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Star Trek: Enterprise – Strange New World (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.

Strange New World is the first episode of Star Trek: Enterprise to come from a writing team other than Brannon Braga and Rick Berman. Berman and Braga would dominate the writing credits for the first season. Even when the final teleplay was credited to another writer or writing team, there was often a “story by” credit given to Berman and Braga. Braga himself has conceded that he essentially re-wrote all of the episodes of the first season.

Still, Strange New World is credited to the writing team of Mike Sussman and Phyllis Strong. Both had worked on Star Trek: Voyager before migrated to Star Trek: Enterprise along with André Bormanis. Sussman had pitched the story for Meld and worked on a number of solo stories and scripts before teaming with Strong on the seventh and final season of the show. The two would remain a writing team for the first two seasons of Star Trek: Enterprise, hitting their stride with some of the strongest episodes of the troubled second season.

Picture perfect...

Picture perfect…

Strange New World is an interesting début for the pair. On the hand, it is a story that celebrates the unique place of Star Trek: Enterprise in the Star Trek pantheon. It’s a story about how great it must be to set foot on an alien planet, and how wondrous it must be to breath air from outside our atmosphere. With its emphasis on shuttlepods and primitive transporters, it does remain relatively true to the prequel premise of Enterprise.

On the other hand, Strange New World is a very familiar Star Trek template. Indeed, it’s a very familiar first season template. It’s the episode where the crew of the ship are exposed to some strange outside force that makes them all act out of character. It’s something of a Star Trek standard. The original Star Trek had The Naked Time and Star Trek: The Next Generation had The Naked Now, while Star Trek: Deep Space Nine had both Babel and Dramatis Personae. In many ways, Strange New World feels like a familiar old story.

Strange yellow daisy fields forever...

Strange yellow daisy fields forever…

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Star Trek – The Immunity Syndrome (Review)

The first Star Trek pilot, The Cage, was produced in 1964. To celebrate its fiftieth anniversary, this December we are reviewing the second season of the original Star Trek show. You can check out our first season reviews here. Check back daily for the latest review.

The Immunity Syndrome is an underrated masterpiece, the first genuine classic overseen by producer John Meredyth Lucas.

It is bold, brilliant and more than a little bit weird. This is Star Trek as pure sixties science-fiction. It is a psychedelic ecological tale focused on mankind’s place in the larger universe. It doesn’t just pit the Enterprise against a giant space amoeba, it suggests that the universe itself is a singular gigantic organism, a complex system in which the Enterprise is just one part. The Immunity Syndrome is weird and wonderful, eerie and beautiful in equal measure. It is one of Star Trek‘s most effective encapsulations of the sixties.

Freak out!

Freak out!

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Star Trek – Wolf in the Fold (Review)

The first Star Trek pilot, The Cage, was produced in 1964. To celebrate its fiftieth anniversary, this December we are reviewing the second season of the original Star Trek show. You can check out our first season reviews here. Check back daily for the latest review.

Wolf in the Fold is Robert Bloch’s third and final contribution to Star Trek.

In keeping with What Are Little Girls Made Of? and Catspaw, the result is intriguing, bizarre and more than a little bit dysfunctional. More than any of the other writers drafted in to write for the science fiction show, Bloch’s fingerprints remain all over his script. Writers like Gene L. Coon and D.C. Fontana generally do a good job reconciling the work of science-fiction writers like Ray Bradbury, Theodore Sturgeon, Norman Spinrad or Harlan Ellison to make their stories fit within the frame work of Star Trek. However, even after re-writes, Bloch’s voice remains his own.

Knife to see you...

Knife to see you…

Of course, it’s quite clear that Wolf in the Fold has been through the standard re-write process. The script is a mess, struggling to tie together two basic plots (Scotty is accused of murder; the Enterprise is possessed by Jack the Ripper) in ways that don’t always work. There’s a really long and awkward expositional scene in the middle of the episode that consists primarily of Majel Barrett reading off weird-sounding words in order to assure viewers that Jack the Ripper really could be an immortal hate-fueled killing machine, given the rules of the Star Trek universe.

The are very serious problems with Wolf in the Fold. On a storytelling level, the pacing is a mess and the tone is all over the place. Bloch’s scripts continue to be even more problematic than usual when it comes to issue of gender – “Star Trek does slasher horror” is as borderline misogynistic as you might fear. However, there is something endearingly bizarre about the whole thing, as Bloch once again forces Kirk and his crew to confront an irrational universe that doesn’t necessarily conform to their understanding of it.

Flame on...

Flame on…

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