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Star Trek: Enterprise – The Expanse (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.

And, finally, everything changes.

It feels inevitable. Maybe not in this particular form, maybe not in this particular way, but Star Trek: Enterprise needed something. The show needed to stop feeling like a relic of the early nineties – a great song played on loop to the point where it became nothing more than generic white noise. The Expanse gives the show a clear sense of direction and a clear sense of purpose. It is not a direction that is unanimously loved, and it is not a purpose that is realised as well as it might be, but it finally feels like Enterprise is boldly going in its own direction.

A walk among the wreckage...

A walk among the ruins…

In many respects, the obvious point of comparison for The Expanse is an episode like The Jem’Hadar or A Call to Arms. It is an episode that is clearly written to reach an ending so that the show can start doing something new. These episodes tend to tease a brave new future, one utterly unlike anything that Star Trek has done before, but they play like extended forty-five minute trailers. Watching The Expanse, it feels like show runners Rick Berman and Brannon Braga are thinking more about the direction than the destination. That’s not a bad thing at this point.

Polarising as it might be, and occasionally awkward as it might be, The Expanse was utterly necessary. Enterprise is a Star Trek show that exists in the shadow of 9/11. That horrific terrorist attack has reverberated throughout the series. The War on Terror informs and distorts narratives like Shadows of P’Jem, ShockwaveThe SeventhCease FireThe CrossingJudgmentRegeneration and Cogenitor. However, there is a sense that Enterprise never accepted that heavy pull of gravity.

Homecoming...

Homecoming…

Sometimes it worked; Judgment, Regeneration and Cogenitor are all examples of the series trying to apply its own morality to a more complicated and confusing geopolitical climate. However, the War on Terror made it hard to reconcile Jonathan Archer as both an explorer and a paranoid reactionary. The unquestioning trust in authority in The Seventh, to the point where he did not question the Vulcan High Command’s mindwipe of T’Pol? The all-consuming dread upon meeting something different in The Crossing? These do not fit well within Star Trek.

So The Expanse pushes all that to the front. The opening teaser features a strange alien ship appearing and carving a large scar in the surface of the planet – a very visual representation of the damage done to the utopian optimism of Star Trek. Now that the scar had been literalised, it could be discussed and explored. The Expanse made sure that nobody was talking around the elephant in the room; everybody was now charging right at it.

The way ahead is cloudy...

The way ahead is cloudy…

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