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Star Trek: Enterprise – The Seventh (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This April, we’re doing the second season. Check back daily for the latest review.

The Seventh broadcast in early November 2002.

However, production had wrapped on the episode on the 11th of September, the anniversary of the 9/11 attacks. After the crew finished working on the shoot, they paused to observe a moment of silence in honour of all the lives lost in that attack. That same evening, President George W. Bush would speak about those tragic events in the shadow of the Statue of Liberty. It was a very tense and very delicate political and social climate. There was no distance from the atrocity yet.

Public enemy number one...

Public enemy number one…

In January 2002, the United States public still supported intervention in Afghanistan by an overwhelming majority. In October 2002, a survey by the Pew Research Centre would reveal that most Americans supported the idea of war with Iraq, a war that would launch in March 2003. Patriotism surged. In October 2001, the Patriot Act was enacted. In February 2002, the International Olympic Committee asked the Salt Lake Organising Committee to tone down the patriotism at the opening of the winter games.

This was the climate in which The Seventh was produced, an episode about a rogue Vulcan operative who must be tracked down and apprehended for the greater good.

Snow down!

Snow down!

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Star Trek: Enterprise – Marauders (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This April, we’re doing the second season. Check back daily for the latest review.

Well, it looks like Star Trek: Enterprise used up most (if not all) of its ambition for the second season.

The second season of Enterprise got off to a fairly decent start, Shockwave, Part II notwithstanding. Minefield and Dead Stop weren’t perfect, but they were taking the show in a direction that seemed promising. A Night in Sickbay may have been a pretty serious misfire, but it was still a very ambitious instalment of the series. However, it seemed like that ambition was not to last. The second season of Enterprise becomes fairly conventional from this point out – fairly relaxed and fairly generic.

"We don't like your kind around here..."

“We don’t like your kind around here…”

This is the type of approach that producers will frequently describe as “back to basics.” More cynical commentators might use the phrase “back to the well.” The goal seems to be to offer the audience more of what they’ve had before, to repeat what had worked in earlier episodes in earlier seasons in earlier shows. There’s a creeping sense of familiarity to the whole exercise, as if the writing staff are merely filing the numbers (and character names) off old scripts so that they can be recycled. It is very environmentally friendly.

Marauders starts the trend, offering viewers what amounts to The Magnificent Seven… in space, with Klingons!” It works quite well as a diversion or change of pace. It is significantly less satisfying as a direction for the rest of the season.

"Settlement this!"

“Settlement this!”

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Star Trek: Enterprise – A Night in Sickbay (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This April, we’re doing the second season. Check back daily for the latest review.

A Night in Sickbay may be the most divisive episode of Star Trek: Enterprise ever broadcast.

On the one had, it seems like fans hated the episode with an incredibly passion. The Agony Booth described A Night in Sickbay as “the worst episode of one of the most cringe-worthy shows of the last ten years.” The episode is frequently included in those very popular “worst episodes ever!” polls that the internet loves so much. The only episode that seems more certain to provoke fan vitriol is These Are the Voyages…, the series finalé which has little to say about the actual series.

"I am THIS sorry..."

“I am THIS sorry…”

However, the hatred for A Night in Sickbay is not universal. It was one of two Enterprise episodes to make the shortlist for the 2003 Hugo Award for Best Dramatic Presentation in the “short form” category. More than that, A Night in Sickbay actually polled ahead of the other nominated episode of Enterprise, Carbon Creek. Even in commercial terms, A Night in Sickbay was a success, earning the highest ratings (and share) of the show’s second season.

It seems that A Night in Sickbay exists in a rather strange grey area. It enjoys the support and appreciation of members of the cast and even those outside Star Trek fandom, while it provokes nothing but hatred from hardcore fans. This immediately makes A Night in Sickbay a fascinating watch; any show that can provoke such a polarising response must have some interesting aspects.

Smile!

Smile!

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Star Trek: Enterprise – Dead Stop (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This April, we’re doing the second season. Check back daily for the latest review.

Dead Stop is an interesting beast.

One of the stronger episodes from the second season of Star Trek: Enterprise, Dead Stop follows on directly from the events of the previous episode without serving as a direct continuation. It is very rare to see this approach taken on Star Trek, and it’s the perfect example of the sort of episode-to-episode connections that were lacking during the show’s first two seasons. Dead Stop is not a direct follow-on to Minefield, but it is fascinated with the fallout from that episode.

A model ship...

A model ship…

And yet, despite this, Dead Stop is also based around one of the most generic premises imaginable – a sentient space station with a sinister agenda. With a few choice edits, the premise could easily be adapted for Star Trek: The Next Generation or Star Trek: Voyager. Indeed, it’s not too difficult to imagine Kirk and Spock dealing with the rogue space station at some point during their five year mission. It is a story that could – in broad strokes – even work for a television anthology series.

The beauty of Dead Stop is the way that it blends these two conflicting elements together, to construct a show that feels like it showcases the best parts of Enterprise while working from a core story that could be told across the franchise.

Piecing it together...

Piecing it together…

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Star Trek: Enterprise – Minefield (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This April, we’re doing the second season. Check back daily for the latest review.

Shuttlepod One worked very well in the first season, didn’t it?

The episode was one of the highlights of the first season, received very well by both the cast and fandom. So it makes sense to revisit that basic set-up early in the second season. This time it isn’t Malcolm Reed and Charles Tucker facing death in the cold void of space. Instead, Jonathan Archer and Malcolm Reed find themselves struggling with a mine as a countdown ticks away in the background. Facing all-but-certain death, characters are thrown into conflict with one another. Sparks fly, drama happens.

Let's go outside.

Let’s go outside.

To be fair, Minefield ups the stakes dramatically. It takes the same high-stakes characters-against-the-void drama that made Shuttlepod One such a success and then blends it with Star Trek: First Contact and throws the Romulans into the mix just two months before the release of Star Trek: Nemesis. It is very much a high-concept cocktail of episode, a show with a lot going on and a lot of focus in contrast to the more relaxed pace of something like Carbon Creek.

Minefield does feel a little bit too derivative and like it is promising something that never quite arrives. However, it is built around a very sound structure, makes good use of the special effects available for the show, and gives Scott Bakula and Dominic Keating a chance to play off one another. It offers a lot of promise for the second season, only to be retroactively tainted by the fact that the second season never delivers on any of these promises.

All I need is the air that I breath...

All I need is the air that I breath…

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Star Trek: Enterprise – Carbon Creek (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This April, we’re doing the second season. Check back daily for the latest review.

Although it was the second episode of the season broadcast, Carbon Creek was the first episode of the second season produced.

There are a variety of reasons for this. The fact that it only featured three primary cast members would have meant that everybody else got a little extra vacation time. With a lot of location shooting and a production design outside the Star Trek norm, it likely made sense to get it out of the way first. From a budgeting and production standpoint, the show likely benefited from a bit more time than episodes like Shockwave, Part II or Minefield.

"We come in peace...

“We come in peace…”

However, even outside of these pragmatic production concerns, Carbon Creek helps to set the tone for the second season of Star Trek: Enterprise. It is a largely nostalgic and romantic exercise, a rather light stand-alone episode that feels like it wallows in the iconography and conventions of Star Trek. Indeed, the teleplay is credited to Chris Black, the only new writer to survive the writing staff departures that Mike Sussman jokingly referred to as “purges.”

Black is in many respects the first “native” Enterprise writer – the first writer to last more than a season who had not worked on Star Trek: Voyager. As such, it seems only appropriate that he should set the tone for the season ahead.

Vulcan hustle...

Vulcan hustle…

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Star Trek: Enterprise – Shockwave, Part II (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This April, we’re doing the second season. Check back daily for the latest review.

Shockwave, Part I was one of the stronger episodes of the first season of Star Trek: Enterprise.

Shockwave, Part II is not one of the stronger episodes of the second season of Star Trek: Enterprise.

"Tell me how many seasons we get!"

“Tell me how many seasons we get!”

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Star Trek: Enterprise – Season 1 (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This January, we’re doing the first season. Check back daily for the latest review.

The first season of Star Trek: Enterprise is caught at a crossroads.

On the hand, it needs to be something new and exciting. The first Star Trek show of the new millennium, Enterprise has to find a way of updating the franchise and pushing forward. It has to find a way to challenge audience expectations and demonstrate that – after fourteen consecutive years and twenty-one overlapping seasons – Star Trek still has something fresh and exciting to offer fans. After all, the television landscape had changed significantly since the late eighties. It was time for Star Trek to change with it.

ent-brokenbow3

On the other hand, there’s a clear desire to seek familiar comforts. Star Trek has been on the air consistently for over a decade now. That wouldn’t be the case if the franchise didn’t have its own merits. There’s a sense that the first season of Enterprise is drawn to the idea that it can keep doing what worked before, offering generic Star Trek stories with a new cast and a new theme tune. This is still Star Trek, after all. There’s nothing gained by changing it to the point where it is unrecognisable.

Throughout the first season, these two impulses seem to be at odds with one another, leading to a surreal sense of whiplash. Episodes that feel as unique as Breaking the Ice, Dear Doctor or Shuttlepod One sit alongside generic shows like Civilisation, Sleeping Dogs or Rogue Planet. The show frequently pushes itself in interesting directions, only to pull relent as it approaches the point of committal. The result is a first season that is uneven, but intriguing, one that has great potential – if not necessarily the will to fulfill it.

ent-shockwavepart1m Continue reading

Star Trek: Enterprise – Shockwave, Part I (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This January, we’re doing the first season. Check back daily for the latest review.

Re-watching a television show with the benefit hindsight is a particularly intriguing experience. Knowing that certain plot lines or character threads will or won’t pay off can be a liberating experience. While a disappointing ending to a particular story can undermine a lot of what came before, foreknowledge of the inevitable anticlimax allows the viewer to manage their expectations and temper their enthusiasm. It stops the viewer from getting too involved with threads that lead to dead ends, and heightens appreciations for those that pay dividends.

The Temporal Cold War plot on Star Trek: Enterprise never went anywhere. This is rather obvious in hindsight, given that it has been a decade since the end of the show. However, it’s worth acknowledging that many viewers correctly predicted as much on the initial airing of Broken Bow in late 2001. None of the questions raised will be answered, none of the plot threads will be resolved. It will just sit there, nestled snugly in the heart of this Star Trek spin-off, possibly embodying the show’s unfulfilled potential.

Enterprise isn't quite going to make it to seventh (season) heaven...

Enterprise isn’t quite going to make it to seventh (season) heaven…

While the Temporal Cold War lacks a clear resolution, it does provide the impetus for some pretty good storytelling on its own terms. In many respects, the plot works best when it exists as a driving force in the background of an episode – rather than being pushed to the fore. This is probably why Cold Front and Shockwave, Part I work much better than episodes like Shockwave, Part II – episodes that use the Temporal Cold War as a jumping off point to character work and development, rather than an end of itself.

Shockwave, Part I is notable for ending the first season of Enterprise on a cliffhanger. This was the first time that the opening season of a Star Trek had show had closed on a cliffhanger. The other shows closed out their freshman season with open-ended stand-alone stories, with the last episodes in the first seasons of Star Trek: Deep Space Nine and Star Trek: Voyager emphasising how far their cast had come. In contrast, Shockwave, Part I closes the first year of Enterprise on an honest to goodness “to be continued.” And a good one at that.

Seeking a friend at the end of the world...

Seeking a friend at the end of the world…

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Star Trek: Enterprise – Two Days and Two Nights (Review)

Next year, Star Trek is fifty years old. We have some special stuff planned for that, but – in the meantime – we’re reviewing all of Star Trek: Enterprise this year as something of a prequel to that anniversary. This January, we’re doing the first season. Check back daily for the latest review.

To be fair to Two Days and Two Nights, the episode itself isn’t a bad idea.

The stronger episodes of the first season have been those willing to allow the cast a bit of room to define their characters, luxuriating in the human side of mankind’s first real adventure to the stars. Episodes like Breaking the IceCold Front and Shuttlepod One were all built around character moments and interactions, featuring relaxed plotting that left room for the cast to develop their roles.

"So I'm coolin' at a bar, and I'm lookin' for some action.  But like Mike Jagger said, I can't get no satisfaction."

“So I’m coolin’ at a bar, and I’m lookin’ for some action.
But like Mike Jagger said, I can’t get no satisfaction.”

In theory, Two Days and Two Nights does the same thing. Essentially a “holiday episode”, the show features the senior staff of the Enterprise taking two days of vacation time on the surface of Risa. A series of loosely-connected adventures ensue, following members of the main cast as they try to take a break from it all. No points for guessing that very few members of the crew actually get the relaxing vacation they had hoped for.

The problem is that the plot threads all feel a little tired and awkward, coalescing into a Star Trek comedy episode that simply isn’t funny.

It all falls down...

It all falls down…

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