I despise all new Star Trek programming since the first episode of Star Trek:  Discovery.  The story-telling is awful, designers have no idea how vessels, sets, and uniforms should work, and show runners have no idea what the level of technology should be.  Star Trek:  Picard is another disappointment that, visually, continues from Discovery and not from The Next Generation.  Recent news of the third series, Star Trek:  Strange New Worlds, leaves me unimpressed.  I know how the uniforms and the interiors and exterior of the Enterprise should look, for I have watched The Cage (1964).    I have that pilot on blu-ray.  These recent series occur in a universe parallel to that of the original series (1966-1969), the animated series (1973-1975), The Next Generation (1987-1994), Deep Space Nine (1993-1999), and Voyager (1995-2001).  These recent series also occur in a universe parallel to Star Trek:  Enterprise (2001-2005), itself parallel to the original series-Voyager.  (How many of the writers of Star Trek:  Enterprise watched Star Trek:  The Motion Picture?)

Above:  The Previous Enterprises in Star Trek:  The Motion Picture (1979)

A Cropped Screen Capture

I do not see the NX-01.

I have actual, proper Star Trek on physical media.  I choose to watch that and refrain from watching this new content, a big ball of no.

KENNETH RANDOLPH TAYLOR

MAY 15, 2020 COMMON ERA

Don’t pee on my leg and tell me it’s raining.

–Judge Judy

The overlords of Star Trek have been marketing urine as rain since 2009.  Paramount Pictures has been doing it since 2009, when, in Star Trek (2009), the sold the first moment or so of that action movie has occurring in the same universe as and about three decades prior to Star Trek (1966-1969).  Visual evidence belied that claim.  Paramount said the superficial differences were due to a “visual reboot.”  Suits at CBS have been selling the same line of dung regarding Star Trek:  Discovery (properly abbreviated as STD) since 2017.  They have also hired people who have rewritten and contradicted continuity and committed character assassination in an alleged prequel series.

Visual reboots are at least as offensive as the bad story-telling and disregard for continuity in STD.  I make a distinction between an alleged visual reboot and a remaster.  I own a blu-ray set of the original series, so I have the option of watching any episode in its original form or with the shiny new special effects.  The remastered episodes are only superficially different from the originals, for better and for worse, though.  The remastered version of Spock’s Brain looks much nicer, but it has the same script as the unaltered episode, unfortunately.  Furthermore, those who remastered the original series obviously knew it well and held it in awe.

Likewise, the remastering and alteration of Starhunter (2000-2001) and Starhunter 2300 (2003-2004) into Starhunter Redux is a labor of love and respect, with some of the original guiding hands still behind the scenes.  Starhunter Redux is a television equivalent of a director’s cut of a movie.  That is fine.  Nobody is producing a terrible and alleged prequel series to Starhunter and disrespecting continuity.

Some creators (who will remain unnamed here) of YouTube series have said that the only people who have any legitimate right to define canon are the licensed creators/owners–in this case, CBS.  Balderdash!  Or, as General McAuliffe replied to a German demand for surrender during World War II,

NUTS!

Unlike the people responsible for writing STD, I understand and respect nearly all of the previous series.  (I heap scorn upon Star Trek:  Voyager and Star Trek:  Enterprise, however.  Enterprise broke me of my habit of watching and recording every new episode.)

At least I have I my copies of actual Star Trek movies and actual Star Trek series to enjoy.

KENNETH RANDOLPH TAYLOR

MAY 7, 2019 COMMON ERA

I hope your series fails miserably and ends as soon as possible. Stop insulting those of us who care about our franchises. Don’t let the door hit you where the dog should have bit you. If you want to take such liberties with details, create your own fictional universe in which to set your stories.

I am an old-school Trekkie.  I remember a time when available Star Trek consisted of the 1966-1969 episodes in reruns on local stations, a handful of movies in VHS format, and, when the gods smiles, reruns of the 1973-1975 animated series on cable television.  I recall possessing a large library of VHS cassettes full of episodes I recorded.  My earliest memory of Star Trek is the classic episode Metamorphosis, which originally aired in 1967.  I can recite Star Trek II:  The Wrath of Khan (1982) word-for-word and, when I listen to the soundtrack, know exactly what is happening.  I know that Prime timeline stories ended with the lamentable Star Trek:  Nemesis (2002), and that, regardless of what anyone says, the events of the equally lamentable Star Trek:  Enterprise (2001-2005) exist in a parallel universe created in Star Trek:  First Contact (1996) and do not precede the original series in universe.

I also know that Star Trek‘s Prime Timeline is a sequence of period pieces.  Each incarnation of the Enterprise is a given size and looks a certain way.  The level of technology is what it is.  The uniforms are what they are.  The bridge design is what it is.  Continuity matters.  Maintaining it is a matter of respect for the franchise.

I have no use for the open contempt for human dignity that many critics of Star Trek:  Discovery and other series (notably Series 11 of Doctor Who) spew.  The misogyny, sexism, and homophobia of these individuals is wrong.  These critics also seem not to grasp that socially progressive politics have been part of Doctor Who since 1963 and Star Trek since 1964.  Do these critics forget A Private Little War, classic Star Trek‘s critique of the Vietnam War?  The Daleks, who debuted in one the earliest First Doctor serials, are an unveiled allegory of fascism in general and of Nazism in particular.  I also remember Patterns of Force, a classic Star Trek episode that used reproductions of Nazi uniforms.  In a related matter, I remember that, when news of the recasting of Starbuck (renamed Kara Thrace) in the reimagined Battlestar Galactica broke in 2003, many people complained about political correctness.  I also recall that Katee Sackhoff played that role brilliantly.

My main critique of Star Trek:  Discovery is that it openly shows disregard for continuity in both visual style and story content.  If one is going to film a prequel series to the original series, one should reproduce the look of the technology and uniforms, and mind the chronology meticulously.

My comment to all those is responsible for this abomination of a series is,

KENNETH RANDOLPH TAYLOR

APRIL 12, 2019 COMMON ERA

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Above:  Captain Jean-Luc Picard and Q in True Q (1992)

A Screen Capture

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Mustering excitement about recent developments in Star Trek has been difficult for me.  Stories of an upcoming movie with Quentin Tarentino directing have not inspired me to want to watch that film.  The parallel universe of Star Trek (2009), Star Trek Into Darkness (2013), and Star Trek Beyond (2016) has proven less interesting than the Prime Universe.  And Star Trek:  Discovery (STD, for short, appropriately) has proven to be a shameful mess devoid of continuity in every respect, an unforgivable sin in what is officially a prequel yet really not one.

One piece of news does excite me, though.  Patrick Stewart is on track to return to the role of Jean-Luc Picard in a new series, a continuation of Star Trek:  The Next Generation (1987-1994).  We will apparently see Picard about 20 years after the events of Star Trek:  Nemesis (2002).  If I can believe the early news, the new series will actually respect canon–a miracle, considering the fiasco of STD.

For years I have thought that Star Trek on screen should move forward in time from Star Trek:  The Next Generation, Star Trek:  Deep Space Nine (1993-1999), and even the woeful Star Trek:  Voyager (1995-2001), where continuity and character development went to die by neglect.  Star Trek:  Enterprise (2001-2005), a prequel series, was, like STD, a major error replete with discontinuity.  It was the series that proved to be a bridge too far for me; after suffering through the first two seasons, I stopped watching early in the third season.  This recent announcement from Patrick Stewart has restored a degree of my enthusiasm for some of new Star Trek.  I have decided to reserve judgment for later, when the series will be available for viewing, though.  CBS/Paramount has disappointed me too many times.

KENNETH RANDOLPH TAYLOR

AUGUST 7, 2018 COMMON ERA

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With Kvetching about Star Trek: Discovery

Above:  The Parallel Terok Nor in Through the Looking Glass (1995), an Episode of Star Trek:  Deep Space Nine

A Screen Capture

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The multiverse internal to Star Trek has been an established fact since the original series (1966-1969).  Aside from the Prime Timeline, in which the series and movies (except perhaps Star Trek V:  The Final Frontier, 1989) existed through Star Trek:  Voyager (1995-2001) and Star Trek:  Nemesis (2002), visual Star Trek has offered parallel universes also.  In the original series viewers saw an antimatter universe in The Alternative Factor (1967) and an evil universe in Mirror, Mirror (1967).  Star Trek:  Deep Space Nine (1993-1999) included occasional sequels to Mirror, Mirror.  The multiverse was essential to the plot of Parallels (1993), an episode of Star Trek:  The Next Generation (1987-1994).  Star Trek:  Enterprise (2001-2005) must have played out in a parallel universe, given the problems of reckless discontinuity with all the Star Trek series produced prior to it.  And all the Star Trek movies since 2009 have occurred in a parallel universe, probably the same one that includes Star Trek:  Enterprise.  Beyond that, there is no way the opening minute or so of Star Trek (2009) played out in the Prime Timeline.

Star Trek:  Discovery (2017-) allegedly occurs in the Prime Timeline–to be precise, between The Cage (1964) and Where No Man Has Gone Before (1965), the two pilot episodes of the original series.  That official claim is malarkey.  The starships in Star Trek:  Discovery (STD is an appropriate abbreviation.) are too large.  The technology is inconsistent with the original series.  The uniforms are wrong.  The U.S.S. Enterprise in STD is much too big, as well as visually inconsistent with the original series.

As Doug Drexler argues, Star Trek is a period piece.  One can respect the look of the original series, as Star Trek:  The Next Generation, Star Trek:  Deep Space Nine, and Star Trek:  Enterprise did.  One need not reinvent the wheel, as STD does.

There is a simple way to avoid pretending that discontinuity between STD and the rest of Star Trek does not exist:  acknowledge the obvious, which is that STD occurs in a parallel universe, perhaps its own.

I despise STD for its own demerits.  I would despise STD for its own demerits, even if pretending to be in the Prime Timeline were not one of them.  The sturn und drang behind the scenes creates an identity crisis for the series.  The political progressiveness is fine; I am a liberal, and toleration is an inherent element of Star Trek.  Nevertheless, is STD about exploration or war?  I ponder the trailer for the second season and wonder if STD is trying to ape The Orville while becoming about exploration and continuing to make a mockery of the Prime Timeline.  STD reminds me of SeaQuest, a series NBC aired under two titles for three seasons in the 1990s.  I remember the identity crisis of that series, each season of which might as well as have been a separate series.

At least The Orville respects Star Trek.

KENNETH RANDOLPH TAYLOR

JULY 26, 2018 COMMON ERA

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Preliminary Statements

Above:  The U.S.S. Enterprise, NCC-1701-E, from Star Trek:  First Contact (1996)

A Screen Capture

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A few preliminary statements will prove helpful before I get into the meat of this post:

1. I have been a fan of Star Trek for a long time.  I used to watch the original series in reruns–sometimes on weekends and, when possible, weekdays–and record episodes.  I remember stumbling upon an occasional episode of the animated series (1973-1975) on cable television in the early 1990s.  I recall when I could count the number of movies on one hand and have fingers left over.  I remember watching The Next Generation (1987-1994) in first run.  I have watched every Star Trek movie and most episodes.  I watched every episode all the way through Voyager (1995-2001).  I abandoned Star Trek:  Enterprise (2001-2005) early in the third season, for I was tired of subjecting myself to that series after two years.
2. Certain Star Trek fans are fanatical to the point of leaving vicious comments online.  I have no use for such behavior.  This is entertainment, not a matter of life and death.  William Shatner’s “Get a life” sketch from Saturday Night Live (1986) rings true for many people.
3. One can find many podcasts and videos regarding Star Trek episodes and movies.  Unfortunately, many of the creators of these media (A) swear enough to embarrass even the most profane sailors, (B) are hyper-critical, to the point of pettiness, and/or (C) speak out of their ignorance.  All of this irritates me.  I respond by ceasing to watch such videos and listen to such podcasts.
4. On the other hand, many reviewers, working in written, audio, and audio-visual media, do speak and write out of their knowledge.  I am especially fond of the reviews at tor.com, for example.
5. My intention in this post is neither to write all that I know regarding four Star Trek:  The Next Generation movies nor to replicate the work of others.  (I know far more about these movies than I have written here.)  No, I plan to be concise and to contextualize these films according to each other.  My most basic standard regarding any of the Star Trek movies is whether I want to place the disc in my Blu-ray player, press the “play” button on the remote control, and watch the movie from beginning to end without skipping any scenes.
6. No work of human beings is perfect, of course, but it can be enjoyable and well-crafted.  I seek to find the good and praise it, imperfect as it might be.

Star Trek:  Generations (1994)

A screen capture

I recall reading Federation (1994), a novel by Judith and Garfield Reeves-Stevens, in which two Enterprises–those of Kirk and Picard–encounter each other.  I acknowledge that this was years ago, so my memories of the plot are sketchy, but I assert without a shadow of a doubt that a movie closer to that novel would have been superior to Star Trek:  Generations.

Next Generation writers Ronald D. Moore and Brannon Braga wrote the screenplay for Generations over a period of a year and a half.  Toward the end of that time they also wrote All Good Things… (1994), the series finale of The Next Generation, in a handful of weeks.  The latter work, they have admitted on their commentary track for Generations, was superior to the former.  Moore and Braga had a difficult assignment, one which came with a studio-issued list of plot elements to include.  Paramount Pictures contributed to the lackluster nature of this movie.  The Nexus, for example, never worked well.  Neither did the death of Captain Kirk.  Furthermore, Kirk and Picard scrambling eggs was an anticlimax.

My main complaint, however, pertains to the destruction of the U.S.S. Enterprise, NCC-1701-D, a capital ship.  The Enterprise-D being vulnerable to an antiquated Klingon Bird of Prey is beyond ridiculous.  But at least we have the scene in which Data, with his emotion chip installed, swears once as the saucer section falls toward Veridian III.  That is entertaining, but the previous scene in which he sings a ditty about scanning for lifeforms is better.

In Dr. Soran we have a villain whose plans do not make sense.  What is to stop him from flying a ship into the Nexus?  Instead he destroys stars and, by extension, solar systems, to alter the course of the Nexus.  I do not emphasize the irrationality of Dr. Soran too much, for I know from history and current events that people are frequently irrational.  I know what has happened, but cannot make logical sense of those events because they are illogical.

All things considered, I have no desire to watch this movie from beginning to end, without skipping scenes.

Star Trek:  First Contact (1996)

A screen capture

Star Trek:  First Contact, the best of the Next Generation movies, according to conventional wisdom, is a film I have difficulty watching.  The movie is too intense for my comfort, due to the Borg, in their silver screen budget incarnation.  They creep me out.  I tend to skip scenes in First Contact, therefore.

First Contact does have its great merits, however.  The black-and-gray uniforms are superior to the immediately preceding uniforms.  Also, the Sovereign Class Enterprise-E is gorgeous.  The characters are in fine form, with Picard having his Captain Ahab phase and Worf being a full Klingon, as when he tells Picard,

If you were any other man, I would kill you where you stand.

I do, however, have a quibble regarding the Borg Queen.  She exists because of a directive from someone at Paramount Pictures.  The Borg are better without a queen, for putting a face on the Collective raises certain difficult questions in universe.  Does she follow the will of the Collective or does she direct it?  And how is it possible that she was on the Borg cube that blew up in The Best of Both Worlds, Part II?

Star Trek:  Insurrection (1998)

A screen capture

I have listened to podcasts and watched video reviews about Star Trek:  Insurrection.  The creators of some of these media have erupted in frustration and frequent profanity.  These have been overreactions.  I have never objected to the fact that some people do not like the film, but I have always insisted that one should express oneself in the style of an adult whose vocabulary is considerably larger than a collection of curse words.

This is my favorite Next Generation movie.  Yes, it feels like a two-parter from the Next Generation series, but it feels like a good two-parter, specifically what Journey’s End (1994), in which Picard presides over the forced relocation of Native Americans, should have been.  In Insurrection Picard occupies what screen writer Michael Piller called “the moral center of the universe.”  Besides, why is the Federation in league with the Son’a, allies of the Dominion (which is trying to conquer the Federation) in the Dominion War?  The answer comes from an earlier draft of the script:  Admiral Dougherty is affiliated with Section 31.

Of all the Next Generation movies, this is the only one I choose to watch from beginning to end, without skipping scenes.

Star Trek:  Nemesis (2002)

A screen capture

Star Trek:  Nemesis, to quote Marina Sirtis, “sucks.”  The best Star Trek stories are character-focused.  In this movie, however, the best character moments are absent from the theatrical cut and are available in the deleted scenes section of the second disc of the set.  Those facts contribute to the poor critical reception of the movie at the time and the disappointing box office results.  This is the movie that, along with Star Trek:  Enterprise, killed the prime universe of Star Trek on screen.

Above:  The Enterprise-E and the Scimitar, after the Enterprise-E rammed the Scimitar

A screen capture

This was, according to the trailer, the final voyage of the Next Generation crew.  Data died, Riker and Troi married and transferred to the U.S.S. Titan, and Crusher left to lead Starfleet Medical.  However, the downloaded memories of Data began to surface in the primitive android B-4 by the end of the movie.  According to Countdown, the comic book prequel to Star Trek (2009), B-4 became Data (Mark II) and the Captain of the Enterprise-E in time.  There might have been subsequent prime universe movies with characters from various series (The Next Generation, Deep Space Nine, and Voyager), but the failure of Nemesis prevented that.

The plot of the movie depends too much on coincidence.  What is the probability that Romulan agents would plot to clone Picard?  What are the odds that the Enterprise-E would detect the disassembled B-4?  And what is the likelihood that Starfleet would send the Enterprise-E to Romulus?

The script of Nemesis, like that of Generations, tackles ponderous themes ambitiously and fails.  The fault does not reside in the purview of the main Next Generation cast.  Patrick Stewart, for example, is so great an actor that he elevates subpar material.  The fault falls upon the writer, John Logan, whose script does not give the characters a proper send off.  Maybe he should take lessons from Nicholas Meyer, co-author of The Undiscovered Country (1991).

I choose not to dwell too much on the illogical plans of Shinzon, the clone of Picard.  Shinzon, for a man who is dying, wastes plenty of time.  Furthermore, why would the destruction of Earth cripple the Federation?  For an explanation of why I am not making more of the irrationality of Shinzon, consult my remarks about Dr. Soran in Generations.

Above:  The Enterprise-E, Undergoing Repairs

A screen capture

Nemesis gives me no satisfaction; I watch only parts of the movie.

Rankings

Ranking these four movies is relatively easy for me:

1. Star Trek:  Insurrection
2. Star Trek:  First Contact
3. Star Trek:  Generations
4. Star Trek:  Nemesis

The original series movies, taken together, are superior to the Next Generation movies, taken together.

My overall rankings of movies I-X are here.

Special Note:  Abramsverse Movies and Contemporary Star Trek 

Nevertheless, the Next Generation movies, taken together, are superior to the Abramsverse reboot movies #1-3, taken together.  (Movie #4 is in development as I write this.)  Of the three Abramsverse films so far, Star Trek Beyond (2016) is the best and Star Trek Into Darkness (2013) is the worst.

Furthermore, the U.S.S. Enterprise, NCC-1701-A, from the end of Star Trek Beyond, is ugly.  I like the Constitution Class refit from the first six Star Trek movies.

I agree with Simon Pegg that prime Spock and Nero entered the past of another parallel universe, not that of the prime universe.  This is obvious to me due to the technology and uniforms.  Besides, the existence of a multiverse in Star Trek has been part of canon since Mirror, Mirror, in the original series.  One might even argue convincingly that Star Trek:  Enterprise occurs in a parallel universe.

Regardless of what CBS/Paramount says, the trailer for Star Trek:  Discovery (2017-) makes the setting of that series look like the Abramsverse.  As Doug Drexler, who knows more about Star Trek than most people, says, Star Trek is a period drama.  A particular era of Star Trek has a certain look.  Why not, therefore, just state plainly that this is an Abramsverse series?

KENNETH RANDOLPH TAYLOR

JUNE 20, 2017 COMMON ERA

Preliminary Statements

Above:  The Starship Enterprise, NCC-1701, from Star Trek:  The Motion Picture (1979)

A Screen Capture

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A few preliminary statements will prove helpful before I get into the meat of this post:

1. I have been a fan of Star Trek for a long time.  I used to watch the original series in reruns–sometimes on weekends and, when possible, weekdays–and record episodes.  I remember stumbling upon an occasional episode of the animated series (1973-1975) on cable television in the early 1990s.  I recall when I could count the number of movies on one hand and have fingers left over.  I remember watching The Next Generation (1987-1994) in first run.  I have watched every Star Trek movie and most episodes.  I watched every episode all the way through Voyager (1995-2001).  I abandoned Star Trek:  Enterprise (2001-2005) early in the third season, for I was tired of subjecting myself to that series after two years.
2. Certain Star Trek fans are fanatical to the point of leaving vicious comments online.  I have no use for such behavior.  This is entertainment, not a matter of life and death.  William Shatner’s “Get a life” sketch from Saturday Night Live (1986) rings true for many people.
3. One can find many podcasts and videos regarding Star Trek episodes and movies.  Unfortunately, many of the creators of these media (A) swear enough to embarrass even the most profane sailors, (B) are hyper-critical, to the point of pettiness, and/or (C) speak out of their ignorance.  All of this irritates me.  I respond by ceasing to watch such videos and listen to such podcasts.
4. On the other hand, many reviewers, working in written, audio, and audio-visual media, do speak and write out of their knowledge.  I am especially fond of the reviews at tor.com, for example.
5. My intention in this post is neither to write all that I know regarding the first six Star Trek movies nor to replicate the work of others.  (I know far more about these movies than I have written here.)  No, I plan to be concise and to contextualize these films according to each other.  My most basic standard regarding any of the Star Trek movies is whether I want to place the disc in my Blu-ray player, press the “play” button on the remote control, and watch the movie from beginning to end without skipping any scenes.
6. No work of human beings is perfect, of course, but it can be enjoyable and well-crafted.  I seek to find the good and praise it, imperfect as it might be.

Star Trek:  The Motion Picture (1979)

A Screen Capture

Star Trek:  The Motion Picture exists in various versions, all of which suffer from the same problems, with their origins in the story itself.  The story, such as it is, is an adaptation of a pilot for a television series Paramount never made.  The movie also overextends the plot and focuses more on special effects than on characters.  The best Star Trek stories have to do with characters.  In this movie, however, characters in pastel pajama-like uniforms gaze at special effects for long periods of time.  Speaking of the story, I like the concise version of it–The Changeling, an episode of the original series.

Nevertheless, The Motion Picture does have its virtues.  The overture, Ilia’s Theme, is gorgeous, the soundtrack by Jerry Goldsmith is majestic, and the Enterprise receives all the respect due such an august vessel.  I enjoy looking at the Enterprise, so I like the sequence in which Kirk, Scotty, and, by extension, the audience members, look at the refit ship’s exterior for six minutes.  This is a movie for people with long attention spans, not individuals with the attention spans of fleas with ADHD.

I rank The Motion Picture near the bottom of the first six Star Trek movies, for, after the ship leaves the orbit of Earth, I start skipping scenes.  To paraphrase George Lucas from a Star Wars documentary from the 1980s, a special effect without a story is boring.

Star Trek II:  The Wrath of Khan (1982)

A Screen Capture

I thrill to play this movie from beginning to end, without interruption.

The Wrath of Khan also exists in various editions.  I prefer the director’s cut, for that version includes nice character moments and background information absent from the theatrical edition.

The Wrath of Khan, the first installment in the accidental trilogy, is a movie I have memorized.  I can anticipate every line of dialogue while watching it.  Also, whenever I listen to the soundtrack, I can visualize the germane scene.  This is my favorite Star Trek film.  It is the favorite Star Trek movie of many people.  It is so popular and influential, in fact, that Paramount Pictures has released remakes and bastardizations of it, namely Star Trek:  Nemesis (2002) and Star Trek Into Darkness (2013), both of which I consider barely watchable.

The stars align in The Wrath of Khan.  Ricardo Montalban is excellent as the poetic and insane Khan, the “majestic maroon” uniforms are wonderful, the theme of aging resonates well, the death of Spock is gut-wrenching, and Admiral Kirk realizes the truth of his statement that

How we deal with death is at least as important as how we deal with life.

I cannot heap enough praise on this film, for its flaws are minor.

Star Trek III:  The Search for Spock (1984)

A screen capture

Leonard Nimoy’s debut as a cinematic director is a wonderful story of self-sacrifice for a friend.  Admiral Kirk and the other heroes from the original series risk their careers and destroy the decommisioned Enterprise to reunite Spock’s body (regenerating on the Genesis Planet) with his katra (resident in Dr. McCoy).

Here is another movie I enjoy watching from beginning to end, without skipping any scenes.  Yes, Star Trek III is not as good as Star Trek II.  Yes, the leisure wear is horrid.  Yes, the chairs on the bridge of the U.S.S. Grissom are pink.  Nevertheless, the Excelsior and Oberth Classes of starships debut in this film.  They, in combination with the Miranda Class (from Star Trek II) add up to three new classes of starships, thereby expanding the Starfleet on-screen.  Furthermore, the enclosed Spacedock makes its first appearance in Star Trek III.

My favorite aspect of Star Trek III is the character work.  Out of friendship Kirk and company make themselves criminals to rescue Spock, who had sacrificed himself to ensure that the Enterprise could escape from the Genesis Wave in Star Trek II.  Star Trek III has plenty of heart.

Star Trek IV:  The Voyage Home (1986)

A screen capture

The Voyage Home, for all of its plot holes and a few pointless scenes, is fun.  I have no difficulty watching it from beginning to end, without skipping scenes.

Much of the appeal of Star Trek IV is the fish-out-of-water plot for our heroes.  Watching Admiral Kirk and company in San Francisco in 1986 is hilarious.  Spock discovers profanity and curses badly, inserting “the hell” awkwardly into sentences.  (“They like you very much, but they are not the hell your whales.”)  Kirk does not know the difference between LSD and LDS.   (“He did too much LDS in the Sixties.”)  Scotty speaks to a computer.  Chekov and Uhura seek “nuclear wessels” during the Cold War.  All of this is fun.

“Home” has a double meaning.  “Home” refers to Earth, which the crew saves from an alien probe with a warped sense of logic.  The probe, having lost contact with humpback whales, proceeds to begin to vaporize oceans.  Huh? (Whales are aquatic lifeforms.) “Home” also refers to the Enterprise-A, presumably the Yorktown (the ship whose chief engineer rigged a solar sail at the beginning of the movie), Kirk’s new command after demotion to the rank of captain.

Kirk’s demotion to Captain makes sense.  In The Motion Picture he seizes command of the newly refit Enterprise awa from Willard Decker, who goes off to merge with V’Ger.  In The Wrath of Khan both Spock and McCoy tell Kirk that he ought to be a starship captain.  Kirk is bored when he is not commanding a starship. His demotion from Admiral to Captain is not a punishment, but a reward.

The Voyage Home‘s financial success is the reason Paramount Pictures greenlit The Next Generation (1987-1994), thereby launching a period of 18 years during which at least one Star Trek series was in production at any given time.  That is a fine legacy.

Star Trek V:  The Final Frontier (1989)

A Screen Capture

I know that The Final Frontier makes plain that the Enterprise-A is a new, poorly constructed ship, but I refuse to consider this movie to be part of Star Trek canon.  The film tramples continuity, makes a mockery of the Enterprise-A (until it ceases to do so, without explanation), and portrays most of our beloved characters in inconsistent and unflattering ways.  How is it that characters who were prepared, in universe, less than a year prior to this movie, to throw away their careers to rescue Spock, betray Kirk so casually in Star Trek V?

This is cinematic excrement with an occasional nice character moment.  But who are these characters?  They are certainly not the Kirk, Spock, McCoy, Uhura, Sulu, Scotty, and Chekov I have come to know via episodes and movies.

“All I ask is a tall ship and a star to steer her by.”–John Masefield

A screen capture

At least the Enterprise-A, being a refit Constitution Class vessel, has graceful lines.  (The refit Constitution Class is my favorite starship design.)  However, the vessel, according to deck plans, has 21 decks, with the Bridge being on Deck A, at the top of the saucer.  In the movie the ship has at least 84 decks.  That is quite an error in the The Final Frontier.

Furthermore, Kirk and crew have been to the center of galaxy.  In The Majicks of Megus-Tu, an episode of the animated series, the Enterprise journeyed to the center of the galaxy, where Kirk and crew met Satan, who seems to have been a horribly misunderstood character, according to the story.  In this movie they just met a disgruntled and imprisoned spirit vulnerable to Klingon weapons.  Both stories were garbage.

Star Trek VI:  The Undiscovered Country (1991)

A screen capture

Star Trek VI gives our heroes a proper send-off, complete with a warmongering Klingon general who quotes Shakespeare, sometimes in, as Chancellor Gorkon puts it, “in the original Klingon.”  Kirk and crew save the day and the life of the President of the United Federation of Planets, but not before events force them to confront their own prejudices first.  Even the best of us harbor nasty prejudices, after all.  The difference between the best of us and the worst of us is that the best of us acknowledge and resist those prejudices.

Change is frequently difficult, even when the change in question is necessary and proper.  In this case the change is the end the Federation-Klingon Cold War, in parallel to the Cold War of the twentieth century.  When we define ourselves according to who our enemies are, the question of how we will define ourselves when our enemies cease to be our enemies becomes a psychologically difficult one.  Some individuals become so frightened of change in Star Trek VI that they conspire to assassinate.

Above:  The Enterprise-A and the Excelsior

Sulu is wonderful as Captain of the Excelsior, a ship he would have commanded since Star Trek III, except for William Shatner’s behind-the-scenes machinations in the 1980s.  I wonder how different certain preceding movies would have been with Sulu aboard the Excelsior.  I am convinced that the supporting characters, such as Sulu, always deserved more to do in the original series and in the first six Star Trek movies.

I have no difficulty watching Star Trek VI from beginning to end, without skipping scenes.

Rankings

As I have pondered these movies again during the last few days, I have changed my mind several times regarding the relative rankings.  I have arrived at the following rankings, from best to worst:

1. Star Trek II:  The Wrath of Khan
2. Star Trek VI:  The Undiscovered Country
3. Star Trek IV:  The Voyage Home
4. Star Trek III:  The Search for Spock
5. Star Trek:  The Motion Picture
6. Star Trek V:  The Final Frontier

Nicholas Meyer directed my two favorite Star Trek movies and partially wrote the top three.  He was a great asset to this series of films, after all, so this ranking has not proven to be accidental.

My overall rankings of movies I-X are here.

Looking Ahead

Next I plan to ponder and rank the four Next Generation movies.

I choose make one point of comparison plain here:  The original series movies were, taken together, superior to the Next Generation films, taken together.

KENNETH RANDOLPH TAYLOR

JUNE 19, 2018 COMMON ERA

Or, What Reinhold Niebuhr Has to Do With Star Trek: Deep Space Nine

Above:  The Confession of Captain Benjamin Sisko in In the Pale Moonlight (1998)

A Screen Capture I Took Via PowerDVD

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So… I lied. I cheated. I bribed men to cover the crimes of other men. I am an accessory to murder. But the most damning thing of all… I think I can live with it. And if I had to do it all over again, I would. Garak was right about one thing, a guilty conscience is a small price to pay for the safety of the Alpha Quadrant. So I will learn to live with it. Because I can live with it. I can live with it… Computer, erase that entire personal log.

–Captain Benjamin Sisko, In the Pale Moonlight (1998)

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Recently I completed my rewatch of Star Trek:  Deep Space Nine (1993-1999), the best of the Star Trek series.  I had recorded most of the episodes from 1993 to 1999, but I had not sat down and watched the series from beginning to end, skipping certain really bad episodes.  DS9 was the last great Star Trek series–certainly heads and shoulders over Voyager (1995-2001) and Enterprise (2001-2005), two series notable for, among other faults, playing it safe and ignoring continuity much of the time.  DS9 did not play it safe, especially after its troubled first season.  The Dominion War arc certainly took the series into dark and morally ambiguous territory, only part of which I consider in this post.

The Neo-Orthodox theologian Reinhold Niebuhr (1892-1971), a Cold War liberal, had a strong moral compass and an awareness of human sinfulness.  He opened The Irony of American History (1952) with a statement of the possibility that the means by which the free world, led by the United States, might have to win the Cold War might leave the victors morally unfit to govern.  The use of atomic weapons would not only endanger civilization, kill many people,  and cause much physical destruction, he wrote, but lead to moral complications for the victors:

The victors would also face the “imperial” problem of using power in global terms but from one particular center of authority, so preponderant and unchallenged that its world rule would almost certainly violate basic standards of justice.

–Page 2

As Commander William Adama stated in Resurrection Ship, Part II (2006), an episode of the reimagined Battlestar Galactica (2003-2008),

It’s not enough to survive; one must be worthy of surviving.

In the story lines of Star Trek:  Deep Space Nine the Dominion War raged for years and endangered the great powers of the Alpha and  Beta Quadrants–the Klingon Empire, the Romulan Star Empire, and the United Federation of Planets.  (Aside:  The scripts tended not to mention the Beta Quadrant, but, according to official Star Trek lore, the Klingon Empire, the Romulan Star Empire, and much of the Federation were in the Beta Quadrant.)  Forces of the Dominion, an empire presided over by the shape-shifting Founders, fought to conquer the Alpha and Beta Quadrants.  The body counts were staggering and the Dominion seemed to be on the verge of victory.  Times were desperate.

In In the Pale Moonlight (1998) Captain Benjamin Sisko, with the approval of the Federation Council, conspired to trick the Romulan Star Empire into abandoning its non-aggression treaty with the Dominion.  The plan was to convince one Romulan senator, Vreenak, that the Dominion was plotting to invade the Romulan Star Empire.  There was no evidence of this, so Sisko, with Federation approval, arranged for the forging of evidence.  Certainly the Dominion would invade the Romulan Star Empire in time, given the nature of the Dominion and the Founders’ sense of superiority to solids.  Furthermore, the Federation needed for the Romulans to enter the war on its side.  Vreenak recognized the forgery as such, but Elim Garak, who hired the forger then killed him or had him killed, planted a bomb on Vreenak’s shuttle craft.  The leadership of the Romulan Star Empire blamed the Dominion for Vreenak’s death and declared war.  The Federation had a new ally.  Sisko admitted his crimes in private and confessed that he could live with his guilty conscience.

As I have pondered this episode and others, all the way through the end of the series, I have realized that, as the writers presented the story of the Dominion War, Sisko was correct; his crimes were necessary.  The Romulans were crucial to the defeat of the Dominion, after all.

In The Maquis, Part II (1994) Sisko analyzed the difficult situation of a group rebels-terrorists succinctly:

On Earth, there is no poverty, no crime, no war. You look out the window of Starfleet Headquarters and you see paradise. Well, it’s easy to be a saint in paradise, but the Maquis do not live in paradise. Out there in the Demilitarized Zone, all the problems haven’t been solved yet. Out there, there are no saints — just people. Angry, scared, determined people who are going to do whatever it takes to survive, whether it meets with Federation approval or not!

However, later, in For the Uniform (1997), Sisko poisoned the atmosphere of  Maquis colony world and prepared to do the same to other Maquis colonies.  A vendetta against one Maquis leader, Michael Eddington, inspired this plan.

Above:  Dr. Julian Bashir Confronts Admiral William Ross in Inter Arma Enim Silent Leges (1999)

A Screen Capture via PowerDVD

Sisko, the greatest of all the Star Trek captains, did not live in paradise, neither was he a saint.  Neither was Admiral William Ross, as in Inter Arma Enim Silent Leges (1999).  In a story reminiscent of The Spy Who Came in From the Cold,  a great Cold War thriller, Admiral Ross plotted with Section 31, the Federation’s black operations agency that officially does not exist, to frame an innocent and  patriotic Romulan senator and thereby improve the political standing of a double agent.  After all, as Ross said in Latin, quoting Cicero,

In time of war the law falls silent.

Later in the series Dr. Julian Bashir, who takes his Hippocratic Oath seriously, learns that Section 31 was responsible for infecting the Founders of the Dominion with a fatal virus–that the Federation was responsible for attempted genocide.  The Federation, as Gene Roddenberry conceived of it in the 1960s, was a noble and idealistic organization.  DS9 did more to expose the dark underbelly of the Federation than did any other filmed incarnation of Star Trek.  DS9 gave us Section 31, for example.  The writers seemed to present Section 31 in such a way as to make plain its moral dubiousness as well as its practical necessity.

Roddenberry’s Federation is an analog for the United States of America, just as the Klingon Empire is an analog for the Soviet Union.  Thus, in Star Trek VI:  The Undiscovered Country (1991) the two powers begin to end their cold war.  Since the Federation stands in for the U.S.A., the moral questions the Federation faces during the Dominion War might remind one of morally questionable policies of the U.S. Government over time, especially in the context of the Cold War and events since September 11, 2001.   Overthrowing democratically elected governments that are merely inconvenient to U.S. business interests and installing military dictatorships that victimize their own citizenry for decades contradicts U.S. ideals, does it not?  Supporting brutal regimes–whether fascist or military dictatorships–because they are not communist should trouble one’s conscience, should it not?  Also, committing and condoning torture makes one morally unfit.  Whom would Jesus torture?  As Niebuhr reminds us down the corridors of time, we must be morally fit, not just victorious.

All of this brings me to a point:  How can we defend ideals that are in peril by violating those ideals?  We cannot, of course.  Yes, we might have to get our hands dirty, so to speak, but, if we get them too dirty, we compromise ourselves morally and render ourselves morally unfit to serve the interests of justice.   How we treat others is about our character, not theirs.  We may not live in paradise, but how close to the standard of sainthood can we live?

KENNETH RANDOLPH TAYLOR

JUNE 17, 2017 COMMON ERA

THE FEAST OF EDITH BOYLE MACALISTER, ENGLISH NOVELIST AND HYMN WRITER

THE FEAST OF SAINT EMILY DE VIALAR, FOUNDER OF THE SISTERS OF SAINT JOSEPH OF THE APPARITION

THE FEAST OF JANE CROSS BELL SIMPSON, SCOTTISH PRESBYTERIAN POET AND HYMN WRITER

THE FEAST OF SAINTS TERESA AND MAFALDA OF PORTUGAL, PRINCESSES, QUEENS, AND NUNS; AND SANCHIA OF PORTUGAL, PRINCESS AND NUN

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https://blogatheologica.wordpress.com/2017/06/17/the-importance-of-being-morally-fit-for-triumph/

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Above:  The Ares Class Starship from Prelude to Axanar

Image Source = link

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The golden age of Star Trek fan films and series, available on YouTube, has ended; CBS/Paramount has exercised its rights under copyright law to neuter the Axanar project, intended to be a feature film.  Axanar will instead be two fifteen-minute-long episodes, consistent with the draconian rules the corporation has established for fan productions.  Prelude to Axanar has become a foretaste of a production that will never come into existence.  With substandard products such as Star Trek:  Voyager (1995-2001), Star Trek:  Enterprise (2001-2005), Star Trek:  Nemesis (2002), and Star Trek Into Darkness (2013), many fan films, despite certain limitations regarding acting,  sets, uniforms, and special effects, are superior, given their better stories.  Star Trek:  New Voyages/Phase II  and Star Trek Continues have proven to be generally enjoyable and watchable series.  I have also enjoyed Starship Farragut and Starship Exeter, among others.  The overlapping Star Trek:  Hidden Frontier, Odyssey, The Helena Chronicles,  and Federation One series, which rely more heavily on green screens than on sets, have also proven fascinating.  I have also become a fan of Star Trek:  Intrepid. Furthermore, I would rather watch Star Trek:  Of Gods and Men than Star Trek (2009).

To the extent that fan productions constitute competition with official productions, that is the case because so many fan productions are superior and more interesting than the corporate productions, which frequently have less creativity than the fan films.  CBS/Paramount ought to learn from fans who make their own films, not impose draconian rules upon them and even sue them.  CBS/Paramount should even hire some of these fans and give them a large budget and creative control.

That will not happen, of course.

KENNETH RANDOLPH TAYLOR

FEBRUARY 24, 2017 COMMON ERA

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