The Last Ship: Season 3
When I first encountered the television series ‘The Last Ship,' I admit that I was intrigued, the theme of the post-apocalyptic world where a plague has annihilated the majority of the population is a perennial favorite among our and science fiction writers. One my all-time favorite novels are ‘The Stand,' by Stephen King. That story centered on two groups of survivors, opposed to all standards of morality. As a microcosm of the oldest theme in human history, the battle between good and evil, it is one of the most frightening considerations of what would be if civilization suddenly disappeared. The ‘Last Ship,' understandably addresses many of the same themes and situations from an entirely different point of view. The premise of this television show concerns the trials and tribulations of one of the last American naval ships as it tries to navigate the uncharted territory of a post-apocalyptic world. My primary concern with becoming vested with the show is that I had difficulty in imagining how the situation could be perpetuated across multiple seasons. The first season carbon the ship as it sought to locate survivors and obtain the necessary items for a resident scientist to develop a cure for the disease that annihilated a significant portion of the human race. Most storylines would develop the premise is finding the cure serving as the main objective. Once that goal is reached with only be a matter of disseminating the purpose throughout the world, a process that would most instances provided insufficient basis for action and excitement, but the talented people of this series diligently working on both sides of the camera managed to take the concept in an altogether different direction. The story proceeds in the series more likely finely crafted novel where each season is akin to a single chapter or section of the book. With each season to show what is have managed to provide new dangers that must be survived, different goals that must be achieved in character development that exceeds beyond mere reaction to the catastrophe and its aftermath. The series is more nursing now than the very first season due in large part to this rare ability to be able to refocus this major storylines.
December the series is amazing is the fact that the main character is the titular USS Nathan James (DDG-151), a U.S. Navy Arleigh Burke-class guided-missile destroyer. Maybe smaller than some of the leviathans within the modern Navy but is a model technology, the pinnacle of warfare. Captain Tom Chandler (Eric Dane) was its commanding officer bringing the crew successfully through the most perilous times imaginable. At the end of the second season the new President, Jeffrey Michener (Mark Moses), appointed Capt. Chandler as the Chief of Naval Operations although he declines the motion to have stated that the title of captain suits him better. Although they have a cure in his dissemination is going reasonably smoothly there is news that mutation has broken out in Japan that is resistant to the medical progress. Responsible for the much larger scope of operation Chandler’s heart is still back with the Nathan James. The ship is now in Vietnam, and where pirates adduct members of the senior staff. The new reality isthere is no place that is devoid of danger. The principal scientists responsible for the cure Dr. Rachel Scott (Rhona Mitra), was murdered by a member of a cult of people immune to the virus was plans to build their paradise, thwarted by the Nathan James. Besides the devastating personal loss, this significantly hampers their ability to deal with new mutations of the deadly virus. Now commanding the Nathan James, executive officer, Mike Slattery (Adam Baldwin) was among those kidnapped in Vietnam. In typical fashion the series race no time whatsoever and wrapping up the action. From the premiere of season three onward, each episode contains plenty of action cumulatively fall more than you would see in a typical action movie. The series would become pedantic and overly predictable but had to rely solely on action to further the plot or define the characters. The strength of this series is its exploration of the human experience, how reasonable men can are pushed to unimaginable extremes by exposure to the most unimaginable circumstances. In this third season, a substantial amount of the story becomes concerned with political intrigue the nations of the try to maneuver themselves into a new place, and I revised world order.
Brinksmanship between China and United States continues despite the fact that the world is in ruins. For men who are accustomed to dealing with matters on a global geopolitical scale disasters are synonymous with opportunity. 80% of them died but from their point of view only clears the chessboard for the remaining pieces to enter the endgame. Traditional roles are merely a suggestion rather than the previous political and military hierarchy that had been written down before the virus spread. Tom may be the head of the entire U.S. Navy ship and friends have been taken by pirates he returns to the helm to find them and restore order to the area. The writers of the series are a master with the deployment of nuances knowing just how to convey an idea without feeling the need to battle the point to the audience constantly. Tom Chandler has always appeared as an honorable man, one who lives in a family, God, and country. This is distinctly shown and exceptionally efficient rate with a very simple yet poignant act. When he reenters the Com of the Nathan James he refused to sit in the captain’s chair, that honor and responsibility now belongs to Mike Slattery. Fred such efficiency demonstratrated through defining a character the ticket was such an emotionally intense fashion. Chandler has the rank equivalent to an f star admiral yet his concern is not in rank but in remaining in the field to work alongside his me to set thing right.
This season the overall feel of the series has changed moving from a post-apocalyptic action/thriller to a taut political drama. With the collapse of most world governments, the surviving factions have given rise to some warlords each competing for the little resources utilizing any means possible. Chandler is the steadfast hero at the precipice of watching the hard work and sacrifice pay off. To have the antagonists continue as localized chieftains commanding a well-armed contingent with ill intentions. Many shows of similar themes would listen to the business oriented executives adhering to a proven formula in hopes of maintaining the current ratings and perspective income. This paradigm remains quite popular but as is blatantly obvious serves only to squeeze every iota of profit permit a formerly robust and entertaining concept into a pale shadow with insufficient novelty to keep the viewers engaged. To their credit, the writers of this series have the rare and unusual combination of talent and imagination as well as the insight to understand that retooling the fundamental elements of the series will be best for the fans and those executives myopically focused on ratings. This mode of thinking permitted the migration to a political thriller incorporating aspects of such great films as ‘Seven Days in May,' ‘Damnation Alley’ and ‘On the Beach.' The newly installed President, Jeffrey Michener (Mark Moses), realized the true scope of the continuing crisis and excelled as a leader by trusting people with real experience to analyses, inform and act on his behalf as Commander-in-Chef. When he is assassinated, made to look like a suicide), he is replaced by President Howard Oliver (John Cothran Jr.), an honorable man intending to build upon his predecessor’s programs. That hope is smashed when he is told in no uncertain terms that he is a puppet, an impotent front man concealing the truth, the country has now divided into a small number of sovereign territories each with their overlord. They have formed a loose alliance to prevent any descent but for the protection of their power, not the benefit of the citizens. At the center is one of the architects of the scheme and principle motivator behind the coup d'état was the White House Chief of Staff, Allison Shaw (Elisabeth Röhm). After subversively stripping President Oliver of his authority, achieved by holding his family hostage, the first act of executive business is to issue an arrest warrant for Chandler and orders for Mike to surrender his command. The only way for Chandler and his loyal crew to regain control is to take in in action tantamount to mutiny.
Chandler is relieved of command rank on fabricated charges and stripping Capt. Slattery of his command. The only slim hope is person loyal to Chandler in a position close to the new power structure, former Tactical Action Officer, Commander Kara Green (Marissa Neitling). She was transferred off the Nathan James and assigned the positon of Deputy Chief of Staff. Kara’s position is tenuous compelling her to turn to a friend for help. One of the only people she can trust is the obstinate reporter in the Press Corp, Jacob Barnes (Devon Gummersall). These actions push Chandler from an undeniable protagonist to a type of anti-hero, openly defying the standard chain of command and do what is required regardless of the consequences.