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Star Trek: Enterprise – The Xindi (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 August, we’re doing the third season. Check back daily for the latest review.

Delivering on change is always more difficult than promising change.

The first block of episodes in the third season of Star Trek: Enterprise struggle with the weight of expectation and the sense that the production team have no real idea of how to manage this sort of storytelling. Rick Berman and Brannon Braga had consulted with Ira Steven Behr towards the end of the second season, suggesting that they wanted to model the storytelling loosely on the blend of episodic and serialised scripting that Behr oversaw on Star Trek: Deep Space Nine. It makes sense, as Deep Space Nine was the only Star Trek series to really engage with that sort of storytelling.

A primate example of the Xindi...

A primate example of the Xindi…

In hindsight, it seems a shame that the writing room on Deep Space Nine was allowed to disintegrate so thoroughly. Ira Steven Behr, Hans Beimler and Rene Echevarria departed immediately following What You Leave Behind. Ronald D. Moore migrated briefly over to Star Trek: Voyager, but quit quite promptly following creative disagreements with former collaborator Brannon Braga. The veteran writers on Enterprise came from Voyager. Brannon Braga, Mike Sussman, Phyllis Strong and André Bormanis were all writers who had come into their own working on Voyager.

Star Trek: Voyager a show that was incredibly episodic and seemed to actively resist serialisation even more than Star Trek: The Next Generation. This is not a reflection on the production team. Braga had lobbied to expand Year of Hell into a year-long story arc during the fourth season, but his proposal had been rejected. Discussing the Xindi arc, Braga has talked about how he wanted to tell a year-long Star Trek story, and it is telling that one of his post-Star Trek writing assignments was on 24.

The ascent...

The ascent…

Nevertheless, it meant that the writers working on Enterprise faced a sharp learning curve when it came to structuring the third season. The experience accumulated during the arc-building on Deep Space Nine was largely lost to the franchise, and a lot of the early part of the third season sees Enterprise making a number of teething mistakes. The early stretch of the third season struggles to pace itself, and it struggles to integrate stand-alone stories with its larger serialised arc.

The Xindi is a prime example of this, an episode that has a wealth of interesting ideas and great concepts, but one that stumbles in the execution.

Pointing the finger...

Pointing the finger…

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Star Trek: Enterprise – The Breach (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.

One of the more interesting aspects of a heightened franchise like Star Trek is the way that invites particular members of staff to define their own voices. On most of the Star Trek shows, it is easy to distinguish the work of particular writers from one another. Ronald D. Moore likes militarism and world-building; Brannon Braga likes time travel and classic science-fiction. There are clear voices that can be distinguished from the choir on each of the shows, for better or for worse.

Although it enjoyed a considerably shorter run than the other Star Trek spin-offs, Star Trek: Enterprise is no exception.  The Breach is a script credited to writers Chris Black and John Shiban. The two had collaborated unofficially on Canamar, a script credited to Shiban alone. The two would work together again on First Flight towards the end of the season. It is certainly a partnership that had considerable potential, if not for Shiban’s departure at the end of the season.

What's up, Doc?

What’s up, Doc?

In many respects, The Breach feels like the product of those two voices. Xenophobia is a major theme of The Breach – as it was in Shiban’s other scripts for the season like Minefield, Dawn or Canamar. Like their last collaboration on Canamar and their future collaboration on First Flight, it seems The Breach presents a more balanced version of Archer than episodes like The Crossing or Horizon. This is a version of Archer who feels compelled to do the right thing, but without the same oppressive self-righteousness that drives his more awkward moments.

However, it seems like Chris Black provides The Breach with its very traditional and old-fashioned Star Trek aesthetic. A veteran of genre television with an understanding of the narrative conventions associated with the franchise, Black understands how Star Trek storytelling is supposed to work. The Breach is perhaps a little too formulaic and traditional in its storytelling, but it does demonstrate that – despite its best efforts – The Crossing had not completely buried a certain optimistic strain of Star Trek ethics.

Into darkness...

Into darkness…

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