It’s a Classic: ‘Star Trek: The Next Generation’ – “Yesterday’s Enterprise”

Looking at some of the best pop culture offerings in film, TV and comics…

“Let’s make sure that history never forgets the name…Enterprise”

Recurring guest star Whoopi Goldberg, a key component in the success of “Yesterday’s Enterprise” (image credit: ViacomCBS).

Year:  1990

Starring:  Patrick Stewart, Jonathan Frakes, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, Wil Wheaton, Denise Crosby, Christopher McDonald, Tricia O’Neil, Whoopi Goldberg

Director:  David Carson / written by:  Ira Steven Behr, Richard Manning, Hans Beimler, Ronald D. Moore (from a story by Trent Christopher Ganino & Eric A. Stillwell) / series created by:  Gene Roddenberry

What’s it about?

The forbearer to the current U.S.S. Enterprise is brought 22 years into the future via a temporal rift and changes the flow of history, creating an alternate timeline where the Federation is close to defeat in a war against the Klingon Empire…

In review:  why it’s a classic

Ask any Star Trek fan about their favourite episodes and it’s likely that many would include “Yesterday’s Enterprise” on their list – there’s no argument that it’s not just an outstanding instalment of Star Trek: The Next Generation but a gripping piece of science fiction drama in its own right.  From a story by Tent Christopher Ganino and Eric A. Stillwell, “Yesterday’s Enterprise” sees Captain Picard and the crew of the U.S.S. Enterprise ‘D’ confronted with the preceding Enterprise ‘C’ which appears in the present, causing devastating changes to the timeline with the United Federation of Planets on the losing side in a war with the Klingon Empire.  With history recording that the Enterprise C disappeared during a battle to save a Klingon outpost from destruction by Romulan warships and Guinan sensing that something is not right, Picard and his crew believe that their only hope is for the previous Enterprise to return to its own time where the selfless sacrifice of the ship and its crew, seen by the Klingons as an honourable act, could avert a terrible conflict.

A thrilling and engaging story, “Yesterday’s Enterprise” is also iconic for facilitating a guest return for Denise Crosby as Lt. Tasha Yar, who was killed back in “Skin of Evil” in the first season of The Next Generation.  The teleplay’s writers include Ira Steven Behr, future writer and showrunner of Star Trek: Deep Space Nine and Ronald D. Moore, who would go on to co-write feature films Star Trek: Generations and Star Trek: First Contact (and subsequently develop the reimagined Battlestar Galactica series) and their presence is heavily felt with a strong focus on characterisation and statements of morality, qualities that lift “Yesterday’s Enterprise” (and for that matter, any great Star Trek episode) above its core SF concept.  It’s through the darker and more hopeless scenario of a deadly and costly war that we appreciate the altruistic values of the Federation as we know it and that the brave acts of a few can benefit the many.

Denise Crosby returns as Tasha Yar in “Yesterday’s Enterprise”, also featuring Christopher McDonald as Lt. Castillo (image credit: ViacomCBS).

“Yesterday’s Enterprise” boasts a reliably strong performance from Patrick Stewart, at this point in the series he is fully invested and committed to the role of Captain Picard and gets to add a subtle shade of grit to his character who in the altered timeline is a military commander as opposed to an explorer and diplomat.  The regular supporting cast all play smaller but significant parts with Brent Spiner’s Data being a particular standout, but it’s arguably the guest stars who really enhance “Yesterday’s Enterprise”.  Denise Crosby’s return is a welcome one and she is provided with meaningful material, Christopher McDonald delivers a likeable performance as Enterprise C helmsman Lt. Castillo (and sharing great chemistry with Crosby, essential for the romantic bond that develops between their characters) and Tricia O’Neil brings authority to the role of the Enterprise C’s captain, Rachel Garrett.  Yet, it’s Whoopi Goldberg who shines the most – her appearances as the mysterious and noble Guinan always add significantly to any episode of Star Trek: The Next Generation but her portrayal in “Yesterday’s Enterprise” is particularly impressive with a passionate and layered performance.  Goldberg’s scene with Stewart’s Picard in which she pleads that the Enterprise is not supposed to be a ship of war, but a ship of peace is especially poignant and really captures the heart and soul of Star Trek.

David Carson’s direction is skilled and attentive, his staging of scenes and positioning of the actors together with the use of various angles and close-ups draw the viewer further into the drama.  Carson is also adept at cranking up the pace as he executes tense and energetic action scenes and it’s no surprise that Carson (whose first credit for Star Trek: The Next Generation was “The Enemy”, from earlier in the third season) would be called on again to helm further Star Trek episodes, including the premiere of Star Trek: Deep Space Nine and also The Next Generation’s first big screen outing, 1994’s Star Trek: Generations.

As exciting as it is emotionally impactful, “Yesterday’s Enterprise” is yet another example of Star Trek at its best and an exemplary piece of storytelling that continues to resonate over thirty years later.

Standout moment

Learning from Guinan that she died a senseless death in the original timeline, Tasha Yar confronts a conflicted Captain Picard with a request to transfer to the Enterprise C and face a potentially more gallant fate…

Geek fact!

Tricia O’Neil would return to Star Trek again with guest roles as a Klingon scientist in sixth season TNG outing “Suspicions” and as a Cardassian military observer in the DS9 episode “Defiant”.

If you like this then check out…

Star Trek: Voyager – “Timeless” : fifteen years after the loss of the U.S.S. Voyager during a daring attempt to return home, former officer Harry Kim plans to alter history and prevent the disaster from ever occurring.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Flashback: ‘X-Men’

Summer 2000 saw the arrival of Marvel’s ‘X-Men’ on the big screen, leading to an explosion of superhero blockbusters at the cinema…

X-Men Xavier & Magneto

Patrick Stewart and Ian McKellan provide heaps of gravitas in Bryan Singer’s ‘X-Men’ (image credit: 20th Century Fox).

Year:  2000

Starring:  Hugh Jackman, Patrick Stewart, Ian McKellan, Famke Janssen, James Marsden, Halle Berry, Anna Paquin, Tyler Mane, Ray Park, Rebecca Romijn (as Rebecca Romijn-Stamos), Bruce Davison

Directed by:  Bryan Singer / written by:  David Hayter (Story by Tom DeSanto & Bryan Singer.  X-Men created by Stan Lee and Jack Kirby)

What’s it about?

The not-too distant future: as the U.S. Government contemplates the introduction of a registration act for mutants – evolved humans with paranormal abilities – the benevolent ‘X-Men’, led by Professor Charles Xavier must stop Xavier’s old friend, Erik Lensherr and his Brotherhood of Mutants from igniting a conflict with the rest of humanity…

Retrospective/review

Although it could be argued that the contemporary explosion of comic book superhero films was initiated by the success of Blade in 1999, it was actually X-Men that brought the genre to the masses – leading to an (at least presently) endless crop of big screen comic book adaptations.  Helmed by The Usual Suspects director Bryan Singer, X-Men would become a smash hit for film studio 20th Century Fox in the summer of 2000 and although it may now seem a little tame when placed alongside Marvel Studios releases such as the colossal Avengers Endgame, it remains an enjoyable superhero action adventure that has an important place in the history of superhero cinema.  It would also spawn a lucrative film franchise spanning almost two decades, concluding with last year’s unfairly maligned (albeit flawed) X-Men: Dark Phoenix…or technically, will conclude with the still as-yet unreleased New Mutants spin-off.

By enlisting a director of proven calibre and having its cast include two of the world’s most talented and experienced actors, Star Trek legend Patrick Stewart as Professor Charles Xavier – leader of the ‘X-Men’ and a mutant with incredible mental powers – and Ian McKellan as Xavier’s old friend turned enemy, fellow mutant Erik Lensherr – aka ‘Magneto’, with the ability to control magnetism – X-Men would take a serious and somewhat believable approach to the source material without betraying the core fantasy and socially aware elements Stan Lee and Jack Kirby infused into the original Marvel comics (and which was so well portrayed in the classic 1990s Fox X-Men animated series).  Some may have been upset by the lack of more colourful costumes, but the cool black leather X-uniforms are indicative of the style and creative intentions favoured in Singer’s film.

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Hugh Jackman debuts as Logan/Wolverine (image credit: 20th Century Fox).

In X-Men, as U.S. senator Robert Kelly (Bruce Davison) debates the perceived danger of those with mutant abilities and presses for the Mutant Registration Act, Erik Lensherr, with his ‘Brotherhood’, believing that a war between mutants and the rest of humanity is all but inevitable, plots a pre-emptive first strike which Charles Xavier and his benevolent mutant X-Men must prevent.  In order to uncover Magneto’s plans, Xavier must investigate the link with two stray mutants – the young and afraid adolescent girl going by the name ‘Rogue’ (Anna Paquin, future star of TV hit True Blood), with the ability to absorb the powers of other mutants and the mysterious Logan, otherwise known as the cage fighter called ‘the Wolverine’, who is unable to recall his past or how his skeleton was grafted with the indestructible metal adamantium – a process he only survived thanks to his mutant-healing factor.

Although he may be taller than his comic book counterpart, Hugh Jackman – receiving top-billing – is instantly and effortlessly Logan/Wolverine, perfect casting in a role that would quickly become popular with audiences and fans alike.  Jackman simply is Wolverine, aside from matching the obvious physicality of the character (minus the height difference, which really isn’t an issue given the strength of Jackman’s performance) he embodies the spirit of Logan, from the raging temperament to the emotional depth arising from his nightmare flashes of lost memory and his befriending of Anna Paquin’s Rogue.  It’s a sublime portrayal right from the outset in X-Men and one that would only become more refined and assured in later instalments.

The cast of X-Men is filled out commendably with a generally strong group of actors who are a good fit for their characters.  James Marsden, Famke Janssen (previously a femme fatale in the James bond film Goldeneye) and Halle Berry make for pleasing live action versions of fan-favourite X-Men, respectively: the optic-blasting team leader Scott Summers/aka Cyclops (the conflict between Cyclops and Logan intact from the comics), the telekinetic Jean Grey (with no X-alias) and Ororo Munroe/aka Storm, with the ability to control weather effects.  Magneto’s Brotherhood boasts Rebecca Romijn as the shape-shifting Mystique, Tyler Mane as the feral Sabretooth and Ray Park (Darth Maul in Star Wars: The Phantom Menace) as the agile, whip-tongued and slime-spitting Toad.  They may not be afforded anything in the way of character development, but non-the-less help facilitate the threat to the central heroes.

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‘Cyclops’ (James Marsden) leads the X-Men as they attempt to prevent a war with the rest of humanity (image credit: 20th Century Fox).

From a story by Singer and Tom DeSanto, the script is provided by David Hayter (best known for voicing iconic video game character Solid Snake in Metal Gear Solid) which captures the essence of the X-Men comics, it’s characters and the themes of prejudice and persecution which sadly remained as prescient in 2000 as they were in the 1960s, transposing it all into a more grounded reality.  Despite the more serious elements of the story (immediately evident from the bleak flashback opening at a World War II concentration camp, where the young Erik Lensherr is separated from his parents and his mutant abilities are first demonstrated) there’s still some fun to be had with a smattering of black humour and entertaining action sequences which complement the human and emotional aspects of the film.  The narrative wisely focuses on Logan and Rogue as the lone outsiders who cross paths with the X-Men, acting as a mirror for those in the audience unfamiliar with the world and characters of Marvel’s X-Men.  Bryan Singer’s direction is tightly and expertly executed, with a clear sense of visuals, tone and character deftly balanced with the action set-pieces which meld seamlessly with the special/visual effects which make full use of the $75 million budget (a princely sum back in 2000 but small change compared to today’s cinematic superhero offerings).  The Liberty Island finale is suitably tense and exciting bringing X-Men to an action-packed crescendo which may pale in comparison to the more epic and effects saturated climaxes of subsequent entries but is a satisfying close for Singer’s first effort.

Whilst the overall quality of Fox’s X-Men franchise may be inconsistent, the films are generally entertaining and sometimes excellent (see: X2, X-Men: First Class, X-Men: Days of Future Past and Logan) and Bryan Singer’s X-Men is certainly one of the better early Marvel Comics big screen adaptations, the success of which (along with Sony/Columbia Pictures’ Spider-Man) would allow more comic book blockbusters to hit the big screen and inevitably become the dominant genre in film and television.

Geek fact! 

Amongst the serving producers of X-Men was later Marvel Studios President Kevin Feige, mastermind and guardian of the Marvel Cinematic Universe.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Flashback: ‘Star Trek: Insurrection’

The Enterprise crew battle to save a cosmic paradise in the ninth ‘Star Trek’ feature film…

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Patrick Stewart and Donna Murphy in ‘Star Trek: Insurrection’ (imaged credit: Paramount Pictures).

Year:  1998

Starring:  Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, F. Murray Abraham, Donna Murphy, Anthony Zerbe

Directed by:  Jonathan Frakes / written by:  Michael Piller (story by Rick Berman & Michael Piller.  Based upon Star Trek, created by Gene Roddenberry)

What’s it about?

Captain Picard and the loyal crew of the U.S.S. Enterprise disobey Starfleet orders to protect the B’aku, whose homeworld produces rejuvenating effects which a race called the S’ona plan to exploit…

Retrospective/review

The success of Star Trek: First Contact was surely a tough act to follow and although 1998’s Star Trek: Insurrection would not prove to be as good, the result would be an enjoyable, if inferior, big screen instalment of Star Trek.  With Jonathan Frakes back in the director’s chair, the screenplay for Insurrection would be tackled by former Star Trek: The Next Generation head writer (and co-creator of television spin-offs Deep Space Nine and Voyager) Michael Piller, who had helped to guide that series to greater creative success and penned various standout episodes including the beloved two-parter “The Best of Both Worlds”.  From a story by himself and producer Rick Berman, Piller’s script provides a very Star Trek-like narrative that deals with moral themes and ethical quandaries traditional of the franchise and the types of character-driven stories that Piller favoured.  As the title implies, Star Trek: Insurrection see Captain Picard and his crew defy orders to protect the population of the planet Ba’ku, the rings of which produces a rejuvenating radiation (making the world a sort of galactic fountain of youth) which Starfleet and the Federation, in partnership with a race called the Son’a – who are trying to preserve their lives via genetic manipulation and cosmetic surgeries – seek to harvest and share for the benefit of the many.

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F. Murray Abraham as Ru’afo – the main villain of ‘Star Trek: Insurrection’ (Image credit: Paramount Pictures).

Picard learns from his superior, Admiral Dougherty (Licence to Kill’s Anthony Zerbe), that the 600-something population of Ba’ku are not indigenous to the planet – a fact that the Federation cites as justification for its actions, which the Son’a (lead by F. Murray Abraham’s Ru’afo) have manipulated to their advantage – and that the process of collecting the ring’s particles will render the world uninhabitable.  Yet the Ba’ku people are a peaceful group and Picard feels that to forcefully relocate them is a betrayal of everything he believes in and the core values upon which the Federation was founded, for which he is prepared to risk his career…and possibly his life.

Insurrection may seem, for better or worse, more like an extended episode of The Next Generation (albeit on a larger scale and with a much higher budget) and fails to match the overall excellence of First Contact but it’s still an entertaining watch with a good dose of drama, action and humour.  Jonathan Frakes once again directs with skill and a knowledge and appreciation for the history of Star Trek: The Next Generation and its characters.  As Commander Riker, Frakes is afforded a larger and slightly more significant role than in First Contact (notwithstanding him shaving off his beard) – the youthful effect of the Ba’ku radiation leading to a rekindling of romance between Riker and Counsellor Troi (Marina Sirtis) and the plot leading to Riker’s command of the Enterprise in its battle with the Son’a as Picard and his team fight to protect the Ba’ku on the ground.

It goes without saying that Patrick Stewart (who is also credited as ‘Associate Producer’) is great in the film, with another strong portrayal as Picard and Insurrection provides him with a romantic interest in the form of Donna Murphy’s Ba’ku villager, Anij.  Brent Spiner, again, proves solid support as Data and his befriending of one of the young Ba’ku (Artim, played by Michael Welch, who would go on to appear in Tim Burton’s Planet of the Apes) is a highlight.  The rest of the TNG cast also get their moments, Michael Dorn’s Worf once more joining his former crewmates for their latest adventure – the B’aku radiation hilariously causing “aggressive tendencies” as it triggers the hormonal effects of Klingon adolescence – and blind Chief Engineer Geordi LaForge (Levar Burton) finds his eyesight temporarily restored.  As Doctor Beverly Crusher, Gates McMadden has less to do but does share some fun and humorous scenes with Patrick Stewart, Marina Sirtis and Brent Spiner.  Leading the threat against the Enterprise crew is Academy Award winner F. Murray Abraham (Amadeus) who is superb as the Son’a leader, Ru’afo, with a hefty and maniacal performance providing a worthy antagonist for Patrick Stewart’s Picard to face.

Star Trek Insurrection c

The U.S.S. Enterprise plays her part in helping to save paradise (image credit: Paramount Pictures).

The narrative may flow more like an episode of TNG and not necessarily fulfil the grander high-stakes ambitions of a feature film, but at the heart of Insurrection is a Roddenberry-esque morality tale and the script contains a few neat twists and turns, including the true motivations of the Son’a rising from their surprising history with the Ba’ku.  There are also a number of decent action sequences, the standouts including the Son’a attack on the Ba’ku village, the battle in space as Son’a vessels pursue the Enterprise and the climactic confrontation between Picard and Ru’afo aboard the Son’a collector ship.  The film is blessed with Matthew Leoneti’s beautiful cinematography, wonderfully captured from the Californian landscapes doubling for the Ba’ku planet.  Jerry Goldsmith earns kudos for producing another excellent music score that draws on his previous Star Trek themes whilst creating new cues fitting of Insurrection’s story.

So, there are certainly positives in favour of Star Trek: Insurrection and although it doesn’t raise the bar for the Star Trek film series and may seem a little underwhelming when placed alongside First Contact, it still makes for entertaining viewing with solid cast performances, direction and neat action set pieces.

Geek fact! 

Star Trek: Insurrection was the first Star Trek feature to move completely away from model effects work, utilising CGI for all its exterior spaceship sequences.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

TV Review: ‘Star Trek: Picard’ – Season 1

A science fiction legend returns in the newest ‘Star Trek’ spin-off…

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Jean-Luc Picard (Patrick Stewart) embarks on a new mission in ‘Star Trek: Picard’ (image credit: CBS Viacom).

Warning! Contains some spoilers

Starring:  Patrick Stewart, Isa Briones, Alison Pill, Michelle Hurd, Santiago Cabrera, Harry Treadaway, Evan Evagora, Peyton List, Brent Spiner, Jeri Ryan

Series created by:  Akiva Goldsmen, Michael Chabon, Alex Kurtzman & Kirsten Beyer (Based upon Star Trek, created by Gene Roddenberry)

What’s it about?

As the end of the 24th Century approaches, on the anniversary of the devastating destruction of the planet Romulus, retired Starfleet Admiral Jean-Luc Picard is confronted by a mysterious young woman on the run, as a new adventure beckons…

In review

Recently completing its ten-episode run (via CBS All Access/Amazon Prime), the first season of Star Trek: Picard is an enjoyable beginning for the newest addition to the expanding Star Trek television universe.  From the creators of Star Trek: Discovery, Picard adds additional pedigree to its creative staff in the form of Pulitzer Prize winning author Michael Chabon (The Amazing Adventures of Cavalier and Klay), serving as co-creator/showrunner and who writes/co-writes a number of episodes throughout the season.  The series boasts the same impressive production values seen in Discovery, with near-feature film quality visuals and special effects complemented by some striking cinematography.  Headlined by lead star/executive producer Sir Patrick Stewart, Star Trek: Picard sees the celebrated actor return to the beloved role of Jean-Luc Picard after an eighteen-year absence (last appearing on the big screen in 2002’s Star Trek Nemesis), with a clear enthusiasm and investment in the material.  In the established traditions of Star Trek, Picard provides a mirror for current events weaving commentary on issues ranging from Brexit to global political turmoil and social segregation into its narrative, whilst also delving into the often mined but always intriguing concept of artificial intelligence.

Star Trek: Picard picks up two decades after the events of Star Trek Nemesis and the destruction of the Romulan homeworld in the wake of a catastrophic supernova.  Having resigned from Starfleet following their withdrawal from the Romulan relocation effort, implemented after a deadly revolt by the synthetic workforce brought online to increase the production of rescue ships, a dejected and morose Jean-Luc Picard has retreated to the family vineyard in France, embittered by the failure of the once cherished and noble values of Starfleet and the Federation which he long fought to protect.  Haunted by dreams of his late comrade and friend Lieutenant Commander Data (the ever-excellent Brent Spiner), the Enterprise’s former android crewman, Picard is lost and without purpose until one day, he encounters a young woman named Dahj (Isa Briones).  Hunted by Romulan assassins and drawn to Picard by hidden memories, we soon discover that Dahj is an advanced type of android created by Doctor Bruce Maddox (John Ales – portraying the character originally played by Brian Brophy in the classic Star Trek: The Next Generation episode “The Measure of a Man”) based on Data’s positronic neurons – essentially Data’s ‘daughter’.  Picard is unable to save Dahj but learning that she has a twin, Soji, unaware that she is in fact an android and working aboard a Romulan-captured Borg vessel known as ‘the Artifact’ to help rehabilitate the individuals assimilated by the Borg and now disconnected from the Collective.  Refused help by Starfleet, Picard gathers a crew of his own aboard a ship called La Sirena and sets out on a mission to reach Soji as a conspiracy by a secret Romulan order – the Zhat Vash – to eradicate all synthetic life before it threatens organics (prophesied by ‘the Admonition’), unfolds.

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The superb Jeri Ryan returns as Seven of Nine (image credit: CBS Viacom).

Assembled aboard the La Sirena (following a trilogy of opening chapters, all skilfully directed by executive producer Hanelle M. Culpepper), the main players are an eclectic – and flawed – bunch.  Joining Picard is the washed-out, hard-drinking Raffi Musiker (a conflicted yet maternal Michelle Hurd), his right-hand woman during the Romulan evacuation crisis who was subsequently forced out of Starfleet, robotics expert Dr. Agnes Jurati (Alison Pill) who joins the mission to search for Maddox – and whose troubled journey becomes a highlight, with a wonderfully quirky and nuanced performance by Alison Pill – and Elnor (Evan Evagora), a childlike but dutiful young Romulan warrior Picard once befriended and mentored as a boy.  Commanding La Sirena is the roguish cigar chomping Cristobal “Chris” Rios (Santiago Cabrera), who is a nifty blend of Hugh Jackman’s Wolverine and Harrison Ford’s Han Solo, with his own reasons for abandoning Starfleet and aided by a number of Emergency Holographic programs, each with their own specific purpose (medical, helm, navigation, engineering…even psychiatric!) and personalities to suit.  The main threat is provided effectively by Gotham’s Peyton List who plays Narissa, a Zhat Vash operative who is devilish and formidable, but also given some credible motivations.  List’s character is supported by her brother, Narek (Harry Treadaway), assigned to become close to and manipulate Soji – who is believed to be ‘the Destroyer’ who will bring about the annihilation of organic life – and Commodore Oh (Tamlyn Tomita), the sinister Romulan/Vulcan spy at the head of Starfleet security.

Picard’s voyage also facilitates the return of some old faces.  Aside from Brent Spiner’s Data, there’s an emotional reunion with former Enterprise colleagues Will Riker and Deanna Troi (in the Chabon co-written episode “Nepenthe” which is a standout of the season, featuring wonderful performances by Jonathan Frakes – who also directs a number of episodes – and Marina Sirtis), appearances from Hugh, the former Borg introduced in TNG (a now de-Borgified and sorely underutilised Jonathan Del Arco) and popular Star Trek: Voyager character and other ex-Borg, Seven of Nine (the superb Jeri Ryan).  Seven (rejecting her real name of Annika Hansen) is in something of a dark place in Picard, the tragic loss of her young protégé Icheb (sadly, original Voyager actor Manu Intiraymi is recast for a startlingly brutal flashback sequence) leading her to join a group of galactic mercenaries.  Jeri Ryan is well-served by the writers and excels in a performance that evolves Seven and takes her in an unexpected direction, allowing for more depth and complexity and she is a significant asset to the series.  What works especially well about the inclusion of legacy Star Trek characters in Picard is that they each play a part in the story and are not simply incorporated to provide fan service, which could have all too easily been the case.

As the show’s lead actor and focal point, Patrick Stewart is given a lot to play with and delivers a generally robust, passionate – and at times touching – portrayal of the 94-year old Picard.  There’s a slight shaky quality to Stewart’s performance – understandable, given his age – but it goes without saying that the mere presence of Jean-Luc Picard, a character that fans have longed to see return to the screen, is reassuring.  The revelation that Picard is beginning to experience symptoms of a terminal neurological condition (undoubtedly the Alzheimers-esque ‘Irumodic Syndrome’ depicted in the alternate future of the TNG series finale, “All Good Things”) adds a bittersweet touch and there’s an element of PTSD as Picard has to once again deal with his traumatic history with the Borg – which naturally provides some neat moments between Patrick Stewart and Jeri Ryan as the series examines the plight of the innocent victims (referred to as ‘Ex-B’s’) who had their individuality stripped away by the Borg.  The relationship between Picard and Elnor is quite sweet and the interplay between Stewart and Isa Briones is also memorable and especially well-portrayed as Picard helps Soji come to terms with, and embrace, her true nature.

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Picard seeks the help of some old friends (image credit: CBS Viacom).

As the season unfolds, there are various twist and turns – often genuinely surprising and even shocking (none of which will be divulged here for the sake of those not yet caught up) and the story reaches a climax with a two-part finale (“Et in Arcadia Ego“) in which Picard and his cohorts find their journey reaches Coppelius, a planet Dr. Maddox withdrew to continue his work following the synth ban and now populated by androids.  Trying desperately to prevent the galactic cataclysm foretold by the Admonition and from Soji playing a role in the event, Picard soon finds himself piloting the La Sirena and heading off a fleet of Romulan warships.  It’s a suitably epic confrontation and leads to an emotional and poignant denouement which establishes a new status quo for Picard, some satisfying closure for the TNG era and the promise of exciting new adventures to come.

Picard isn’t perfect, despite some of the talent behind the scenes the plotting can be a little haphazard and the writing is sometimes a bit clunky and contrived.  Some of the narrative elements – such as the afore-mentioned synthetic revolt and subsequent ban on artificial life – are not afforded enough focus, likewise there are character backstories left underdeveloped, such as Raffi’s strained relationship with her son.  It makes IDW’s Star Trek: Picard – Countdown comic book mini-series and Una McCormack’s novel Star Trek: Picard – The Last Best Hope recommended reading as they flesh out much of what is missing on screen in that regard.  It’s also worth mentioning that unlike The Next Generation, Picard – like a lot of modern genre TV productions – carries a mature viewer rating and fulfils it with instances of bloody violence and a jarring overuse of profanity.  Whilst Picard was never intended (nor should it be) as merely a reprisal of TNG, perhaps it’s a missed opportunity to not have the series be accessible to a broader age range given its heritage.

Grumbles and nit-picks aside, Picard remains entertaining and each episode is at the very least (ahem) engaging with plenty of drama, action and numerous Easter eggs for fans to feast on.  The series may have benefited from tighter and more consistent pacing, especially in the earlier instalments and maybe even an increased episode count to better cater for the various sub-plots and character developments, but there are often glimmers of greatness that assures potential for the already confirmed second season.  It’s hard to recommend Picard to the uninitiated as it is steeped deeply in the lore and history of what has gone before, requiring a certain amount of affection for the viewer to become properly committed.  In the end, Star Trek: Picard isn’t bound to please everyone – much like we’ve seen with Star Trek: Discovery – but on the whole it’s a well-produced and worthy new entry in the Star Trek canon with an intriguing story that’s elevated by the return, and resurgence, of Jean-Luc Picard and whets the appetite for the further voyages of a science fiction legend.

The bottom line:  A solid if sometimes flawed first season, Star Trek: Picard is non-the-less enjoyable and enhanced by the triumphant return of Patrick Stewart as Jean-Luc Picard.

All episodes of Star Trek: Picard season one are available to stream via CBS All Access in the U.S. or internationally on Amazon Prime.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

It’s a Classic: ‘Star Trek: First Contact’

Looking at some of the best pop culture offerings in film, TV and comics…

“And you people, you’re all astronauts on some kind of star trek”

First Contact - Picard

Captain Jean-Luc Picard (Patrick Stewart) must face his most lethal enemy in ‘Star Trek: First Contact’ (image credit: Paramount Pictures).

Year:  1996

Starring:  Patrick Stewart, Jonathan Frakes, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, James Cromwell, Alfre Woodard, Alice Krige

Director:  Jonathan Frakes / written by:  Ronald D. Moore & Brannon Braga (story by Rick Berman, Ronald D. Moore & Brannon Braga.  Based upon Star Trek, created by Gene Roddenberry)

What’s it about?

Captain Picard and his crew pursue the Borg back in time to stop them from changing the future by preventing Earth’s pioneering warp-flight and historic first contact with an alien race…

In review:  why it’s a classic

The finest big screen outing for the cast of Star Trek: The Next Generation and one of the overall best Star Trek films, Star Trek: First Contact is an exciting science fiction action adventure that proved a hit with fans and critics as well as general audiences, becoming one of the most financially successful Star Trek features – surpassing previous champion Star Trek IV: The Voyage Home.

Star Trek: First Contact sees Captain Jean-Luc Picard and the crew of the Enterprise-E once again faced with their cybernetic foes, the Borg, who travel back in time to the year 2063 – a decade after Earth’s devastating Third World War – to avert the first flight by warp drive inventor Zefram Cochrane and contact with visitors from Vulcan – an event that unites humanity and sparks a more hopeful future that will lead to the formation of Starfleet and the United Federation of Planets.  Pursuing the Borg back to the 21st Century, the Borg vessel is destroyed by the Enterprise but not before its complement of drones transport into the bowels of Picard’s ship and begin taking control.  As Commander Riker and his away team work to ensure Cochrane’s warp flight occurs as scheduled, Picard must fight to prevent the Borg’s seizure of the Enterprise and their plans to destroy the future.  Star Trek: First Contact ties back to The Next Generation’s classic two-parter “The Best of Both Worlds” (read the review here) in which Picard was abducted and assimilated by the Borg and informs the character’s arc, although it isn’t necessary for casual viewers to have seen it as it’s all explained via Picard’s opening nightmare sequence and some neatly placed exposition.

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James Cromwell as Zefram Cochrane (image credit: Paramount Pictures).

As Picard, Patrick Stewart is as superb as ever in the role and there is a lot of range for the character in First Contact as the usually noble and disciplined Picard grapples with his traumatic history with the Borg and the Ahab-like anger towards his enemy which begins to override his judgement as a Starfleet captain.  Stewart shares great rapport with his co-stars, particularly Brent Spiner’s Data who is also given a great deal of focus, his loyalty to Picard threatened when he is captured by the Borg and manipulated by their Queen.  Played with a sultry and sinister menace by Alice Krige, the Borg Queen expands the mythology of the cyborg race, an individual voice within the singular Borg Collective whose purpose is to bring “order to chaos” within the hive mind.  James Cromwell provides a wonderfully spirited performance as Zefram Cochrane, a man worshipped as a historical figure by the Enterprise crew who they quickly learn is flawed and prone to drinking too much.  Alfre Woodard is equally great as Cochrane’s assistant, Lily, who has numerous standout scenes with Patrick Stewart – particularly her heated exchange with Picard as his fury against the Borg verges on vendetta, snapping him into realisation with a poignant reference to Moby Dick.  Given his duties as director, Jonathan Frakes’ Commander Riker has less onscreen presence in comparison to Patrick Stewart and Brent Spiner but still plays an important role.  The rest of the regular TNG cast are all given their moments within the story – Marina Sirtis’ inebriated Deanna Troi serving up a dash of levity – and luckily First Contact allows for Michael Dorn’s Worf (who at this point had joined the cast of Star Trek: Deep Space Nine) to rejoin his former crewmates for their adventure.

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Data (Brent Spiner) is manipulated by the Borg Queen (Alice Krige) (image credit: Paramount Pictures).

Star Trek: First Contact thrills with a number of notable action sequences and set-pieces, the highlights including the first act’s space battle against the Borg ship, Picard and his crew’s attempt to halt the Borg’s infiltration and assimilation of the Enterprise and Picard and Worf’s (along with Lt. Hawk, in an early screen appearance by Neal McDonough) excursion onto the ship’s hull to prevent the Borg’s conversion of the main deflector into a means of summoning reinforcements.  The film boasts a great script (from returning Star Trek Generations screenwriters Ronald D. Moore and Brannon Braga) that has plenty of action, drama, humour and heart and it’s easy to see why it appealed to a wide audience.  It’s a generally pacey adventure that doesn’t sacrifice an enjoyable science fiction story or memorable character moments.  The Borg are a dark threat and the stakes are high yet First Contact maintains the hope and optimism for humanity’s future envisioned by Gene Roddenberry that is the nucleus of any classic Star Trek story.

Having helmed numerous episodes of The Next Generation (as well as Deep Space Nine and Voyager), Jonathan Frakes makes a confident jump to the big screen and keeps First Contact engaging and entertaining.  The production design is excellent and gives it a pleasingly grand, blockbuster feature film look.  The new Enterprise-E is another superb, sleek starship design from illustrator John Eaves that melds the iconic Matt Jeffries concept with that of The Next Generation’s late Enterprise-D.  Likewise, Herman Zimmerman’s interior sets are an appropriate expansion of his previous work.  The new Giger-esque biomechanical look for the Borg courtesy of Michael Westmore makes them an even scarier and formidable enemy and would rightfully earn the film an Oscar nomination.  To top things off, Jerry Goldsmith (with contributions from his son, Joel) provides a classic music score, another career best for the composer that elevates all of the excitement, emotion and atmosphere of the film – the beautifully majestic main theme on par with that of Star Trek: The Motion Picture.

Star Trek: First Contact is simply a great big screen Star Trek entry that’s not only enjoyable for fans but for casual viewers as well and represents a high point for the franchise as an entertainment enterprise (pun fully intended).

Standout moment

Discovering that the Borg plan to use the Enterprise’s deflector to contact reinforcements, Picard leads a mission on to the starship’s hull in order to stop them…

Geek fact!

An early concept for the film had the Borg travelling back in time even further to the Renaissance period and would see Data become Leonardo DaVinci’s apprentice!

If you like this then check out…

Star Trek (2009) : J.J. Abrams directs this rousing, crowd-pleasing big screen reboot of the franchise as a young James Kirk (Chris Pine) battles to save Earth from a vengeful Romulan from the future…

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

TV Review: ‘Star Trek: Picard’ – Series Premiere

A science fiction legend returns in the newest ‘Star Trek’ spin-off…

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A 24th Century hero returns: Sir Patrick Stewart stars in ‘Star Trek: Picard’ (image credit: CBS).

Starring:  Patrick Stewart, Isa Briones, Alison Pill, Harry Tredaway, Brent Spiner

Series created by:  Kirsten Beyer, Michael Chabon, Akiva Goldsmen & Alex Kurtzman (Based upon Star Trek, created by Gene Roddenberry)

Episode directed by:  Hanelle M. Culpepper / written by:  Akiva Goldsmen & James Duff (story by Akiva Goldsmen, Michael Chabon, Kirsten Beyer, Alex Kurtzman & James Duff)

What’s it about?

“Remembrance” : as the end of the 24th Century approaches, on the anniversary of the devastating destruction of the planet Romulus, retired Starfleet Admiral Jean-Luc Picard is confronted by a mysterious young woman on the run, as a new adventure beckons…

In review

The much-awaited return of a Star Trek legend is finally here with the launch of the new CBS series Star Trek: Picard – from the makers of Star Trek: Discovery (joined by novelist Michael Chabon as showrunner) – with a promising and tantalising first episode.  As it very well should be, Picard is quite a different animal from Star Trek: The Next Generation – that show is and ever will be a classic, landmark piece of television, but times have changed and so has the nature of small screen entertainment and as with Discovery, the Star Trek franchise evolves.  As expected, it’s a lavish and sophisticated production with feature film quality visuals and some beautiful photography (presenting various locales) and the longform storytelling style we’re now accustomed to.

For Picard, Sir Patrick Stewart reprises his most iconic and forever beloved role as Jean-Luc Picard – former captain of the U.S.S. Enterprise (both ‘D’ and ‘E’) and retired Starfleet Admiral, following the catastrophic Romulan supernova (deftly tying into the events of J.J. Abrams’ Star Trek) which resulted in the destruction of the Romulan homeworld and the scattering of its people across space.  Embittered by the poor response to the crises by the Federation and Starfleet, organisations whose values he has fought to protect, Picard has withdrawn to a quiet and uneventful life at the family vineyard of Chateau Picard in France.  It’s been more than two decades since Picard’s last mission aboard the Enterprise and, now over 90 years old (accompanied by his dog – affectionately named Number One), he finds himself haunted by nightmares of his old friend, the late android Lieutenant Commander Data (Brent Spiner) and frustrated by the erosion of the ideals he cherished as a Starfleet captain.  However, the appearance of a young woman named Dahj (Isa Briones), on the run and desperate for help, thrusts the noble once Admiral Picard back into action.  Who is Dahj and why does she have hidden memories of Picard?  These questions and more are presented as a new adventure begins for Jean-Luc Picard in “Remembrance”.

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Picard (Patrick Stewart) is confronted by the mysterious Dahj (Isa Briones) in the premiere of ‘Star Trek: Picard’ (image credit: CBS).

At 79, Patrick Stewart has clearly aged – somewhat gracefully – and although he may at first appear a little shaky, it’s soon comforting to see Picard back onscreen.  Almost twenty years after he last played the role (on the big screen in 2002’s Star Trek: Nemesis), Stewart – mindful of his standout performance alongside Hugh Jackman in Logan – brings his talent effortlessly to the fore.  There’s an element of melancholy to his portrayal in Picard which befits the story and the mature character-focused approach the series seems to be aiming for, yet as the plot of “Remembrance” unfolds, those familiar traits of conviction and altruism start coming passionately to life once more.

Aside from the obvious joy of Patrick Stewart’s return to Star Trek, it’s also a delight to see the excellent Brent Spiner guest star and equally pleasing that his role, which could have easily been incorporated simply as fan service, has great importance to the story and lovingly celebrates the character of Data and his benevolent nature.  Isa Briones delivers a likeable and believable portrayal as the scared and desperate Dahj, with the writers serving the part with a good deal of mystery.  A visit to the Daystrom Institute in Okinawa introduces us to Alison Pill’s Dr. Jurati, a cybernetics expert left with little do after a ban on synthetic lifeforms following an apparent android revolt, creating some interesting and fun scenes with Picard.  Apart from the closing reveal of Harry Treadaway’s Narek that’s most of the recurring cast, with regulars Michelle Hurd, Evan Evagora and Santiago Cabrera to follow.  Also, whilst absent from this episode, there are still guest appearance from Patrick Stewart’s fellow TNG co-stars Jonathan Frakes and Marina Sirtis to look forward to in future instalments, as well as Jonathan Del Arco (the former Borg drone, Hugh) and Star Trek: Voyager’s Jeri Ryan.

Picard brings with it a whole sense of history and strokes of nostalgia, with plenty of Easter eggs for fans to enjoy.  It’s difficult to say at this point if casual viewers will be able to latch onto the series and become invested but there’s enough exposition in the premiere to help bring new fans into the fold.  It’s important to remember that this is merely the first chapter in a ten-episode saga and “Remembrance” serves as a reintroduction to the character of Picard, establishing the world and times in which he now lives and providing the initial set-up for the serialised season-long arc.  To this end, “Remembrance” does a good job of balancing the disparate elements and with a whole heap of intrigue and action, whets the appetite for more…make it so.

The bottom line:  Jean-Luc Picard is back and Sir Patrick Stewart is on top form as Star Trek: Picard gets off to a promising and enjoyable start.

New episodes of Star Trek: Picard are released Thursdays on CBS All Access in the U.S. and available to stream in the U.K. and internationally every Friday via Amazon Prime.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

It’s a Classic: ‘Star Trek: The Next Generation’ – “The Best of Both Worlds”

Looking at some of the best pop culture offerings in film, TV and comics…

“Resistance is futile”

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Captain Picard’s (Patrick Stewart) capture and assimilation by the Borg leads to a chilling cliffhanger in “The Best of Both Worlds” (image credit: CBS).

Year:  1990

Starring:  Patrick Stewart, Jonathan Frakes, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, Wil Wheaton, Elizabeth Dennehy, Whoopi Goldberg

Director:  Cliff Bole / written by:  Michael Piller / series created by:  Gene Roddenberry

What’s it about?

Investigating the annihilation of a Federation colony, Captain Picard and the crew of the Enterprise are soon faced with the unstoppable threat of the cybernetic race known as the Borg…

In review:  why it’s a classic

Considered as not just one of Star Trek: The Next Generation’s finest stories but top-tier Trek in general, “The Best of Both Worlds” is a gripping, well-written and superbly executed event in the popular Star Trek television sequel.  TNG’s first two-part episode and its first season cliffhanger, “The Best of Both Worlds” closes out the show’s third season and opens its fourth and features the return of cybernetic nasties the Borg – introduced in season two’s “Q Who?”.

Written by Michael Piller – whose tenure as head writer helped to improve the creativity of The Next Generation – and directed by Cliff Bole, “The Best of Both Worlds” sees the Enterprise tasked with investigating the destruction of a Federation colony, all evidence pointing to the Borg as those responsible.  Soon confronted with a Borg ship, events take a turn for the worst when Captain Picard is captured by the Borg and transformed into one of them – leaving first officer Commander Riker in command.  The Enterprise’s engines damaged, preventing it from pursuing the Borg vessel as it heads for Earth, Riker and the rest of the crew must find a way to stop the Borg at all costs – even at the loss of their former captain.

At this point the Borg are a relentless and unstoppable force – a superior foe whose only desire is to consume the technology of other worlds and ‘assimilate’ (i.e. transform) their population into cybernetically enhanced drones who operate as a collective consciousness.  The very notion of one’s individuality being stripped away is what makes the Borg such a chilling enemy and Piller ensures that those elements are accentuated.  The decision to have Picard captured and assimilated by the Borg (the difference being that he is given the designation ‘Locutus’ and his own voice as a representative of the Borg, allowing Patrick Stewart to interact with his cast mates), thus deprived of his free will and responsibility for his own actions, is a genius stroke that establishes high stakes and at the time with no guarantee of his rescue (rumoured contract negotiations with Stewart placing his future in doubt) kept things surprising and unpredictable – not in the least since all of Picard’s knowledge and experience are used by the Borg to deadly advantage as they plough through and decimate Starfleet’s defences.

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Guest star Elizabeth Dennehy with Jonathan Frakes in “The Best of Both Worlds” (image credit: CBS).

The cast are all – unsurprisingly – brilliant with each of the principals having their place in the story as Piller continues his efforts to have a more character driven focus for the series.  Patrick Stewart is the obvious standout (his ‘Borgified’ persona affording him fresh acting challenges) and Whoopi Goldberg’s Guinan continues to be a soulful presence but this is also a great outing for Jonathan Frakes who rightly gets his time in the spotlight as Riker, grappling with uncertainty about the progression of his career, takes command of the Enterprise during the crew’s darkest hour.  Guest star Elizabeth Dennehy (daughter of Brian) adds a lot to the mix as Starfleet’s Borg expert, Lt. Commander Shelby – a young, resourceful and driven officer whose assignment to the Enterprise initially provides conflict as her over-eagerness and professional competitiveness causes headaches for Riker, but ultimately proves an important ally and gradually earns the respect of the Enterprise’s new captain.

Whilst not necessarily as energetic and flashy as a lot of modern television (which isn’t actually always a good thing), there is still a lot of action and excitement in “The Best of Both Worlds” – most significantly the Enterprise’s first confrontation with the Borg vessel in part one, the subsequent chase (the Starfleet ship seeking refuge inside a nebula building a sense of foreboding) and Picard’s abduction a highlight.  Part two also has its share with Riker’s plan to rescue Picard and Worf (Michael Dorn) and Data’s (Brent Spiner) infiltration of the Borg ship the highpoint.  The final resolution of the Borg crises is simple but effective and the tension remains tight as the story reaches its climax.

Mention should also be made of Ron Jones’ score for “The Best of Both Worlds”, atmospheric, thrilling and emotional it’s some of the composer’s best work on Star Trek: The Next Generation and an essential component in any classic piece of SF TV.  Ranked by TV Guide as one of its all-time top 100 television episodes and nominated for five Emmy Awards, “The Best of Both Worlds” is a high mark in the Star Trek franchise and ensured its continued popularity throughout the 1990s.

Standout moment

With Captain Picard captured and assimilated into the Borg Collective and the fate of all life in the Federation at stake, Commander Riker has no choice but to order firing the Enterprise’s modified deflector in the hope of destroying the Borg vessel…

Geek fact!

George Murdock, who plays Admiral Hanson also appeared in Star Trek V: The Final Frontier as the malevolent ‘God’ entity.

If you like this then check out…

Star Trek: Voyager – “Endgame” : the crew of the U.S.S. Voyager are faced with the Borg in the feature-length finale to the fourth live-action Star Trek television series (read the retrospective here).

Flashback: ‘Star Trek Generations’

It’s 25 years since the cast of ‘Star Trek: The Next Generation’ transitioned to the big screen…

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Captains Picard (Patrick Stewart) and Kirk (William Shatner) unite to save the galaxy in ‘Star Trek Generations’ (image credit: Paramount Pictures).

Year:  1994

Starring:  Patrick Stewart, Jonathan Frakes, Brent Spiner, LeVar Burton, Michael Dorn, Gates McFadden, Marina Sirtis, Malcolm McDowell, William Shatner, James Doohan, Walter Koenig

Directed by:  David Carson / written by:  Ronald D. Moore & Brannon Braga (story by Rick Berman, Ronald D. Moore & Brannon Braga.  Based upon Star Trek, created by Gene Roddenberry)

What’s it about?

Captain Picard and the crew of the Enterprise must stop an obsessive and dangerous scientist from causing the deaths of millions as he searches for a way to return to a mysterious extra-dimensional realm…

Retrospective/review

With Star Trek: The Next Generation completing it’s highly successful seven year run on television and the original Star Trek crew’s big screen voyages concluded with 1991’s Star Trek VI: The Undiscovered Country it was time for the torch to be passed.  Production on a seventh Star Trek film, in which the newer Star Trek cast would make their silver screen debut, commenced almost immediately after work had wrapped on The Next Generation’s series finale with Star Trek Generations releasing in cinemas in the fall of 1994.

An enjoyable and fun science fiction adventure, Star Trek Generations facilitates a meeting between William Shatner’s Captain Kirk and Patrick Stewart’s Captain Picard whilst also incorporating smaller cameo roles for two other classic Trek characters – Chekov (Walter Koenig) and Engineer Montgomery Scott, a.k.a. “Scotty” (James Doohan).  The story begins in the 23rd Century as Kirk, Chekov and Scotty are guests of honour aboard the newly commissioned successor to Kirk’s ship, the Enterprise-B.  Her maiden voyage is interrupted by an incoming distress call from the Lakul – a transport ship ferrying El-Aurian refugees to Earth, amongst them future Enterprise bartender, Guinan (Whoopi Goldberg).  Discovering that the Lakul is tangled in a mysterious energy ribbon with destructive tendrils threatening to tear it apart, the Enterprise (under the command of Captain John Harriman, played by Alan Ruck) risks all to save the refugees – including Captain Kirk, seemingly lost when the Enterprise’s hull is breached.

Flashing forward 78 years to the 24th Century, Captain Picard and the crew of the Enterprise-D investigate the attack of a deep space observatory.  Recovering the only survivor, the El-Aurian scientist, Dr. Tolian Soran (Malcolm McDowell, star of Stanley Kubrick’s A Clockwork Orange), Picard soon learns that Soran, along with Guinan, whose race has a life span many times greater than humans, were rescued during the Lakul incident and that the energy ribbon encountered by the Enterprise-B is a recurring phenomenon known as the Nexus, a gateway to an extra-dimensional realm were one’s fantasies and dreams are realised and time has no meaning.  Soran, in cohorts with the Klingon Duras sisters Lursa and B’etor (Barbara March and Gwyneth Walsh, respectively, reprising their villainous roles from Star Trek: The Next Generation and Star Trek: Deep Space Nine), in exchange for providing them with a powerful new weapon, plans to draw the Nexus to him by destroying stars and threatening the lives of millions.  With the stakes set high, Picard is soon confronted with Soran on the planet Veridian III before being swept into the Nexus, leading to an encounter with a legendary Starfleet captain once thought dead…James T. Kirk, offering Picard his only hope of stopping Soran.

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Malcolm McDowell as Soran (image credit: Paramount Pictures).

Although they may have felt encumbered by a laundry list of requirements for the film (the essential ingredient being a Kirk/Picard team-up), screenwriters Ronald D. Moore and Brannon Braga – who also wrote the TNG series finale (the feature length “All Good Things”) took their knowledge and experience as former writers on The Next Generation to construct an entertaining narrative that gets the job done, providing some decent character moments together with an imaginative and action-packed science fiction story, under the capable direction of David Carson, himself no stranger to the franchise having helmed fan-favourite TNG episode “Yesterday’s Enterprise” and the Star Trek: Deep Space Nine series premiere.  Generations also boasts a music score from veteran TNG and Deep Space Nine composer Dennis McCarthy, particularly effective during Picard’s scenes in the Nexus where the music has an appropriately wondrous, mystical quality to it.

Focusing on the acting performances and characterisation, there’s a lot for fans to appreciate.  Beyond the obvious delight of having Kirk and Picard onscreen together, both William Shatner and Patrick Stewart are given a reasonable amount to chew on.  Stewart’s Picard suffers the tragic accidental deaths of his brother and nephew (his scenes with Whoopi Goldberg’s Guinan are also a highlight, as they always where in TNG) before his later experience in the Nexus which presents the noble starship captain with the dream of an idyllic family life at Christmas time and a renewed sense of faith as he unites with Captain Kirk to save the day.  Despite only appearing in the opening and closing acts of Generations, Wiiliam Shatner is still given enough time to prove his worth as his meeting with Picard invokes a realisation that the fantasy the Nexus offers just can’t compare with the reality of risking all for the greater good.  The horse-riding scenes also allow Shatner to combine his real-life enthusiasm for the equestrian with his defining and most iconic screen role.

James Doohan and Walter Koenig are a pleasing addition to the opening of Generations and along with Kirk, a comforting sight, yet although William Shatner is afforded a larger role, this is still very much a Star Trek: The Next Generation film – with Brent Spiner’s Data particularly well-served as the Enterprise’s android experiments with emotions allowing him to experience a range of feelings and human concepts, from humour and joy to fear and regret.  The always excellent Spiner rises to the occasion with ease and its unsurprising that Data becomes such a key player in the subsequent Star Trek films.  As the central villain, Malcom McDowell delivers a decent measure of threat, Soran’s desire to revisit the Nexus driven by the yearning to see his dead wife and children.  It’s something touched upon but sadly not fully explored but does however provide the character with some depth and the script furnishes McDowell with some memorable lines, such as “they say time is the fire in which we burn” which has something of a literary and philosophical quality to it.

Of course, the biggest surprises of Generations (spoilers…) are the heroic – but highly controversial – death of Kirk (reshot after test audiences were underwhelmed with the original scene, in which Soran simply shoots Kirk in the back), truly marking the end of an era and the destruction of the Enterprise-D to make way for a new and more big screen friendly U.S.S. Enterprise for the sequels.  Both elements help to supply Generations with a suitably tense and gripping finale and an emotional farewell to a beloved character.  Whilst Star Trek Generations is not on the same level as perennial favourites Star Trek II: The Wrath of Khan and Star Trek IV: The Voyage Home, it’s still a fitting first big screen outing for the crew of Star Trek: The Next Generation which would lead to the superior and popular sequel, Star Trek: First Contact.

Geek fact! 

It was originally intended that Leonard Nimoy and DeForest Kelley would reprise the roles of Spock and Doctor McCoy in Generations in place of the Chekov and Scotty cameos, but both actors declined feeling that Star Trek VI: The Undiscovered Country was a more satisfactory finale for their characters.

Image(s) used herein are utilised for illustrative purposes only and remain the property of the copyright owner(s).

Flashback: ‘Star Trek: Deep Space Nine’ – “Emissary”

25 years ago saw the beginning of a daring new chapter in the ‘Star Trek’ legacy…

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Beyond the Final Frontier: the crew of Deep Space Nine.

Year:  1993

Starring:  Avery Brooks, Rene Auberjonois, Siddig El Fadil, Terry Farrell, Cirroc Lofton, Colm Meaney, Armin Shimerman, Nana Visitor, Marc Alaimo

Series created by:  Rick Berman & Michael Piller (Star Trek created by Gene Roddenberry)

Written by:  Michael Piller (story by Rick Berman & Michael Piller) / episode directed by:  David Carson

What’s it about?

Commander Benjamin Sisko is assigned to take command of Deep Space Nine, a surrendered Cardassian space station and upon the discovery of a wormhole leading to a distant corner of the galaxy makes contact with mysterious alien entities that exist within…

Retrospective/review

With Star Trek: The Next Generation at the peak of its popularity on television and plans for the cast to transition to the big screen, Paramount decided they wanted a new Star Trek series that would overlap with the final two seasons of The Next Generation.  Created by Rick Berman (guardian of the Star Trek franchise following the death of Gene Roddenberry in 1991) together with Michael Piller (head writer on The Next Generation), Star Trek: Deep Space Nine would present a slightly different take on Star Trek, focusing on a darker section of the universe that would allow for more conflict and drama whilst upholding the core principles of Gene Roddenberry’s hopeful vision and his intention to use the series as a vehicle for telling stories about the human condition.  In unison with Star Trek’s celebration of diversity, Avery Brooks – the first African American actor in the lead role of a Star Trek series – would head up the cast as Commander Benjamin Sisko.

“Emissary”, the feature length premiere of Star Trek: Deep Space Nine (first airing in January 1993), sees Commander Sisko, three years after the loss of his wife Jennifer (Felicia M. Bell) during Starfleet’s battle with the Borg at Wolf 359 (events which took place during classic Star Trek: The Next Generation two-parter “The Best of Both Worlds” and depicted in the exciting pre-titles teaser for “Emissary”) taking up assignment as commanding officer of the space station Deep Space Nine, which Starfleet has been invited to administer by the Bajorans – a deeply religious race who have been liberated from the brutal occupation of the militaristic Cardassian Union.  Raising his young son Jake (Cirroc Lofton) alone, Sikso finds the situation less than ideal but finds he must try and convince the station’s business owners to stay and maintain their community and help guide the Bajoran people to a better future and eventual membership in the United Federation of Planets.

Events take a mysterious turn when Sisko meets with the Bajaron spiritual leader (Kai Opaka – played by Camille Saviola), who believes Sisko is prophesied to become the emissary of the ‘Prophets’ – entities who are the deities of Bajoran faith – and urges him to find the ‘Celestial Temple’.  The enigma is unravelled with the discovery of an unusually stable wormhole near Bajor and Sisko makes contact with the entities residing within – the very Prophets of Bajoran theology.  Tension mounts with the arrival of Cardassian warships as the crew of DS9 prepare to move the station near to the mouth of the wormhole, which leads to a distant unexplored region of the galaxy known as the ‘Gamma Quadrant’, whilst Sisko attempts to prove to the Prophets, who are non-corporeal and have no perception of linear time, that he – and others like him – do not pose a threat.

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The titular space station itself.

Avery Brooks is a solid leading man and has a lot to explore in “Emissary”, from the pain of his wife’s death and the caring relationship with his son to the loss of direction and eventual restoration of hope and belief in Starfleet’s mission and the principles of the Federation, Michael Piller’s script provides plenty of substance.  Filling out the rest of the central cast is Nana Visitor as Sisko’s waspish Bajoran second-in-command, Major Kira, Terry Farrell as Lt. Jadzia Dax (the new host of the Dax ‘symbiont’, previously carried by Sisko’s old friend, Curzon), the brilliant Rene Auberjonois as DS9’s gruff chief of security, ‘Constable’ Odo – a shape shifting alien of unknown origin, Colm Meaney as Chief of Operations, Miles O’Brien (a popular supporting character from The Next Generation), Siddig El Fadil (who would later adopt the stage name Alexander Siddig) as the young and eager chief medical officer, Doctor Julian Bashir and Armin Shimerman as Ferengi barkeeper – and thorn in Odo’s side – Quark (Shimerman coincidentally appeared as one of the first Ferengi in The Next Generation).  There’s an element of conflict at the outset that continues on into the first season to a certain degree and its rewarding as the characters grow and their relationships solidify, galvanising the crew of DS9.

In the tradition of Star Trek it’s a rich and varied set of characters, representative of different cultures both human and alien and this cross section of life together with the darker, more volatile backdrop of the series go on to fuel stories that parallel numerous social, political and religious themes.  The discovery of the wormhole also allows for missions of exploration to the Gamma Quadrant, ensuring Deep Space Nine isn’t completely landlocked and fulfilling the ‘trek’ aspect of the franchise.

“Emissary” also boasts a guest role for Patrick Stewart as The Next Generation’s Captain Picard (as well as the Enterprise) and the introduction of the superb Marc Alaimo as Gul Dukat, the former Cardassian prefect of occupied Bajor.  Alaimo (who, as with Shimerman, played one of the first Cardassians on The Next Generation) would recur throughout the seven season run of Deep Space Nine, becoming one of the show’s most interesting characters and one of Star Trek’s greatest villains.

The production design by Herman Zimmerman is another notable aspect and given that DS9 is an alien facility (designed by the Cardassians and built by Bajorans) he’s afforded the opportunity to stretch his creative legs and create the world of DS9 virtually from scratch and it contributes greatly to the darker, slightly more otherworldly look and feel of the show in comparison to the previous Star Trek series.

Confidently directed by David Carson – who would shortly graduate to the silver screen with Star Trek: Generations“Emissary” does a decent job of introducing the central players and setting of Star Trek: Deep Space Nine and whilst it would take a couple of seasons or so for the series to fully hit its stride, it would become an exceptional addition to the Star Trek universe with strong, well developed characters and some truly outstanding episodes that rank amongst the very best of the franchise and SF TV drama in general.

Geek fact!

J.G. Hertzler, who would later recur in the series as General Martok, appears (credited as John Noah Hertzler) in “Emissary” as the U.S.S. Saratoga’s Vulcan captain.

Images herein are used for illustrative purposes only and remain the property of the copyright owners.

Flashback: ‘Star Trek: The Next Generation’ – “Encounter at Farpoint”

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An all-new Starship Enterprise for a new ‘Star Trek’ venture…

Starring:  Patrick Stewart, Jonathan Frakes, LeVar Burton, Denise Crosby, Michael Dorn, Gates McFadden, Marina Sirtis, Brent Spiner, Wil Wheaton, John de Lancie, Michael Bell

Series created by:  Gene Roddenberry

Written by:  D.C. Fontana & Gene Roddenberry / Episode directed by:  Corey Allen / 1987

What’s the episode about?

Captain Jean-Luc Picard and the crew of the U.S.S. Enterprise find themselves placed on trial by a powerful alien entity and must prove that humanity is no longer a savage race as they attempt to solve the mysteries of the enigmatic Farpoint Station…

Retrospective

It’s hard to believe that Star Trek’s second –and highly successful – foray into television is now thirty years old.  Whilst the original voyages of Captain Kirk, Mr. Spock and the U.S.S. Enterprise are arguably Star Trek at its purist and best, for many it was Star Trek: The Next Generation that was their gateway drug to a vast science fiction universe and a worldwide phenomenon that endures today.

With the popularity of the original Star Trek cast’s big screen adventures (which hit fever pitch with the release of Star Trek IV: The Voyage Home in 1986) a new series made for an easy sell – albeit a risky one when the concept meant introducing a whole new set of characters and an all-new Enterprise and their adventures in the 24th Century, almost 80 years after the times of Kirk and his crew.

Paramount television felt it was worth a shot and enlisted Gene Roddenberry to create this new iteration – Star Trek: The Next Generation.  Assembling some familiar faces in his production and writing staff including Star Trek producer Robert Justman and writers Dorothy ‘D.C.’ Fontana (who also served as head writer on the vastly underrated animated series) and David Gerrold (mastermind of fan favourite episode “The Trouble with Tribbles”), Roddenberry set out to perfect his vision of the future.

Originally intended as a single hour story, written by Fontana, “Encounter at Farpoint” was expanded into a two-hour premiere at the insistence of Paramount and the reticence of Gene Roddenberry who would add a framing plot to the overall story – coupling Fontana’s Farpoint Station mystery – where every visitor’s needs and requirements are miraculously and inexplicably catered for – with the Enterprise’s encounter with an all-powerful alien entity known as the ‘Q’.  With impressive special effects (that hold up well today in the series’ fully remastered Blu-ray release) and production design the result is, though not a fair reflection of how good The Next Generation would ultimately become, remains entertaining and enjoyable despite some of its hokey execution.

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Captain Picard (Patrick Stewart) faces the charges of ‘Q’ (John de Lancie).

In its premiere, the characters fans would eventually come to know and love are not fully formed and the actors not immediately in the ‘groove’.  Despite this and the odd piece of cheesy or clunky dialogue, the cast of The Next Generation turn in respectable performances.  Patrick Stewart is a strong lead albeit the Captain Picard here is a little different from the Picard we see later on, being a more distant and irascible version of the character who happens to have no patience with children (the Enterprise ‘D’ compliment including crewmembers’ families).  Stewart receives solid support from Jonathan Frakes as First Officer – aka ‘Number One’ – Commander William T. Riker as well as the rest of the Enterprise crew, most notably Brent Spiner’s Lt. Commander Data, a Starfleet android who yearns to be human – the Pinocchio analogy aptly drawn on by Riker during their first meeting.

The crew is rounded out by Security Chief Lt. Tasha Yar (played by Denise Crosby, granddaughter of Bing and who would depart the series before the end of the first season), blind crewman Lt. Geordi La Forge (Roots’ LeVar Burton), Chief Medical Officer Doctor Beverly Crusher (Gates McFadden) together with her son Wesley (Wil Wheaton, of Stand By Me fame), Ship’s Counsellor and old flame of Riker, the empathic ‘Betazoid’ Deanna Troi (Marina Sirtis) and significantly – Klingon officer Lt. Worf (Michael Dorn), his race now at peace with the Federation.

As for the main antagonist, John de Lancie is quite simply superb as ‘Q’ and so well received that he would go on to reprise the role in several more episodes of The Next Generation in addition to appearances in future Trek spin-offs Deep Space Nine and Voyager.  Much like Picard, the Q of “Encounter at Farpoint” is quite different from the lighter, more comical version of the character we would see in later seasons and this earlier take on Q is much darker, more malevolent and a credible threat to the Enterprise and her crew which drives the high stakes drama, his ‘trial’ of humanity and their handling of the great mysteries of Farpoint facilitating the morality play aspect of the narrative which Star Trek fans had become accustomed to.

Not forgetting its roots, a highlight of “Encounter at Farpoint” is a cameo from DeForest Kelley as the elderly (human life expectancy greatly increased by the 24th Century), even more cantankerous Admiral McCoy in a wonderful little sequence between McCoy and Data that hands over the baton from one generation to the other and is a real treat for fans.

Beyond “Encounter at Farpoint”, the first season of Star Trek: The Next Generation was a little shaky and uncertain but things began to improve in its sophomore year (which saw the introduction of iconic villains the Borg) and further refined with changes to the writing staff in the third season which saw the series become more character focused, Star Trek’s return to television would prove to be a huge success and The Next Generation would run for seven seasons (a total of 178 episodes) and spawn four feature films.  Along the way it would gain Whoopi Goldberg as a recurring guest star, pick up numerous Emmy Awards (as well as being nominated for several more – including Outstanding Drama Series in 1994) and launch a golden age of small screen science fiction.  Star Trek: The Next Generation demonstrated that the appeal and durability of the franchise was strong and is a series that continues to be loved all these years later.

Geek fact!  Riker and Troi were based on officers Decker and Ilia, characters who were to be part of the aborted 1970s Star Trek: Phase II series.  They would eventually be portrayed by Stephen Collins and Persis Khambatta in Star Trek: The Motion Picture.

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The cast of ‘Star Trek: The Next Generation’ as they were in 1987.