TV, Writing

First Impressions – STAR TREK: PRODIGY – ‘Lost and Found’

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.

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Star Trek: Lower Decks, TV, Writing

TV Review: STAR TREK: LOWER DECKS (Season 1)

Conventional wisdom, ever since the very first Star Trek series in the 1960s, suggests that new shows take three seasons to find themselves. Lower Decks is now the first new Star Trek show to bust that myth.
The Next Generation only stopped trying to be The Original Series, and levered itself into the 1990s under Michael Piller while balancing a measured tone with space bound escapism, after two profoundly awkward seasons that have dated far more readily than the 1960s show. Deep Space Nine emerged from a staid chrysalis two seasons in once Ira Steven Behr engaged serialised storytelling alongside pulp adventure. Voyager, by its third year, tried to combine ongoing story arcs with recurring villains and a more consistent balance of episodes. Enterprise galvanised itself under Manny Coto after two lacklustre seasons, even if it was too little too late despite widespread and exciting changes. We will soon know if Discovery, under Michelle Paradise, has pulled the same trick – but the omens look good.

What do all of these examples have in common? By and large, a strong creative force at the helm at the point these shows found their feet. Voyager’s best years were arguably when Brannon Braga was heavily trying to shape the series, even if it lacks the same powerful creative as DS9 or ENT. Mike McMahan is that force but, and here’s the difference, he’s been around since day one. Lower Decks is very much his baby, to a degree previously unheard of in Star Trek. We might need to track back to Lower Decks’ chief inspiration, The Next Generation, to find a show which was so deeply tethered from the beginning to series creator Gene Roddenberry, and even then its success is attributable to many different cooks stirring the broth. Lower Decks is McMahan’s vision and you feel that from the very beginning.
There is little doubt the resulting show is an acquired taste but this sojourn into sweet-natured comedy is hugely faithful to Star Trek lore, imbued with a love of the subject matter, and hits the ground running without the identity crisis every Star Trek series that has preceded it faced.
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Film, Scene by Scene, Star Trek II: The Wrath of Khan

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt XI – ‘Live Long and Prosper’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

Given how powerfully The Wrath of Khan ends, it is easy to miss the beauty in it, certainly in terms of how perfectly it caps off a character journey for Admiral James T. Kirk that we’ve witnessed almost from minute one. It may be Spock who dies in The Wrath of Khan, but the film unquestionably throughout is about Kirk.

It is also hard to overestimate how much of a shock Spock’s death might have been at the time. Characters like Spock didn’t die. You didn’t kill off someone like Leonard Nimoy. Star Trek had emerged from an era of largely safe, colourful, now even kitsch television in which America reflected its aspirational virtues for the post-war future in the 1960’s in heroes. Kirk. Bruce Wayne. Jim Phelps. Cinema had James Bond or Matt Helm. Morally flawed or compromised at times they might have been, but they were designed to save us from the hopeless devastation a generation had lived through. Star Trek’s heroes would fight battles, defeat foes, explore new worlds, but they would always at the end finish on TV with a little joke or the acknowledgement that they’ll be back next week for another adventure.

Even The Motion Picture, which tones down the colour and comedy of The Original Series to depict a post-Watergate, late-1970’s cooler vision of Starfleet’s future, saw Admiral Kirk and the Enterprise—with Spock having regained his purpose as a Starfleet officer—warp away toward a sequel. The human adventure, after all, was just beginning. Nicholas Meyer’s sequel is an incredibly humanistic film but it acknowledges that with humanity, with hope, has to come the balance of pain, and of sacrifice. While Kirk’s arc of spiritual rebirth has a resolutely Christian bent, Spock giving his life to save the Enterprise makes him the Christ figure who saves the crew from Khan’s defeated Devil. Kirk’s first best destiny is to lead, is to find his way back to himself, and to do that he must lose someone he takes for granted for much of The Wrath of Khan. His anchor. His best friend.

To even contemplate such a remarkable ending to a story like this proves just how special The Wrath of Khan is. That ending of Avengers: Endgame? It wouldn’t exist without what The Wrath of Khan dared to try.

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Film, Reviews

Film Retrospective: STAR TREK: THE MOTION PICTURE (1979)

In many respects, Star Trek: The Motion Picture signifies the purest, truest form of what Star Trek is.

How often have you asked that question, as a fan or not – what is Star Trek? The answer may be different when considering the movies over the last, almost forty years, and the fifty-year history of the multiple television shows. It’s a question we are asking once again now with new TV series Star Trek: Discovery, and it’s an answer different to a great many people.

Is it about our exploration of the universe? It is about our innate humanity and how it relates to the future, to technology, or to our place in the cosmos? Is it about comradeship, friendship, or the bond of a crew in the face of the unknown? Or is it, as the mantra from Spock over the opening titles of the iconic 1960’s series states, about strange new worlds, and boldly going where no man has gone before? 

I can only tell you what Star Trek means to me, and how The Motion Picture embodies many of the above questions in the answers it delivers.

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