If you had said to a Star Trek fan three years ago that the best show of the franchise’s new era would be animated, they would probably have laughed you straight out of the airlock.
Lower Decks completely upended that perception, banishing the ghost at the feast that long was The Animated Series from the early 1970s, a kitsch and dated reworking of The Original Series. Mike McMahan’s series combined occasionally raunchy, modern adult comedy with a loving and kind reverence for 1990s era Trek that has grown in confidence, humour and stature over two seasons. It has established animation as a key string to modern Trek’s bow in a way few expected.
Star Trek: Prodigy is expressly designed to carry the torch forward and, in many respects, the pressure and expectations are different. Many fans knew what to expect from McMahan, given his comic pedigree on the TNG S8 Twitter feed and later writing experience with Rick & Morty; he was a known entity who did largely what people expected of him with Lower Decks, but brother team of writer/showrunners Kevin & Dan Hagerman are, to an extent, an unknown quantity.
On the basis of the two-part pilot, Lost and Found, they have gone straight for the comic adventure jugular, crafting an effective and beautifully animated origin story for the nascent crew of the U.S.S. Protostar.
As Star Wars and Marvel announce their future plans, A. J. Black discusses the phenomenon of milking the biggest franchises in the world for all they’re worth…
Franchise cinema, let’s be honest, can be thrilling. It can transform movie experiences from solitary pursuits to collective endeavours.
In an age of deeply fractured politics and cultural conflicts happening across nation states, there is comfort in how Captain America taking on Thanos only for the entire MCU to ride in and support him galvanised everyone operating in that shared cinematic space to cheer in collective joy, no matter what your political or cultural persuasion. Many felt the same when Rey and Kylo Ren turned the Emperor’s fire back on him (though I’d argue this was a far diminished return than the Marvel example…). Denigrators of franchise filmmaking, of fandoms indulging in shared universes, miss this aspect – the collectivisation of a text which binds fans together.
It is often toxic, but it is equally as often magnetic and joyful.
There is, however, a limit to the reach and scope of such franchise endeavours for those, like me, who skirt the edges of fandom.
Marvel and Star Wars—both of whom Disney just announced a huge slate of projects for over the next few years—are not the worlds I personally am most invested in. My fandom interests lie elsewhere but even then, I am not a consumer who digests only Star Trek or only James Bond. Fandoms are frequently incredible communities filled with people who live and breathe the properties they love, and this is to be—sans the aforementioned toxicity—encouraged. Friendships are born. Partnerships are made. Respect can be mutual. I have seen these things happen. I have, in my own way, experienced them myself.
As Star Trek: Picard begins, with the return of The Next Generation era, I’m going to take a scene by scene look back in the next couple of months about the tenth Star Trek film, Stuart Baird’s Nemesis, from 2002…
It almost seemed a direct, deliberate counterpoint to the stripped back, low-fi prequel aspect to Star Trek: Enterprise, the dune buggy in Star Trek: Nemesis. Captain Jonathan Archer barely had room for a dog, let alone an indulgent race car, not to mention a personal Captain’s yacht, which we saw in previous film Star Trek: Insurrection.
Enterprise was in its second season when Nemesis premiered in cinemas and was by then flying the flag for Star Trek on television, and was in a diametric position to the crew of the Enterprise-E. If Nemesis in 2379 represented, at that point, the top end of the timeline, Enterprise was positioned over 200 years earlier at the other – the beginning. Captain Jean-Luc Picard’s two Enterprise’s were galactic, diplomatic cruise ships. Archer’s was a submarine in space. In Enterprise, androids were centuries away and Romulans were enigmatic to the point no human had ever seen their face. In Nemesis, B-4 represents how central the idea of synthetic life has become to 24th century Star Trek, a factor which will heavily influence and continue in Star Trek: Picard beyond this. This is a film which opens Romulus and it’s people up, more directly, than any Star Trek story in history.
The existence of the Argo is the most potent example of how Nemesis strives to fuse together The Next Generation-era’s futurism with the near future modern aesthetic of Enterprise. Star Trek historically replaces the motorised vehicle with the shuttle or hover vehicle, a symbol of Trek’s utopian future, but Picard seems gleeful at the opportunity to test drive a ground based car with wheels and an engine – though no doubt one powered with some kind of fossil fuel free zero point energy or such. “I will always be puzzled by the human predilection for piloting vehicles at unsafe velocities” Data remarks, an acute observation for the fact Picard has never historically appeared to be a ‘petrol-head’ interested in vehicles like this. You believed it when child Kirk stole his stepdad’s Chevy at the beginning of Star Trek 2009 for the thrills. It’s less in character for a measured Captain such as Picard.
It perhaps further establishes how Nemesis, and particularly the two films before them, provide a clear delineation between ‘TV Picard’ and ‘Movie Picard’, while at the same time nudging Star Trek—at the end of the 90’s era of the franchise—toward the retro-futurism the franchise would employ once it reboots itself.
A couple of months ago, I pontificated on whether the pursuit of nostalgia was a good thing for my second favourite entertainment franchise, Star Trek, in the wake of rumours that Sir Patrick Stewart may well be reprising his iconic role as The Next Generation’s Captain Jean-Luc Picard. This weekend, at the Star Trek Las Vegas fan event, those rumours became reality. The second captain of the U.S.S. Enterprise is, officially, on his way back.
What does this mean, now, for the future of Star Trek?