United Nations, with the help of a ragtag team of misfits, rogues, and outcasts.
It’s not a wholly original concept, but led by the ever charismatic Kevin Sorbo - who at the time was riding high on the success of his previous show, Hercules: The Legendary Journeys, one of the most successful syndicated TV shows in history, up to that point - and a cast of likable character actors, the show becomes something special in many ways.
A large part of the show’s conceptual success, at least initially, is due to showrunner Robert Hewitt Wolfe, who developed the show from meager notes by Gene Rodenberry, and fleshed out the main ideas into a fullly fledged mythology.
The series hits the ground running with a kinetic and confidently made two-part pilot, “The Long Night” and “An Affirming Flame”, which introduces the core six characters - Dylan Hunt, Beka Valentine, Reverend Bem, Seamus Harper, Trance Gemini, and Tyr Anasazi - and features plenty of impressive action and dazzling visual effects.
But midway through the first season, it becomes apparent that the show has conceptual flaws. Behind the scenes, Wolfe and his writing team envisaged the show in a darker, more political manner, while other parties, including Sorbo and the producers, wanted a less complex, more action-oriented show.
The tension between the two visions for the show make the first season compelling, but also uneven, with Wolfe trying to steer the majority of the episodes towards a kind of globalist/existentialist-humanist worldview that is sometimes fascinating and sometimes wearying and unappealing in its ideological rigidity, such as in the episodes “The Mathematics of Tears” and “The Sum of Its Parts”.
Aside from the philosophical pretensions, the first season also displays problems with the production design, with the costumes, make-up effects, and CGI coming across as garish, and occasionally even cheap-looking.
But the first season also gets many things right, including the character of Rev. Bem, a loathsome-looking creature of a cannibalistic bestial species called the Magog, who renounces his violent origins and adopts The Way, a spiritual path of non-violence and harmony with the universe. This character, wonderfully portrayed by Canadian veteran Brent Stait, is one of the most original and fascinating characters to ever feature on a science-fiction TV show, and gives Andromeda a mystical/spiritual side that is layered and fascinating.
Also, The Abyss, the main antagonist of the series, a nightmarish, luciferian entity first introduced in the episode “Harper 2.0”, is frightening, and propels the series main conflict into an almost apocalyptic playing field.
The character of Tyr Anasazi, powerfully brought to life by stage actor Keith Hamilton Cobb, is also a terrific creation; a pragmatic, often ruthless warrior of the Nietzschian race, a race of genetically engineered humans with superior mental and physical traits, and, during the first two seasons, the machinations of Tyr, and his tension with Captain Hunt’s idealism, provide the show with some of its most memorable moments.
The first season of the show whets the viewer’s appetite with its combination of ambition, charm, and mysticism, and ends with a stunning season finale, which fulfills the show’s potential on almost every level.
Quick reviews of season one’s episodes:
1. Under The Night (Part 1): Captain Dylan Hunt of the warship Andromeda, wakes up after 300 years of being frozen in time, to discover that The Systems Commonwealth is gone, and that he’s the only surviving member. Moments after his awakening, a group of scavengers board his ship, intent on taking it by force. Impressive pilot episode, efficiently written, and quickly establishing the series’ core concepts and characters. Energetically directed by Allan Eastman
2. An Affirming Flame (Part 2): Part 2 is just as good, with confident writing, plenty of action, and more opportunities for the cast, led by the charismatic Kevin Sorbo, to shine.
3. To Loose The Fateful Lightning: The crew of the Andromeda finds a forgotten High Guard station maintained by the teen descendants of the original crew, and who follow a corrupted version of The Systems Commonwealth mission statement. Average episode with lofty philosophical ambitions. Good enough, but the guest cast and the heavy-handed writing prevent it from being a total success.
4. D Minus Zero: Good, well-written episode, which reveals more about the main characters, and establishes the rising tension between them due to conflicting worldviews, mainly Hunt’s idealism, and the rest of the crew’s often ruthless pragmatism.
5. Double Helix: One of the best episodes of the season, pitting Hunt and his crew against the Nietzschians for the first time, and revealing more about Tyr, a Nietzschian himself, and where his true loyalties lie.
6. Angel Dark, Demon Bright: Written by Robert Hewitt Wolfe, this is an ambitious episode, which introduces what would become one of the show’s main obsessions: time travel and its consequences. Here, Hunt is presented with an opportunity to go back in time to the decisive moment in the battle that led to the fall of The Systems Commonwealth. Does he intervene and save The Commonwealth, temporal consequences be damned, or let the past rest? A favorite of all involved, and it’s easy to see why.
7. The Ties That Bind: Average episode revealing more about Beka’s past, and her troubled relationship with her con-artist brother.
8. The Banks of Lethe: The Andromeda approaches a black hole, which leads to an opening in time and space, giving Hunt an opportunity to see Sarah, the love of his life, again. Interesting concept left unfulfilled due to uninspired writing and overt sentimentality.
9. A Rose in The Ashes: While on a diplomatic mission to promote the Systems Commonwealth, Hunt is arrested and sent to a brutal penal colony. One of the best episodes of the season, with a fast pace and plenty of action.
10. All Great Neptune’s Ocean: The show’s attempt at a locked-room mystery is a good episode, but is hampered by mediocre production design and miscast guest stars.
11. The Pearls That Were His Eyes: One of the best episodes of the season, centering on Beka’s seeking out an old friend of her father’s. A showcase for Lisa Ryder (Beka), who gives an impressive performance. Features a guest spot by John De Lancie, famous for his role as “Q” in the Star Trek universe.
12. The Mathematics of Tears: Captain Dylan Hunt and his crew come across a long lost High Guard ship, and discover that its captain and crew have somehow stayed alive for over 300 years. Entertaining episode, with plenty to offer, despite its silly premise and lamentable transhumanist ideas.
13. Music of A Distant Drum: After crash landing on a strange planet, an amnesiac Tyr gets embroiled in a battle between a peaceful family of fishmongers and violent Nietzscheans. Good episode, fleshing out Tyr’s character, and which gives Keith Hamilton Cobb plenty of chances to shine. The location shooting and bittersweet ending are a plus.
14. Harper 2.0: The series’ main antagonist, the luciferian The Abyss, is revealed for the first time, in a tense if overly dark episode that will have repercussions echoing down to the end of the series.
15. Forced Perspective: A covert mission from Dylan’s past, to take out a despot, comes back to haunt him. One of the best episodes of the season. Thought-provoking, suspenseful, and adds a new dimension to Hunt’s character. Features one of Kevin Sorbo’s best performances on the show. It also introduces the character of Admiral Stark, who would prove vital to the series’ story in the following seasons.
16. The Sum of Its Parts: Another problematic episode dealing with transhumanist issues, this time about a revolution by A.I. against the tyranny of their human captains. Has its moments, but conceptually ludicrous.
17. Fear and Loathing in The Milky Way: Fun caper episode, features the welcome return of the rat-like Nightside Genetrex, first seen in the series’ pilot episode, and who is wonderfully portrayed by John Tench.
18. The Devil Takes The Hindmost: Haunting, often brutal episode, about Rev. Bem responding to a fellow Wayist’s plea for help, only to get involved in a battle against the Magog that tests him to the limit. Thought-provoking, but also unpleasant and overly dark, which is symptomatic of Wolfe’s time on the series as showrunner, and which would eventually lead to his ouster.
19. The Honey Offering: Fast-paced, enjoyable episode about Hunt and his crew accepting a mission to transport a Nietzchian princess to her wedding. Well-written, and reveals more about the devious philosophy of the Nietzchian race.
20. Star-Crossed: Yet another misguided and saccharine transhumanist story about Rommie, Andromeda’s A.I. avatar, falling in love with a fellow Android. Silly, overwrought, and philosophically puerile.
21. It Makes A Lovely Light: Harper accidentally discovers a route to the mythical Tarn Vedra, Dylan’s long lost home planet, leading to Beka pushing herself to the limit trying to get there, with dire consequences. One of the best episodes of the season. Intense, memorable, and featuring a tour-de-force performance by Lisa Ryder.
22. Its Hour Come ‘Round At Last: Hands down, this season finale, written by Robert Hewitt Wolfe and directed by Allan Eastman, is one of the best episodes of the series. Centering on the Magog’s attack on Andromeda, as part of The Abyss’s plan to destroy Hunt and his mission, this episode is superbly written and produced, and proved what the show could be when it fired on all cylinders. Alas, starting with the next season, the series would rarely really reach those heights again.
Season Two
The second season of Andromeda is where Wolfe’s vision for the show became crystal clear, for better or worse. It was obvious that he intended the show to be a kind of a political fable about the necessity of strong central governments, i.e Globalism, or, in this case, Universalism, the dilemma of using aggression to achieve those means, and the darker side of the characters. Although the show would still feature stand-alone stories that were more lighthearted, Wolfe’s focus and passion seemed to really show in the episodes dealing with power plays, political machinations, and the dark side of idealism.
Lofty ambitions, these, but they were arguably misplaced in a show like Andromeda, with its bright colors, likable cast, and limited budget. It also didn’t really play fair with the audience, who came to the show mainly due to the names of Kevin Sorbo and Gene Rodenberry; two names not associated with the darker shades of storytelling.
Which would all eventually lead to the firing of Wolfe midway through the season, during the production of the season’s twelfth episode, “Ouroboros”, with writing team Matt Kiene and Joe Reinkemeyer running the show till the end of the season. This change in creative leadership would mark a turning point for the show in almost every way.
The tension between the creative forces behind the series shows in the quality and nature of the episodes up to the point of Wolfe’s departure, with the show’s tone wavering almost constantly, from light to dark, frothy to serious, and in the many changes to the show’s costume design, especially for the female characters.
Still, the show never gets boring, and the quality never plummets to unwatchable depths. But season two never really coheres, and ends with somewhat of a whimper.
Quick reviews of season two’s episodes:
1. The Widening Gyre: Intense episode, picking up where the last episode left off, as Hunt and Beka go to The Abyss’s lair to rescue Tyr and Harper from the Magog.
2. Exit Strategies: Action-packed if underwhelming episode, mainly serves to pave the way for the exit of Rev. Bem’s character, due to Brent Stait’s inability to withstand the toll the character’s make-up took on his health.
3. A Heart for Falsehood Framed: Mediocre caper episode, a kind of watered down homage to Hitchcock’s To Catch A Thief. Intriguing concept, let down by a bland script.
4. Pitiless as The Sun: Good episode, with a smart script, finally offering a glimpse into what might be the true nature of Trance.
5. Last Call At The Broken Hammer: Forgettable, pretentious episode, about Hunt and his crew getting involved with Dr. Ortiz, an altruistic doctor who’s been missing for years. A heavy-handed script and miscast guest actors make this one of the season’s weakest episodes.
6. All Too Human: A Rommie-centric episode, about Rommie going on a rescue mission, and having to do battle with an extremist Android. Silly to the extreme, but director T.J. Scott makes the most out of the action sequences, and gives the episode plenty of style.
7. Una Salus Victus: Tense, well-written and directed episode, about Dylan and his crew trying to pass through a Nietzchian-controlled area. The storyline about Beka being trapped in the Eureka Maru, is especially compelling.
8. Home Fires: Good episode, giving the characters of Hunt and Rhade, the officer/friend who betrayed him 300 years ago, the chance to have one final confrontation.
9. Into The Labyrinth: Good story (The Abyss sends a devious emissary to Harper to seduce him into joining the dark side during an important event aboard the Andromeda), mediocre execution. This was arguably the point where it became obvious that Wolfe and his team weren’t really sure how to handle the character of The Abyss, and the myriad and often jarring tonal shifts of the show’s episodes.
10. The Prince: Pretentious episode, with a po-faced and smug script about Dylan and Tyr mentoring a young Prince about to come into power. Dylan tries to show the Prince the ways of diplomacy, while Tyr acts as a devil's advocate. Boring, heavy-handed, and shows a jarring side to Hunt’s character, which is emblematic of Wolfe and his team’s continuous, and somewhat subversive attempt to darken Hunt’s character.
11. Bunker Hill: One of the best episodes of the season, centering on Harper’s return to Earth, his home planet, and getting involved in an armed rebellion against the tyrannical Nietzschians. Rousing, well-written, and ambitious.
12. Ourobros: The turning point episode, and the last to feature Robert Hewitt Wolfe as showrunner before getting summarily fired. Watching the episode, and taking the overall quality of this season into consideration, it is easy to see why Wolfe was replaced. He obviously had a clear vision, albeit a dark and somewhat pretentious one (shortly after the series’ finale aired, Wolfe revealed his vision for how the show should have ended, in the form of a one-act play called “Coda”, published on his website. While Wolfe’s ending is much more serious, and deals with the material in a more intellectual manner, it also takes the show’s mythology and the fates of the characters in an overly dark and pretentious direction, and one which is influenced by the writings of William Blake, with all the despair and moral ambiguity that that entails), but he was also kind of an ideologue, with a very rigid, progressive, morally ambiguous worldview that often felt intrusive and pulled the show in directions not congruent with its obvious template and audience expectations. The episode itself, a kind of a soft reboot of the show, is exciting and visually intriguing, although many of its storylines would never get resolved after Wolfe’s departure.
13. Lava and Rockets: Fun episode that pairs Dylan with a young female captain on an exciting mission. The episode grounds the series a bit, after the narrative and conceptual acrobatics of the previous episode.
14. Be All My Sins Remembered: Intriguing story about one of Beka’s former lovers who suddenly reappears, wreaking havoc with her life. Again, the episode suffers from a syndrome that would trouble the series till its very end: good ideas, flawed execution. In this case, the episode’s effectiveness is undercut by miscasting Costas Mandylor as Beka’s charismatic and aggressive former lover, Bobby, and problematic production design.
15. Dance of The Mayflies: The series’ take on a zombie story. Fun, action-packed, but a bit silly.
16. In Heaven Now Are Three: Dylan, Beka, and Trance go on a quest to find a mythical artifact called The Engine of Creation. The first real sign that the producers were trying to stretch the kind of stories the show could offer, this is the first episode to try injecting blunt humor and Hercules-like action into the show. The results are mixed, to say the least.
17. The Things We Cannot Change: Intriguing, minimalistic episode, about Dylan being trapped in an alternate reality where he’s retired and living happily with a wife and child. But as the cracks start to show, he begins to question what is real and what is illusion. Cleverly produced, but is too self-serious for its own good.
18. The Fair Unknown: Compelling episode, revealing more about Tarn Vedra, Dylan’s home planet, and its otherworldly inhabitants. The ideas introduced in this episode will have major consequences in the seasons to come.
19. Belly of The Beast: Fascinating, suspenseful episode, about Dylan and his crew trying to stop a mythical, planet-eating beast.
20. The Knight, Death, and The Devil: Another pretentious, transhumanist story about the dignity of androids. Po-faced and boring.
21. Immaculate Perception: Tyr discovers that he has a son who might be the reincarnation of Drago Museveni, the godfather of the Neitzchian race. Riveting episode, with plenty of twists and turns.
22. Tunnel At The End of The Light: Dylan hosts a gathering to celebrate the relaunch of the Systems Commonwealth, which now includes fifty signatories. But things go terribly wrong when the ship is invaded by seemingly omnipotent assassins. Exciting episode, but as a season finale, it is a bit murky, and an obvious letdown compared to last season’s finale, “Its Hour Come ‘Round At Last”.
Season Three
With season three of Andromeda, veteran TV writer/producer Robert Engels became showrunner till the end of the show’s run. Engels - a quirky writer who came of age as part of the writing team on the classic David Lynch TV show Twin Peaks - was a strange choice as a replacement for Robert Hewitt Wolfe, a veteran sci-fi writer who cut his teeth as a staff writer on Star Trek: Deep Space Nine. From the get go, it’s obvious that Engels is not entirely comfortable with the science fiction elements, and the convoluted, pseudo-intellectual mythology established by Wolfe and his team. Engels would struggle with these issues for the majority of the third season, resulting in Andromeda’s most disappointing and uneven season.
But Engels is also an imaginative and capable writer, with years of experience behind him, and surprisingly enough, despite the tonal inconsistencies and lack of a coherent vision, season three of Andromeda proves to be a massively entertaining one.
There’s a kind of “try anything” approach to the season that results in a number of stellar stand-alone episodes, and according to writers Ashley Edward Miller and Zack Stentz, Engels allowed them the freedom to run wild on their episodes, resulting in what Stentz described as a “mini-season” of eight episodes within the third season, which continued some of the stories originally envisioned by Wolfe.
Next season, Engels, with the help of a new batch of writers, would eventually manage to fix many of the problems of this transitional third season.
Quick reviews of season three’s episodes:
1. If The Wheel is Fixed: Underwhelming and poorly produced season opener, which blandly resolves the cliffhanger presented in the last episode.
2. The Shards of Rimini: New showrunner Engels’ first attempt at stretching the boundaries of the show is a fun if averagely realized noirish story, about Dylan and Harper getting entangled in a quest to find a mysterious vase that might have something to do with Dylan’s past.
3. Mad To Be Saved: One of the worst episodes of the entire show’s run, about Dylan and his crew rescuing a group of survivors, only to discover that they are all mad. Poorly written and distasteful.
4. Cui Bono: Good episode, features the return of Beka’s Uncle Sid, a shady character (charismatically portrayed by Star Trek veteran John de Lancie) who now wants to head the newly established Systems Commonwealth.
5. The Lone and Level Sands: Memorable episode, buoyed by an overemphatic and charming performance by Tony Todd as captain of the Bellepheron, an old high-guard ship on an exploratory mission, which crosses paths with Dylan and his team.
6. Slipfighters The Dogs of War: One of the best episodes of the season, and the series, and one of the show’s few blatantly political episodes, for better or worse. Dylan, Trance, and Tyr embark on a dangerous mission to destroy weapons of mass destruction on an impoverished planet with a seemingly middle-eastern heritage. Great visual effects, loads of action, and a script that gives Tyr (and actor Keith Hamilton Cobb) plenty of opportunity to stretch his acting muscles.
7. The Leper’s Kiss: Fun but forgettable episode centering on Dylan and Beka’s attempt to stop an elusive assassin named The Leper.
8. For Whom The Bell Tolls: Fun but bizarre episode about the Andromeda seemingly being haunted by the ghost of a dead crew member (played by guest star William Katt). Thankfully, the show’s only attempt at making a full-fledged horror episode.
9. And Your Heart Will Fly Away: Mediocre episode, serves as a misguided attempt to give Tyr a love interest and deepen his mythology. All aspects of this story would be completely ignored in the episodes to come.
10. The Unconquerable Man: Cleverly constructed episode, imagining an alternate reality where Dylan dies and Rhade lives, with the latter taking command of Andromeda and its crew, and shepherding it towards a vastly different future. The episode gives Steve Bacic an opportunity to show his acting chops, in preparation for him becoming a regular cast member next season.
11. Delenda Est: Thrilling episode, revealing the nature of the ferocious alien assassins introduced in the season two finale. Well-written and intense. It is also the first episode where Robert Engels, who wrote the script, seems to finally get the handle of the show and its mythology. Energetically directed by former assistant director Richard Flower.
12. The Dark Backward: A seminal episode, and one of the best of the series, focuses on the true nature of Trance, as she navigates multiple possible futures where a seemingly omnipotent alien assassin boards the Andromeda, intent on killing everyone on board. Dark, intense, and haunting. Written by Ashley Edward Miller and Zack Stentz, and directed by Michael Robison.
13. The Risk-All Point: Exciting and suspenseful episode, where Dylan and his crew must find a saboteur aboard the Andromeda intent on sabotaging the future of the Systems Commonwealth. Helped immensely by guest star Jane Heitmeyer’s cool performance, and marred only by an unnecessary and rather jarring romantic subplot for Captain Hunt, an issue that would plague the series throughout Robert Engels’ tenure as showrunner.
14. The Right Horse: An entertaining if forgettable episode, about Beka risking everything to save a friend, who is a fugitive from justice.
15. What Happens to A Rev Deferred?: The welcome return of the character of Rev. Bem is a compelling episode that benefits greatly from Brent Stait’s endearing performance as the tortured Wayist. But the muddled script and ambiguous ending leave a lot to be desired.
16. Point of The Spear: Good episode, with plenty of action and political intrigue, where Dylan and his team are embroiled in a battle between two planets. But Dylan isn’t sure whose side to take. Another script of the darker variety by the Robert Hewitt Wolfe loyalists Miller and Stantz.
17. Vault of The Heavens: The first script for the show by actor Gordon Michael Woolvett is an entertaining but rather silly story, where Dylan is chosen by an all female race headed for extinction, to be their mate and save their bloodline. One of the series’ most mind-boggling creative choices.
18. Deep Midnight’s Voice: Intense episode about Dylan and his team getting in the middle of warring Nietzchian prides searching for the mythical Deep Midnight’s Voice, a device created by Drago Museveni that would give its user the ultimate edge during slipstream travel. Well-written episode, adding depth to Tyr’s character and the psychology of the Nietzschian race, and foreshadowing the events of the season’s finale.
19. The Illusions of Majesty: The show’s first real attempt at a comedy episode, involving the crew of the Andromeda rescuing a princess who turns out to be a confidence artist pursued by warring factions. One of the most problematic and jarring episodes of the series.
20. Twilight of The Idols: Very talky but compelling episode, features a mesmerizing performance by veteran character actor Michael Ironside as Admiral Stark, a ruthless high-guard commander from Dylan’s past, whose brutal tactics clash with Dylan’s more nuanced approach.
21. Day of Judgement, Day of Wrath: Entertaining but conceptually murky episode about the avatars of the Commonwealth ships staging a revolution. Yet another philosophically confused transhumanist story, which feels like something out of the Robert Hewitt Wolfe era, which is unsurprising, since it is written by Wolfe loyalists Miller and Stantz.
22. Shadows Cast by A Final Salute: Riveting season finale, serves as a mostly fitting farewell for the Tyr character, and gives Kevin Sorbo and Keith Hamilton Cobb a chance to let the sparks fly one last time.
Season Four
Season four is where Robert Engels finally got the formula right, and managed to steer the show towards a clear destination, resulting in one of the best seasons in the show’s run.
There are a number of misguided creative decisions, though, and the trend to reshape Dylan Hunt into somewhat of a romantic hero with an active love life continues on from last season, but, overall, this season delivers on many fronts, with better visuals, better production design, and superior effects, despite a drop in the budget, and almost complete lack of location shooting.
Engels achieves all this with the help of a brand new writing team, headed by writers Larry and Paul Barber, who pen the majority of the episodes.
Unlike the previous season, which came off as incoherent and tonally inconsistent, season four has a definite shape and moves towards a surprising yet powerful finale.
It is also a darker and much more energetic season, with only a few misfires, and includes some of the best stand alone episodes of the show.
Alas, this would prove to be the last season of the Andromeda the viewers knew and loved. Following an extended hiatus where the fate of the show was up in the air, Andromeda was belatedly renewed for a fifth and final season, with a massively reduced budget, which forced Engels and his team to overhaul the show, with mixed results.
Quick reviews of season four’s episodes:
1. Answers Given to Questions Never Asked: Adequate if forgettable season opener, in which Dylan and his crew discover that the events that transpired in the season finale (mostly due to Tyr’s machinations) have left The Systems Commonwealth teetering on the edge of collapse yet again.
2. Pieces of Eight: Good episode about a corrupt businessman (played with hammy delight by veteran Canadian actor Maury Chaykin) who manipulates the Systems Commonwealth to his benefit, using a prescient being under his control. Introduces the main plotline of the season: The System Commonwealth being corrupted from within.
3. Waking The Tyrant’s Device: Exciting, action-packed episode, about a cyborg engineer working with The Abyss to destroy the Commonwealth.
4. Double or Nothingness: Mind-bending, thrilling episode, about Dylan being trapped inside a virtual reality game, while two corrupt Nietzschians bet on the odds of his survival. The episode continues the season’s streak of fast-paced, genre-bending episodes. The only quibble is the over-the-top performances by guest stars Andrew Jackson and Colin Cunningham.
5. Harper/Delete: Captivating and fast-paced episode. Dylan, Beka, and Harper must rescue a Nietzschian held captive by his aunt, while the father holds the key to a powerful weapon that Harper tries to disable at the risk of his own life.
6. Soon The Nearing Vortex (Part 1): Tyr returns in a compelling episode, introducing the season’s main antagonist, The Collectors, a group of power-hungry, ruthless elites who aim to subvert The Systems Commonwealth to their own desires. The story is full of action and political intrigue, but its handling of Tyr is disappointing, to say the least, completely diluting the character’s complexity and charm.
7. The World Turns All Around Her (Part 2): The story continues, introducing the Route of Ages, a mythical map that would play a major part in the events of the show up until the very last episode. It also features the last appearance of Keith Hamilton Cobb and the character of Tyr, who is given a less than impressive ending, not worthy of the character.
8. Conduit to Destiny: Adequate episode about Dylan and his crew being asked to help quell a prison riot on a planet that has ties to Dylan’s past. Foreshadows the mythologizing of Dylan’s character, which would have tremendous consequences on the show up until the end.
9. Machinery of The Mind: Mediocre episode about an agent of The Abyss lurking among the guests at a conference about the Magog threat. Good concept poorly realized, with a lighthearted approach that clashes with the story’s dark tone.
10. Exalted Reason, Resplendent Daughter: Middling episode, about Dylan and his team’s attempt to rescue a kidnapped princess from a Robin Hood type renegade. Poorly cast and shallowly written.
11. The Torment, The Release: One of the season’s best, centers on Dylan being put on trial by The Commonwealth, which is now controlled by the corrupt Collectors, for alleged crimes of treason. The themes hinted at since the beginning of the season come to the surface, in this well-written, cleverly produced episode, which does wonders with the clip-show format. It is also the first episode which truly feels like a successful realization of Robert Engels’ vision for the show.
12. The Spider’s Stratagem: Entertaining, fast-moving episode, about the Andromeda team capturing a smuggler and discovering that his cargo is much more dangerous than they thought.
13. The Warmth of An Invisible Light: Writer Matt Kiene’s return to the show is a regrettably misconceived alternate reality episode, in which Dylan has died, Harper has become a transhuman tyrant, and Beka a revolutionary. Subpar writing and production design hamper an intriguing concept.
14. The Others: Adequate episode about the crew of the Andromeda getting in the middle of an ancient war between two feuding planets, leading Dylan to contract a fatal disease. The concept lends itself to plenty of suspense, but the script doesn’t fulfill the story’s full potential. One of two episodes written by Scott Frost, the only other writer besides Robert Engels to come from the Twin Peaks team.
15. Fear Burns Down To Ashes: The last appearance of Rev. Bem is an exciting, rousing, and memorable episode, about Rev. Bem sending an SOS to the crew of the Andromeda to come rescue him from inside a dead ship. But Rev. Bem doesn’t appear to be himself. Is he now friend or foe? Although Rev. Bem’s appearance is inconsistent with the human-like transformation that took place last time we saw the character, the solid script and Kevin Sorbo’s and Brent Stait’s performances make this one of the best episodes of the season, and a mostly satisfactory farewell to a beloved character.
16. Lost In Space That Isn’t There: The resolution of a subplot introduced in “The World Turns All Around Her”, in which it is revealed that Beka’s strange actions are due to her being possessed by The Abyss. An underwhelming and blandly written episode that wastes plenty of intriguing concepts. It also reveals that Engels and his team’s concept of The Abyss is less interesting and definitely less frightening than the one envisioned by Robert Hewitt Wolfe and his team.
17. Abridging The Devil’s Divide: Outstanding episode, written by Gordon Michael Woolvett, features the welcome return of Michael Ironside as Admiral Stark, in a genre-bending, nail-biting story about time travel. The climax is especially effective. Very well-directed by Peter DeLuise.
18. Trusting The Gordian Maze: Forgettable, abrasively humorous episode, about an agent of Tri-Jema’s attempt to convince Dylan to give her a copy of The Route of Ages. The romantic subplot is jarring, to say the least.
19. A Symmetry of Imperfection: Arguably the best Rommie-centric episode in the history of the show, in which Rommie malfunctions during an attack on the Andromeda by the Magog. The stylish direction by Allan Harmon, and the fast pace, overcome the script’s shortcomings.
20. Time Out of Mind: Good episode about Dylan and his team following a lead from Beka’s past that might enable them to get their hands on a powerful weapon in their coming battle against The Abyss. The episode has many compelling concepts, and the peeks into Beka’s past are interesting, but, in the end, most of what is revealed here would prove to be of no consequence, when the show is softly rebooted in season five.
21. The Dissonant Interval (Part 1): Part one of the season finale sets up several concepts that would take the show in a radically different direction next season, as Dylan is contacted by the inhabitants of a utopian planet, and discovers that his role in the battle against The Abyss is much more vital than he imagined. This episode, and its sequel, proves to be one of the most well-realized and fascinating episodes in the series’ run, and mostly redeems the many faults of the Robert Engels era of the show.
22. The Dissonant Interval (Part 2): The final episode of the season, assuredly directed by Martin Wood, is one of the most accomplished episodes of the entire run of the show, and is arguably the best script ever written by showrunner Robert Engels. It is an unforgettable, intense episode that fulfills the show’s potential in almost every way, and is the show’s best episode since the season one finale, “Its Hour Come ‘Round at Last”. The ending is nothing short of haunting.
Season Five
Despite a number of weak episodes, Season Four of Andromeda proved to be one of its strongest, delivering a high number of quality episodes, and a two-part finale that fired on all cylinders and showcased the series at its best.
But behind the scenes things had become unstable for the show, with disputes between the production companies, including Tribune Entertainment, which was facing serious financial problems. Rumors of the show’s cancellation began to float in the media, and the hiatus between the fourth and fifth seasons became longer than usual.
Thankfully, the show got belatedly renewed for a fifth and final season, mainly to provide the show with the magic number of 100 episodes, which made the series more marketable when it was sold in syndication strips for the perennial reruns.
But Robert Engels and his team were now faced with an extremely challenging task: How to relaunch the show after the fourth season's mind-bending and near-tragic finale? And how to keep producing a quality show with the budget now cut nearly in half, and with only four days allotted for the production of each episode, instead of the usual seven?
The result was a season that proved divisive for many viewers and long-time fans, some of whom found the show’s new location and tone jarring, and an unwelcome departure from what they came to love about the show.
The criticisms are understandable, as the season is indeed a departure from the series’ usual formula in almost every way, with a new location - the planet Seefra, a primitive planet with a troubled history - and the characters behaving in surprising and often discordant ways.
But surprisingly enough, and considering all the production challenges Engels and his team had to face, the filmmakers achieve the near impossible, delivering a season with renewed energy, a number of fascinating stories, and a complex (sometimes overly so) season-long arc.
The budget cuts do show, though, in a number of weakly written, mediocre episodes; and the complicated storylines, all of which take place in a location or two, can get repetitive and borderline incoherent. But the headlong pace, serialized storytelling, and strong finale, make season five a small miracle of syndicated television, and a rewarding season for viewers who are willing to hang in there till the satisfying end.
Quick Reviews of Season Five’s Episodes:
1. The Weight (Part 1): After travelling through The Route of Ages, Dylan finds himself on a primitive, dangerous planet called Seefra. Guided by a mysterious stranger named Flavin, he sets out to discover how he got there and if any of his friends are there with him. The season opener jumps right into the now overhauled show, and, at first, the transition away from the show’s formula to a sort of post-apocalyptic western is jarring, to say the least. But the story is intriguing, and the show feels revitalized by the necessitated changes.
2. The Weight (Part 2): Beka finds herself on Seefra, and in order to survive the inhospitable planet, joins forces with an unscrupulous salvager who has taken possession of Andromeda, which is now dead in space. The second part of the season opener isn’t as energetic as the first, but the story has enough revelations about what happened to the crew of the Andromeda, and the mysteries of Seefra (now revealed to be Tarn Vedra), to keep viewers interested.
3. Phear Phactor Phenom: Dylan, now more settled in his life on Seefra, finds Harper, who has been on Seefra for three years, and is not too pleased to see Dylan suddenly reappear and interrupt his complicated, and not exactly law-abiding, life on Seefra. Passable episode, symptomatic of the season’s weaker moments, where the negative effects of the budget cuts reveal themselves. The episode also introduces one of the most misguided decisions in the history of the show, in the form of the Doyle character, an obvious, and somewhat grating, replacement for the character of Rommie, who had to be written out of the show due to Lexa Doig’s unavailability at the time.
4. Decay of The Angel: Doyle is revealed to be an android, built around the core memories of Rommie. Meanwhile a mysterious stranger from the future tries to recruit Doyle to his nefarious cause, playing on her obvious conflicted memories. Yet another transhumanist episode about the dignity and complex consciousness of artificial intelligences. Entertaining enough, but repetitive and forgettable. The episode marks the return of writers Ashley E. Miller and Zack Stentz, who left the show after the end of the third season.
5. The Eschatology of Our Present: Beka is contacted by mysterious radio personality Virgil Vox, launching her on a journey to discover hard truths about her past and the role in the battles to come. Good episode, with intriguing revelations about Beka’s past. Features a welcome guest appearance by Twin Peaks alumn, Don Davis.
6. When Goes Around: Dylan meets a mysterious woman who claims to know him, only to discover that she is a former member of a High Guard team of scientists who are responsible for Seefra’s unstable climate. Well-written, surprisingly touching episode, which deepens the mythology of the season. A tad too complex for its own good, though, which would prove to be a recurring flaw of the fifth season.
7. Attempting Screed: The return of Flavin to Seefra creates havoc between two warring clans of thieves, while Flavin reveals to Dylan more secrets about Seefra and the reasons behind Dylan being sent there by mysterious forces. Cleverly produced episode that does plenty with limited resources.
8. So Burn The Untamed Lands: Adequate, fast-paced episode, centering on Dylan and Rhade getting involved with a ruthless miner who wants their help to keep the slave labor in line.
9. What Will Be Was Not: Passable episode, introducing the character of Orlund and the concept of the underground gates to the various Seefra planets. Lots of interesting concepts that deepen the mythology, but the writing and execution don’t really fulfill their potential.
10. The Test: One of the season’s best episodes, and a clever use of the bottle-neck format (an episode mostly taking place in one location and with a small cast, to cut costs), about a stranger who comes to exact judgement on Dylan and his team. Memorable, unique episode with a haunting atmosphere, features the welcome return of Twin Peaks alumnus, writer Scott Frost.
11. Through A Glass, Darkly: One of the best episodes of the season, penned by Ashley E. Miller and Zack Stentz, features the return of the character of Hohne, in a thrilling, bittersweet tale about hard choices and the need for self-sacrifice. A fitting farewell for the Hohne character.
12. Pride Before The Fall: Robert Engels and his team pull out all the stops for Andromeda’s 100th episode, in which Beka’s new lover is revealed to be a devious, legendary warrior. Written by Robert Engels, this is a clever, intense, and challenging episode, with some stunning revelations for long-time viewers. The only downside is the miscasting of Lochlyn Munro as Peter, Beka’s new boyfriend, who is much more than he seems to be.
13. Moonlight Becomes You: One of the weaker episodes of the season, revolving around Trance’s attempt to discover more about her nature and her past. Atmospheric and watchable, but underwhelming.
14. Past is Prolix: As the Vedran Sun approaches the Seefra system, Trance, the sun’s avatar, begins to lose control of her temperature, threatening to destroy everything around her. So Dylan, Orlund, and Rhade have to locate ancient crystals that can reduce Trance’s temperature before it’s too late. Busily plotted episode, which covers many of the story’s weaknesses with its face pace and emphasis on action.
15. The Opposites of Attraction: Dylan is pursued by a relentless avatar of a black hole, who believes him to be her long lost husband. The premise is as silly as it sounds, and is primarily there to give Dylan Hunt another excuse for a bland, romantic storyline.
16. Saving Light From A Black Sun: Dylan, Rhade, and Trance embark on a dangerous mission inside Seefra’s artificial sun, in an attempt to repair it before it destroys the surrounding planets. Suspenseful, ambitious, and cleverly produced episode, benefits tremendously from a ticking-bomb plot and confident direction by Peter DeLuise. A winner from beginning to end.
17. Totaled Recall: Dylan is severely injured in a lab accident, and wakes up to find himself in a disturbing alternate reality, haunted by a mysterious stranger with a cryptic message. One of the best episodes of the season, which, like the previous episode, manages the neat trick of overcoming the limitation of its resources with clever writing and a quick pace, to deliver a memorable and haunting episode. Well-written by actor/writer Gordon Michael Woolvett, and stylishly handled by director Martin Wood, one of the best directors to work on the series.
18. Quantum Tractate Delirium: Rommie finally returns to the Andromeda after being rebuilt by Doyle to help her launch the ship into Slipstream. Rommie’s return to the series is an underwhelming affair, with a lukewarm episode that mishandles the Rommie character, and features a bizarrely inappropriate and lightweight tone. One of the most glaring missteps of the season.
19. One More Day’s Light (Part 1): Adequate episode about the challenges Dylan and his crew face in evacuating the Seefra planets before the Vedran sun arrives and destroys them. The episode’s main purpose is to line up the storylines leading up to the series’ finale, and introducing General Burma, an agent of The Abyss.
20. Chaos and The Stillness of It (Part 2): Harper, now a hostage of General Burma, is forced to help Burma and his team stealthily board the Andromeda in order to destroy it. Meanwhile, Trance is acting strangely, and all around her begin to question where her true loyalties lie. Good episode; a sort of a pre-finale, as it resolves many of the season’s plotlines, and ends on a bittersweet note of closure. Both parts are expertly handled by director Martin Wood, his final effort on the series.
21 - 22. The Heart of The Journey (Parts 1 and 2): The series’ finale, where Dylan finally gets to defeat The Abyss and save Tarn Vedra, his home planet, is a pleasing, well-produced effort, which manages the near impossible task of resolving five years worth of inconsistent mythology. But showrunner Robert Engels, with the help of co-writers Larry and Paul Barber, make it work, flaws and all, and manage to give Dylan Hunt, and the series, an ending worthy of the show, and which has a pleasing, wistful sense of completion.
Text © Ahmed Khalifa. 2026.
