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Star Trek: Enterprise

Scene by Scene: STAR TREK: NEMESIS Pt III – ‘Unsafe Velocities’

As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…

It almost seemed a direct, deliberate counterpoint to the stripped back, low-fi prequel aspect to Star Trek: Enterprise, the dune buggy in Star Trek: Nemesis. Captain Jonathan Archer barely had room for a dog, let alone an indulgent race car, not to mention a personal Captain’s yacht, which we saw in previous film Star Trek: Insurrection.

Enterprise was in its second season when Nemesis premiered in cinemas and was by then flying the flag for Star Trek on television, and was in a diametric position to the crew of the Enterprise-E. If Nemesis in 2379 represented, at that point, the top end of the timeline, Enterprise was positioned over 200 years earlier at the other – the beginning. Captain Jean-Luc Picard’s two Enterprise’s were galactic, diplomatic cruise ships. Archer’s was a submarine in space. In Enterprise, androids were centuries away and Romulans were enigmatic to the point no human had ever seen their face. In Nemesis, B-4 represents how central the idea of synthetic life has become to 24th century Star Trek, a factor which will heavily influence and continue in Star Trek: Picard beyond this. This is a film which opens Romulus and it’s people up, more directly, than any Star Trek story in history.

The existence of the Argo is the most potent example of how Nemesis strives to fuse together The Next Generation-era’s futurism with the near future modern aesthetic of EnterpriseStar Trek historically replaces the motorised vehicle with the shuttle or hover vehicle, a symbol of Trek’s utopian future, but Picard seems gleeful at the opportunity to test drive a ground based car with wheels and an engine – though no doubt one powered with some kind of fossil fuel free zero point energy or such. “I will always be puzzled by the human predilection for piloting vehicles at unsafe velocities” Data remarks, an acute observation for the fact Picard has never historically appeared to be a ‘petrol-head’ interested in vehicles like this. You believed it when child Kirk stole his stepdad’s Chevy at the beginning of Star Trek 2009 for the thrills. It’s less in character for a measured Captain such as Picard.

It perhaps further establishes how Nemesis, and particularly the two films before them, provide a clear delineation between ‘TV Picard’ and ‘Movie Picard’, while at the same time nudging Star Trek—at the end of the 90’s era of the franchise—toward the retro-futurism the franchise would employ once it reboots itself.

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Scene by Scene: STAR TREK: NEMESIS Pt I – ‘A Generation’s Final Journey Begins’

As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…

‘A Generation’s Final Journey Begins…’

That was the uniquely ominous strap line for Star Trek: Nemesis at the end of 2002. The promise of closure. 

After fifteen years, since The Next Generation launched on television in 1987 and triggered the second era of Star Trek, the voyages to go where no one has gone before for Captain Jean-Luc Picard and the crew of the Enterprise-E (formerly D) would be coming to an end in the fourth and final film for a dynamic new crew slipping gracefully into middle age. Voyager had just ended on television after seven years but Enterprise was in its second season, and there was every indication more spin-off shows would eventually line up alongside it. To Paramount, franchise producer Rick Berman, and the cast and crew, it felt like the right time to bring the curtain down on these characters.

Many remembered how just over a decade previously, The Undiscovered Country had quite naturally retired the crew of The Original Series. It felt apt, with a group of characters born in the heart of Cold War detente and futuristic optimism, to see Kirk, Spock et al warp off into the sunset as the Soviet Union fell and the geopolitical paradigm changed. Nemesis struggles to replicate that same feeling of finished business. The Next Generation crew never entirely gelled with the cinema in the way The Original Series crew had, and arguably only First Contact stands out with time and distance as a truly great Star Trek movie. Kirk & company found each other again in middle age and discovered a creative renaissance, triggered by the success of The Wrath of Khan. Picard and his crew went immediately from the end of their series into Generations and a movie saga, stuttering across a decade in which the world changed around them.

Nemesis, released in the long shadow cast on all American storytelling by the horrific events of September 11th, 2001 in New York, as a result feels like the reluctant last gasp of Star Trek’s second era, wedged amidst the embers of Reaganism and the post-Cold War ‘End of History’ that 9/11 blew out of the water.

It feels, oddly, like a crew who aren’t quite as ready for retirement as everyone thinks.

We need to talk about STAR TREK: VOYAGER

So I have a confession to make about Star Trek: Voyager. I have never sat down and watched, in its entirety, the last two seasons of the show. I didn’t watch them back when they aired around 20 years ago. I haven’t watched them since. I’ve watched some, here and there, but not all.

Technically, as a result, despite being a self-professed Trekkie and fan since I was a child, I’m not a Star Trek completist. This isn’t the case with any other show, either. I’ve seen all of Enterprise, for example. I’m up to date with Discovery. So why Voyager? Those episodes have been around for decades yet I have never felt the urge to revisit them. I think it goes back to my problematic relationship with the third spin-off series to Gene Roddenberry’s initial vision, one I’ve had ever since 1995.

I’m discussing this now as Voyager is, this week, a princely quarter of a century old which a) is fantastic and b) is terrifying for someone who grew up with it. Voyager first debuted when I was 12, almost 13 years old. I had discovered Star Trek on TV probably around a year earlier, having wore out VHS copies of The Search for Spock and The Wrath of Khan while in single digits. I liked The Next Generation. I already *loved* Deep Space NineVoyager, therefore, I greeted with enormous excitement. This was back in the days when in the UK they would release two episodes of a season in VHS tapes for DS9 & VOY every few weeks (these would cost more than a monthly Netflix subscription does now) and I bought them religiously up until, I would say, probably about the end of Season 4. Then something happened.

Well, two things happened. Firstly, this was around 1998 and as a sixteen year old leaving school, I was beginning to discover that being a Star Trek fan openly wasn’t doing me any good if I ever wanted to cop off with a girl. Secondly, I realised that I didn’t actually *like* Voyager all that much, and maybe I never had. Not in comparison to DS9, which aside from The X-Files and Babylon-5 around this point was the show I had lived and breathed during the 90’s. I started to realise that, a few episodes aside, I never found Voyager at all compelling.

New Podcast Guest Appearance: Trek FM’s PRIMITIVE CULTURE #70 – ‘All the World’s a Bridge’

Hosted by author Duncan Barrett, Primitive Culture is a Star Trek history and culture podcast we co-created in 2017 on the Trek FM networking, looking at the 50+ year old franchise through the lens of our world today.

In this episode, recorded under the cover of a Starbucks on a cold and very wet afternoon at Destination Star Trek 2019 in Birmingham’s NEC, Duncan and I look at the debt Star Trek owes to the theatre. Whether in the casting of Shakespearean heavyweights such as Stewart, David Warner, and Christopher Plummer, or in the presence of companies of players—both amateur and professional—aboard the starships of the future, Star Trek consistently maintains a link to its theatrical roots. Indeed, some popular episodes, such as Deep Space Nine’s Waltz and Enterprise’s Shuttlepod One are structured as near-one-act plays in their own right. We raise the curtain and take a look at Star Trek on the stage.

Despite the inclement weather and less than ideal recording surroundings, this was a great chat on an equally great, Trek-filled day, one you can read more about my experience of here…

Star Trek: The Q Conflict (#2/3)

Early on in the second issue of The Q Conflict the key reason for this crossover gimmick becomes apparent: an opportunity to mix and match the Star Trek crews.

You almost feel a little embarrassed that Enterprise was left out of this saga, as it perhaps says more about the underwhelming nature of many of its characters than writers Scott & David Tipton might have at first envisaged (Discovery is still new enough to get away with not being here and has had a bounty of comic tie-in material from IDW Publishing lately). The Tipton’s have fun replicating the school yard problem of trying to choose your football teams (American or in our British case, 5-a-side) and someone being left with the two dunces nobody *really* wants but will have to take. In this case, that honour goes to Quark and Harry Kim. Quark you can understand but how embarrassing for Harry!

Once you can accept the whole point of The Q Conflict is to see a mis-matched team up between the legendary Star Trek characters of the 60’s and 90’s, you can start to climb aboard what is it trying to do.

Shock and Awe: X2 – X-Men United (2003)

With X-Men: Dark Phoenix on the horizon, a film predicted to signal the end of the original iteration of the X-Men franchise, I’ve decided to go back and revisit this highly influential collection of comic-book movies.

We continue with Bryan Singer’s sequel, 2003’s X2…

Though far more of a muscular and accomplished film than its predecessor, X2: X-Men United would never have worked without it.

X2 is in danger of being overlooked in our era of dominant comic-book movie franchises and behemoth superhero pictures as one of the key, formative pieces of cinema in the genre, something we must work hard to avoid. Bryan Singer’s sequel is a skilled piece of work which does precisely what a follow up is designed to do – build on the foundations of the previous film, add complications and greater depth, and provide a heightened, meaningful experience. X2 does that very successfully. It is The Empire Strikes Back to X-Men’s A New Hope. It even has strong shades come the denouement of Star Trek II: The Wrath of Khan in how it punches you with an earned sacrifice on one hand, while promising a rebirth on the other. X2 feels like a picture that everyone involved had been constructing in their minds long before it was ever committed to celluloid.

On that basis, X2 feels on some level like the first truly meaningful X-Men movie but one that needed the prologue of the original 2000 film in order to function in the manner it does. When Singer came back to helm the sequel, he combined screenplays by David Hayter—who penned the previous movie—and Zak Penn, brewed up with rewrites from Michael Dougherty and Dan Harris, in order to fuse together a film which develops many of the established character arcs from X-Men, placed the film distinctly in a post-9/11 context, and digs deep into the ideological and existential conflict between Professor X and Magneto – namely whether mutants should believe in humanity or reject and destroy them. It does this while never forgetting the human cost of being different, exploring the difficulty of living with what genetics, evolution, gives you in a less than tolerant society.

X2 does this with a poise and panache that few comic-book movies have equalled since.

End Game of Treks: Is Time-Travel Becoming a Storytelling Crutch?

In one of the busiest few months in science-fiction and fantasy popular-culture, the beginning of 2019 has seen three major franchises in cinema and on television become embroiled in what could be rapidly becoming a narrative crutch.

Time-travel.

The lacklustre Season 2 of Star Trek: Discovery (I *really* promise to stop talking about this soon) saw the crew of the Starfleet ship launch themselves almost 1000 into the distant Federation future to prevent a universe-destroying, rampant AI from wiping out all life. The gigantic conclusion to the Marvel Cinematic Universe’s first era, Avengers: Endgame, saw our superheroes enter the Quantum Realm and zip backwards across time to recover the universe-shattering Infinity Stones before the Mad Titan, Thanos, can snap his fingers again and wipe out half of all sentient life. And just this week, Game of Thrones saw the ultimate battle with the Night King and his army of the dead, coming to wipe out the living, which all hung on the fate of Bran Stark, a time-travelling tree-wizard.

Anyone noticing a pattern here? Three legendary franchises. Three titanic threats to the fabric of the entire universe. And in each case, the resolution of the paradox has the potential to lie in the bending of time.

We’re in danger of death by temporal mechanics if we’re not careful.

Plugging Gaps: How backstory is *becoming* story

Remember the time that backstory was just that? Backstory.

Many of the most successful TV shows and movies are specifically built on a sense of their own mythology and world building. Game of Thrones has a series of vast novels to draw on which detail an incredibly complicated social and political eco-system, for example. Backstory, the details of the universes of these tales and the histories of many characters within the stories, provide the unseen depth and ballast to the tale we are being told, the tale we are invested in.

In recent years, however, the trend of this has begun to shift. Our biggest stories within popular culture are now becoming obsessed with backstory not just being developed to enable the narrative, they are instead *becoming* the narrative. Storytellers are actively attempting to try and ‘plug gaps’, for want of a better term, in continuity and canon, believing it seems that audiences are as obsessed with these minor details as the writers of these properties appear to be. We are losing the element of ambiguity, surprise and mystery.

We are losing backstory by exploring too much of it.

Oh, Brother! Star Trek: Discovery (Season 2)

If there is one criticism many fans would struggle to level at Season 2 of Star Trek: Discovery, it would be the classic “this is not Star Trek”.

You can understand, to a point, why some fans shouted that from the rooftops about Season 1. Bryan Fuller’s initial vision for Star Trek’s long awaited return to television alongside Alex Kurtzman resolutely set out to buck the storytelling trend you had come to expect from a franchise last on television at the tail end of a very different age. Season 1 was heavily serialised, darker, had a protagonist who had mutinied by the end of the second episode, didn’t even introduce the main ship until episode three, and had the ships Captain end up being the villain.

With hindsight, however, we never knew we had it so good with Season 1. Yes, it was a season compromised by behind the scenes complications, which may have resulted in the fractured balance of the Federation-Klingon War and Mirror Universe stories, but Season 1 pushed the boundaries of what we expected Star Trek to be. As the 90’s era wasn’t your Dad’s Star Trek, then Discovery was proving the 90’s *was* now your Dad’s Star Trek. It dropped the F-bomb. It went hard to starboard on serialisation. And it wasn’t afraid to craft protagonists like Michael Burnham or Saru (or naturally Gabriel Lorca) who were hard to like and who had to grow on us.

Season 2 in the wake of this spends fourteen episodes systematically undoing everything that made, or could have made, Discovery something special and unique. If Season 1 wasn’t Star Trek enough, then by Kahless, Season 2 absolutely was much “too Star Trek” from start to finish.

Star Trek is Boldly Going… but to where?

What many Star Trek fans considered an unlikely impossibility has finally, it seems, happened: the franchise is well and truly back on TV, and here to stay.

When Star Trek: Discovery launched at the tail end of 2017, after several delays, it ended the franchise’s 12 year exile from television screens following the slow demise of Star Trek: Enterprise, and the Rick Berman\Paramount TV dominance of the late 80’s and 1990’s – if not the most iconic in terms of popular culture, then without question the most successful era of Star Trek in its half a century of history. Discovery was a symbolic return for one of television’s most legendary series and, as every Star Trek sequel series has done over the decades, it divided opinion.

If you put aside Discovery’s quality, and the difficulties behind the scenes in bringing it to bear, one fact is indisputable: it has triggered a revival of Trek which is now heading in some very unexpected directions.