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

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“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: ‘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.

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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).

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).

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: Voyager’ – “Endgame”

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

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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.

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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.

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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: 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.

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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.

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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.