Flashback: ‘Star Trek: Insurrection’

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

Star Trek Insurrection a

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.

Star Trek Insurrection b

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).

Flashback: ‘Star Trek: Voyager’ – “Caretaker”

Looking back at the premiere of the fourth live action ‘Star Trek’ series…

Voyager - Caretaker crew

The cast of ‘Star Trek: Voyager’ – lead by Kate Mulgrew as Captain Kathryn Janeway (image credit: Paramount/CBS Viacom).

Year:  1995

Starring:  Kate Mulgrew, Robert Beltran, Tim Russ, Robert Picardo, Robert Duncan McNeill, Roxann Biggs-Dawson, Ethan Phillips, Jennifer Lien, Basil Langton, Gavan O’Herlihy

Series created by:  Rick Berman, Michael Piller & Jeri Taylor (based upon Star Trek, created by Gene Roddenberry)

Written by:  Michael Piller & Jeri Taylor (story by Rick Berman, Michael Piller & Jeri Taylor) / directed by:  Winrich Kolbe

What’s it about?

Transported across the galaxy whilst in search of a missing Maquis ship, Captain Kathryn Janeway and the crew of the U.S.S. Voyager encounter a powerful alien being known as the Caretaker…

Retrospective/review

With Star Trek: The Next Generation leaving the air in 1994 and the Paramount television studio wanting another Star Trek series to both accompany Star Trek: Deep Space Nine and launch the new United Paramount Television Network (UPN), January 1995 saw Star Trek: Voyager begin its seven year run with the double-length premiere titled “Caretaker”.  The series itself created by Rick Berman, Michael Piller (co-creators of Deep Space Nine) and Jeri Taylor (a writer and producer on The Next Generation), “Caretaker” is an enjoyable introduction to the third live action Star Trek spin-off.

In “Caretaker”, Starfleet dispatches the U.S.S. Voyager (docked at Deep Space 9, providing a neat crossover with the wider shared Star Trek universe and including a cameo for Armin Shimerman’s Ferengi barkeep, Quark), under the command of Captain Kathryn Janeway (the first female lead for a Star Trek series, played by Kate Mulgrew – rapidly cast to replace French actress Genevieve Bujold, who departed during the first days of filming), to search for a missing vessel belonging to the Maquis (a group of freedom fighters protesting an undesirable treaty with the militaristic Cardassians and considered as outlaws by the Federation – previously established in episodes of The Next Generation and Deep Space Nine) which vanished without a trace in a volatile area of space known as the Badlands.  The mission is of importance as Janeway’s Vulcan security and tactical officer, Tuvok (Tim Russ – who had previously appeared in guest roles on TNG, DS9 and the film Star Trek Generations), was placed amongst the Maquis crew to gather intelligence.  To assist, Janeway enlists the help of an observer familiar with the Maquis – disgraced former Starfleet helmsman Tom Paris (Robert Duncan McNeill – Cadet Nick Locarno in the TNG episode “The First Duty“), sentenced to a New Zealand penal colony after being caught during his first Maquis operation.  There’s some ill-feeling towards Paris by members of the Voyager’s crew but he soon finds a friend in the form of the newly assigned academy graduate, Ensign Harry Kim (Garrett Wang).

Voyager - Caretaker ship

The Intrepid-class U.S.S. Voyager (image credit: Paramount/CBS Viacom).

Entering the Badlands, Voyager encounters a strange phenomenon and finds itself engulfed in an energy wave.  The ship damaged and a number of its crew dead, Janeway soon discovers that the vessel has been transported 70,000 light years across the galaxy to a region known as the Delta Quadrant and in the vicinity of the missing Maquis ship and a massive space station belonging to a powerful life-form known as the ‘Caretaker’.  Appearing as an old man, the Caretaker (portrayed by guest star Basil Langton) is dying and has brought Voyager and the Maquis vessel to him in order to find compatible DNA to create a replacement to continue his work as guardian of a race known as the ‘Ocampa’.  As events unfold, the Starfleet and Maquis crews find they must work together in order to locate missing crewmembers (one of whom is Harry Kim) and face-off against the threat of the ‘Kazon’, barbaric factions of Klingon-esque aliens (and recurring baddies throughout the first two seasons of Voyager – lead here by Gavan O’Herlihy’s Maje Jaben) who will stop at nothing to seize technology that will allow them to assert dominance.  It leads to a difficult choice for Janeway, one that will protect the Ocampa but will leave Voyager stranded in the Delta Quadrant.

Through the course of the episode, “Caretaker” puts in place the rest of the varied main characters of Voyager:  Janeway appoints the leader of the Maquis, the tough but reasonable Chakotay (Robert Beltran) – of American Indian descent – as her first officer, Chakotay’s hot-headed half-Klingon/half-human engineer B’Elanna Torres (Roxann Biggs-Dawson) is subsequently assigned as Voyager’s chief engineer, the ship’s holographic Doctor (a wonderfully acerbic Robert Picardo) – the Emergency Medical Holographic programme (or EMH) – is the only choice to replace the deceased chief medical officer and joining the journey back to Federation space is alien guide and cook (later ‘morale officer’), the quirky and resourceful Neelix (Ethan Phillips) and his beloved, Kes (Jennifer Lien).  Tuvok of course returns to his post and Tom Paris is redeemed when Janeway entrusts him as the ship’s new helm officer.  As Janeway, Kate Mulgrew is magnificent – melding her own intellectual and maternal qualities with shades of the no-nonsense leadership of William Shatner’s Kirk and the curiosity and diplomacy of Patrick Stewart’s Picard.

Voyager - Caretaker Kazon

Gavan O’Herlihy as the Kazon leader, Maje Jaben (image credit: Paramount/CBS Viacom).

“Caretaker” also sets up the general concept for Voyager that’s a sort of inversion of Star Trek: The Next Generation ­ (and, with some inaccuracy, labelling the series as Star Trek’s version of Irwin Allen’s Lost in Space) with the U.S.S. Voyager – revolutionary for its ‘bio-neural’ circuitry and featuring those cool pivoting warp engines – exploring space inward from the outer reaches of the galaxy as it heads along a seventy-plus year course towards Earth.  The integration of Maquis into the Starfleet crew creates an element of tension that’s dealt with during the first season but is, for the most part, quickly abandoned.  On one hand it’s a missed opportunity, possibly a victim of the episodic story of the week style of television at the time which DS9 would increasingly eschew to great creative advantage.  On the flip side, it allows the writers to focus on having the crew establish a familial bond, setting aside their differences and working together as a team in the spirit of the more holistic outlook favoured by original Star Trek creator Gene Roddenberry.  It was also likely a response to the at-the-time divisive reception to the darker Deep Space Nine, which, ironically, is now one of the most popular iterations of Star Trek.

Star Trek: Voyager could be a little formulaic, especially in comparison to the more daring storytelling of Deep Space Nine and often seen as an inferior clone of The Next Generation, perhaps making it the weakest of the Rick Berman-produced Star Trek series (opinion amongst fandom of course varies).  Non-the-less there’s still plenty to appreciate with another solid central cast (and an undeniably strong lead in Kate Mulgrew) and numerous standout episodes.  It’s possible that if the series were made today it would have benefited from the more sophisticated and serialised nature of contemporary TV but as it stands, Voyager – boasting a memorable Emmy-award winning main theme from composer Jerry Goldmsith – is certainly an enjoyable if sometimes uninspired series and “Caretaker” is an engaging start to the adventures of the U.S.S. Voyager and her crew.

Geek fact!

Scenes shot for “Caretaker” featuring Genevieve Bujold as Captain Janeway were included amongst the extra features for the Star Trek: Voyager season one DVD set.

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.

First Contact - Cochrane

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.

First Contact - Borg Queen & Data

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).

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”

TNG Best of Both Worlds i

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.

TNG Best of Both Worlds ii

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…

ST Gen a

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.

ST Gen b

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: Voyager’ – “Endgame”

Looking back at the finale of the fourth live action ‘Star Trek’ series…

Voy - Endgame 1

The U.S.S. Voyager and her crew battle the Borg once more in the finale of ‘Star Trek: Voyager’ (credit: CBS).

Year:  2001

Starring:  Kate Mulgrew, Robert Beltran, Tim Russ, Robert Picardo, Robert Duncan McNeill, Roxann Dawson, Jeri Ryan, Alice Krige, Dwight Schultz, Richard Herd

Series created by:  Rick Berman, Michael Piller & Jeri Taylor (based upon Star Trek, created by Gene Roddenberry)

Written by:  Kenneth Biller & Robert Doherty (story by Rick Berman, Kenneth Biller & Brannon Braga) / directed by:  Allan Kroeker

What’s it about?

A decade after the starship Voyager’s return to Earth from the Delta Quadrant, an older and haunted Admiral Janeway discovers the means to travel into the past and bring her former ship and crew home before any losses are endured…

Retrospective/review

Launching in 1995, Star Trek: Voyager seemed to have hit its creative peak in its fourth and fifth seasons and although there are still some decent episodes in the show’s final two seasons they’re outnumbered by less memorable and more average stories in comparison to those earlier years.  “Endgame”, the feature length series finale, whilst not as impactful as the conclusion of Star Trek:  Deep Space Nine, is still an entertaining and fitting finish to the fourth live action Star Trek series.  It opens as Earth celebrates the tenth anniversary of the U.S.S. Voyager’s return after being stranded in the Milky Way’s distant ‘Delta Quadrant’ (the ship transported there by a powerful alien being in the series premiere, “Caretaker”) for 23 years and a sombre and reflective Admiral Kathryn Janeway, haunted by the loss of crewmembers during the journey home as well as the subsequent death of her trusted right hand, Chakotay, as well as Seven of Nine, together with the failing mental health of Tuvok – as a result of a Vulcan neurological disease – discovers the means to travel back in time and bring the starship safely home.

The first half of “Endgame” neatly jumps between the future and the present before Admiral Janeway arrives to aid her younger self – Captain Janeway – and the Voyager crew in battling Star Trek’s iconic cybernetic adversary, the Borg and utilising their wormhole network to travel back to Earth years earlier and without those losses the elder Janeway would later have to endure.  Once the groundwork is done, “Endgame” builds up the drama and action but not without losing focus on its characters.

Voy - Endgame 2

The superb Kate Mulgrew as both Admiral and Captain Janeway (credit: CBS).

The cast performances are solid and each of Voyager’s principal troupe are permitted to stretch themselves a little with most given the opportunity to play the older versions of their characters (minus Robert Beltran’s Chakotay and Jeri Ryan’s Seven of Nine whose romance, although set-up in previous episodes still feels like an odd match), the most notable being Tuvok whose degrading mental state allows the talented Tim Russ to expand his portrayal of his otherwise stoic (by the very nature of a Vulcan, a race committed to controlling and repressing their emotions) and disciplined character.  Kate Mulgrew is, as ever, a superb lead and excels with the rich material she is given, bringing a slightly tortured and embittered quality to her portrayal of Admiral Janeway.  Unfortunately, given his character’s exit two episodes earlier in “Homestead” Ethan Phillips is only able to feature in a brief cameo as Neelix, but at least he could be a part of Voyager’s send-off in some capacity.  Dwight Schultz makes a welcome return as Barclay, his previous appearances in the series (and the character’s role in Earth finally establishing communication with Voyager in season six) making him a part of the Voyager family and a pleasing addition to the finale.

Voy - Endgame 3

Alice Krige returns as the Borg Queen (credit: CBS).

The Borg where a chilling and formidable enemy in the days of Star Trek: The Next Generation, but the effect had become somewhat diminished with their more regular appearances on Voyager.  This feels rectified in “Endgame” thanks in no small part to the return of Alice Krige as the Borg Queen, a role the actress had originated in the feature film Star Trek: First Contact and was previously played by Susanna Thompson in previous Voyager episodes “Dark Frontier” and “Unimatrix Zero”.  Thompson was great in those stories but Krige brings a real sense of gravitas and a sultry menace to the character that elevates the threat of the Borg.  It also helps that Kate Mulgrew brings her talent fully to bear in her scenes with Krige when the more seasoned Admiral Janeway is confronted face-to-face with the Borg Queen.  Those tightly written and directed sequences contribute significantly to the climax of “Endgame”, the tension notching up as Janeway (both Admiral and Captain) and the crew of Voyager execute their plan to return to Earth and deal a crippling blow to the Borg Collective.

The closing scenes of “Endgame” are quite touching, the arrival of Tom Paris and B’Elanna Torres’ daughter just in time for Voyager’s return helping to provide a heartfelt farewell to Star Trek: Voyager, a series that perhaps ran too long but non-the-less yielded some good episodes and always made more enjoyable by its central cast.

Geek fact!

Veteran Star Trek guest star Vaughn Armstrong, who previously played a Romulan in the classic Voyager episode “Eye of the Needle” returns for “Endgame” as the Klingon, Korath.  Armstrong would go on to portray Admiral Forest, a recurring role on prequel series Star Trek: Enterprise.

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

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

Trek DS9 Emissary - cast

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.

Trek DS9 Emissary - station

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: Enterprise’ – “Broken Bow”

Sixteen years before ‘Discovery’, there was another ‘Star Trek’ prequel…

Ent Broken Bow Crew

The crew of first ‘Star Trek’ prequel ‘Enterprise’.

Starring:  Scott Bakula, Jolene Blalock, Connor Trinneer, Dominic Keating, John Billinglsey, Anthony Montgomery, Linda Park, John Fleck, Vaughn Armstrong, Gary Graham, Tommy Lister Jr

Series created by:  Rick Berman & Brannon Braga (based upon Star Trek, created by Gene Roddenberry)

Written by:  Rick Berman & Brannon Braga / Episode directed by:  James L. Conway / 2001

What’s the episode about?

On a mission to return an injured Klingon to his homeworld, the starship Enterprise and her crew are thrust into conflict with an alien race known as the Suliban…

Retrospective

Airing back in September 2001, “Broken Bow” is the feature-length premiere of the fifth live-action Star Trek television series, Enterprise (sans the ‘Star Trek’ prefix, which would be added from the show’s third season).  Created by Rick Berman, the franchise’s head producer (and its guardian following the death of Gene Roddenberry in 1991) together with Star Trek: The Next Generation and Star Trek: Voyager writer/producer Brannon Braga, Enterprise is a prequel to Star Trek: The Original Series set over a century prior to the voyages of Captain Kirk’s U.S.S. Enterprise and a decade before the formation of the galactic coalition known as the United Federation of Planets.

With “Broken Bow”, the story of Enterprise begins in 2151, almost a century after Earth’s first contact with the Vulcans (as seen in the 1996 feature film Star Trek: First Contact) at a time when the human race has recovered from the devastation of World War III and set their sights on the stars.  With the assistance and guidance of the Vulcan High Command, Earth has begun developing newer and faster starships, the latest of which is the Enterprise NX-01 – the first Starfleet vessel to incorporate the revolutionary Warp 5 engine that will allow humans to head out into deep space on a mission of peaceful exploration and contact with alien races.

“Broken Bow” opens with the crash landing of a Klingon on Earth, being pursued by mysterious alien soldiers from a race called the Suliban.  Wounded during the pursuit, despite the objections of the Vulcan High Command, Starfleet decides to launch Enterprise on a mission to Qo’nos, the Klingon homeworld, and return the injured Klingon – named Klaang (Tommy Lister Jr) – to his people.  It’s not exactly plain sailing however and when the Suliban capture Klaang mid-voyage, the crew of Enterprise are thrust into danger as they set out to locate and rescue the Klingon from his captors.

“Broken Bow” unfolds at a steady pace, its earlier sections taking time to introduce the main characters and the general setting of Enterprise, notching things up once the NX-01 embarks on her maiden voyage.  As the plot progresses we learn that the Suliban aggressors are a cabal of genetically enhanced soldiers, receiving orders from a mysterious benefactor (James Horan), communicating with them from the future and are fighting a ‘Temporal Cold War’ in which various competing factions are attempting to manipulate the timeline in their favour.  Here, the Suliban are planning to incite a Klingon civil war, evidence of which Klaang has obtained and which the Suliban are desperate to recover.

Ent Broken Bow NX-01

The wonderfully designed Enterprise NX-01, ready to launch into deep space…

With a desire to return to more character-driven stories, Berman and Braga ensured that they populated Enterprise with engaging characters.  Always their first choice for the lead, Quantum Leap star Scott Bakula is Captain Jonathan Archer, whose father, Henry, designed the Warp 5 engine.  Bakula brings a grounded, believable quality to the role and the flashbacks to Archer’s childhood are a neat addition that bring dimension to the character as we see how his relationship with his father drives his determination as an explorer and pioneer.  The rest of the principal cast comprises Jolene Blalock as Sub-Commander T’Pol, a Vulcan Science Officer posted to Enterprise at the insistence of the High Command, Connor Trinneer as spirited Chief Engineer Charles ‘Trip’ Tucker III, Dominic Keating as Armoury Officer – and dutiful Englishman – Lieutenant Malcolm Reed, Anthony Montgomery as Helmsman Ensign Travis Mayweather, a ‘space boomer’ born and raised on an Earth cargo ship and Communications Officer and gifted linguist Ensign Hoshi Sato.  Completing the crew’s complement are Archer’s pet Beagle, Porthos and the ‘Denobulan’ Chief Medical Officer, Doctor Phlox played with a wonderfully quirky charm by John Billingsley.  The central threat of the Suliban is headed up by the nefarious Silik, played John Fleck (no stranger to Star Trek, having previously guest starred in episodes of The Next Generation, Deep Space Nine and Voyager).  Silik, the Suliban Cabal and the theme of the Temporal Cold War would be revisited throughout the four season run of Enterprise and would prove a compelling and intriguing storytelling component for the series.

Overall, the script for “Broken Bow” is decent, the direction (by experienced Trek director James L. Conway) solid and the cast and their respective characters are instantly likeable.  The Emmy Award winning visual effects are also excellent and hold up well today.  “Broken Bow” boasts numerous exciting action sequences, from the opening cornfield chase to the Suliban’s infiltration of Enterprise and the escape of Archer and his landing party from Rigel X through to the battle within the atmosphere of a gas giant and the climactic face-off between Archer and Silik onboard the Suliban’s ‘Helix’ base.

The show’s production design, by Herman Zimmerman (another Star Trek veteran, having worked on The Next Generation and Deep Space Nine as well as several of the feature films) is another strong component, the interior of the NX-class Enterprise given a cramped, submarine-esque layout with a nifty combination of LCD screen technology and physical, switch based control systems that gives the show a slightly retro-futuristic look that acknowledges the advancement of modern technology whilst retaining its place within the Star Trek timeline.  Along with the costume design (the flight-suit style crew uniforms a highlight), props and the ever impressive make-up by Michael Westmore and his team, Enterprise remains as visually appealing as it was over fifteen years ago.

Ent Suliban

The Suliban: another example of make-up maestro Michael Westmore’s talents.

Having Enterprise take place before the original Star Trek allows the series to present some fresh takes on the familiar.  The Vulcans of the 22nd Century are not quite as noble as they are in the other Star Trek series and tend to have a condescending attitude towards humans (believing they are not yet ready to join the interstellar community), adding an element of conflict to the show.  Similarly, humans are more fallible making the characters more relatable whilst still injecting them with the drive to learn and improve in accordance with Gene Roddenberry’s positive vision for humankind’s future.  Another notable departure concerns the iconic Star Trek technologies, most of which here are in their infancy or don’t yet exist – the universal translator can be unreliable, there are no shields, phasers are called ‘phase pistols’ and the transporter has only just been approved for bio-transport and reluctantly used by the crew as a last resort.

It’s known that Paramount were nervous about producing a Star Trek prequel series, perhaps fearing that audiences had become accustomed to and seemingly favoured the 24th Century setting of previous spin-offs The Next Generation, Deep Space Nine and Voyager.  In fact, the studio were even more hesitant about Berman and Braga’s initial concept for Enterprise, where they envisioned a predominantly Earth-based first season examining political and social concerns surrounding the construction and eventual launch of Enterprise and humanity’s first voyage into deep space.

“Broken Bow” is comfortably the strongest premiere of the Berman-era Star Trek series and although Enterprise would struggle with dwindling viewership and gradual loss of interest in the franchise at that point (which sparked the show’s edgier direction in season 3) it’s still an enjoyable, underappreciated chapter in the Star Trek story.

Geek fact!  “Broken Bow” features a cameo from James Cromwell as Warp Drive inventor Zefram Cochrane, reprising his role from Star Trek: First Contact.