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Star Trek: Enterprise – Babel One (Review)

This May, we’re taking a look at the fourth (and final) season of Star Trek: Enterprise. Check back daily for the latest review.

It seems entirely appropriate that the United trilogy sits in the middle of the fourth season.

The three-parter is not the strongest of the season’s multi-episode epics, abandoning the clean three-act structure that made the Kir’Shara trilogy so successful in favour of a disjointed two-parter-and-coda format that prevents the story from feeling as cohesive as it might. It jolts and starts, never really finding the proper flow for the story that it wants to tell. There is a sense that the production team’s desire to do both a “birth of the Federation” story and a “visit to Andoria” story within the same three-part narrative ultimately hinders the storytelling.

"What do you mean I'm not in the third part?!"

“What do you mean I’m not in the third part?!”

However, there is something satisfying in watching Star Trek: Enterprise commit to the idea of the birth of the Federation. It could be argued that this is an example of the fourth season’s continuity pandering, but the Federation is far more fundamental to the fabric of the franchise than something like Klingon foreheads or that ghost ship from that third season episode. If Enterprise is to be a prequel, it should devote some attention to building the fabric of the shared universe. The Federation is an essential part of the idealistic future of Star Trek.

However, the most compelling aspect of the United has nothing to do with continuity and history. Instead, it is simply reassuring to see Enterprise embracing the franchise’s utopianism and hope for the future, particularly in the context of January 2004.

Shran, Shran, he's our Andorian...

Shran, Shran, he’s our Andorian…

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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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