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Star Trek: Voyager – Drive (Review)

Star Trek: Voyager has always had a pulpy sensibility, perhaps more than any other Star Trek series outside of the original.

There is something very retrograde about Voyager, something that harkens back to the plotting of old B-movies. The Communist paranoia of Cathexis or In the Flesh, the goofy science-fiction high-concepts of The 37s or Innocence or Tuvix or Rise or Macrocosm, the monster movie stylings of Threshold, the exaggerated campy horror aesthetic of Darkling or Revulsion or Alice. Even older science-fiction staples like the body-swap episodes Vis á Vis, Body and Soul or Renaissance Man. There is a reason why Voyager felt so comfortable doing an episode like Bride of Chaotica!

Photo finish.

With all of that in mind, Drive seems lie a perfect fit for Voyager. It is admittedly an absurd premise, a story about a racing tournament organised by four alien species as a testament to the fragile peace that they have built. Inevitably, Paris gets involved with the Delta Flyer. Inevitably, the crew uncover a wave of shady double-dealing that involves sabotage, attempted murder and terrorism as part of a plot to destabilise the entire region. It is completely and utterly ridiculous, feeling like the kind of low-budget trash that an audience member might stumble across flicking through the channels very early one weekday morning.

And yet, there’s a certain charm to it. Drive is a deeply flawed episode, with all manner of serious plotting and character issues. However, there’s also a sense that the production team are enjoying themselves. At a point when so much of Voyager feels like it is going through the motions, there is a certain appeal in a piece of pulpy entertainment that relishes its own existence.

The event wasn’t marr(i)ed.

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Star Trek: Voyager – Season 6 (Review)

The sixth season of Star Trek: Voyager was not an easy season, by any measure.

Star Trek: Deep Space Nine had come to an end during the previous television season. Paramount had made a conscious decision not to launch a new Star Trek television series to fill the gap on the airwaves. This was a rather ominous decision. When Star Trek: The Next Generation had finally wound down in the mid-nineties, Paramount had committed to having two different spin-offs on the air at the same time and springboarding the cast and crew on to the big screen with Star Trek: Generations less than a half a year later.

In contrast, the silence following the end of Deep Space Nine was deafening. Following the critical and commercial disappointment of Star Trek: Insurrection, it would be four years before the Next Generation cast returned to the big screen in Star Trek: Nemesis. At the same time, there was increasing concern about declining ratings for the larger Star Trek franchise in both the fan and mainstream press. Although there were already plans in place for the series that would become Star Trek: Enterprise, it was decided that no new series would premiere before Voyager ended.

Voyager had never been more alone than it was during its sixth season.

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Star Trek: Voyager – Unimatrix Zero, Part I (Review)

Once again, Star Trek: Voyager takes its cues from Star Trek: The Next Generation.

The Next Generation bridged its sixth and seventh seasons with Descent, Part I and Descent, Part II. That season-bridging two-parter was focused on discord within the Borg Collective, with the crew coming into contact with a group of drones that had separated themselves from the hive mind. It was a somewhat underwhelming two-parter, and is unlikely to rank alongside anybody’s favourite episodes (or even favourite two-parter) from the run of The Next Generation.

Things come to a head.

Even then, Descent, Part I and Descent, Part II had a lot of weight behind them. Glossing over the quality of the episodes themselves, they marked the big reintroduction of the Borg into The Next Generation following their appearance in The Best of Both Worlds, Part I and The Best of Both Worlds, Part II. The only episode to feature the Borg in the three years between those two-parters was I, Borg, meaning that the return of the Borg at the end of the sixth season of The Next Generation was a big deal.

As such, this seems like a strange cue for Voyager to take from The Next Generation. After all, Voyager doesn’t have that same luxury of built-in anticipation. Voyager bridged its own third and fourth seasons with Scorpion, Part I and Scorpion, Part II, but the Borg have been a steady fixture of the series since then. Ignoring the addition of characters like Seven of Nine and Icheb to the core cast, the Borg have played important roles in episodes like Hope and Fear, Drone, Dark Frontier, Part I, Dark Frontier, Part II, Collective and Child’s Play.

Picking their brains.

That is a lot of focus, particularly in the context of a television series like Voyager, where there is less continuity from episode to episode. Including hallucinations, dead bodies, screen images and holograms, the Borg appear in twenty-three episodes of Voyager, as compared to six episodes of The Next Generation. By way of contrast, the Hirogen appear in between nine and ten episodes, depending on how one counts Flesh and Blood, Part I and Flesh and Blood, Part II. The Malon only appear in four episodes.

All of this is to say that Unimatrix Zero, Part I and Unimatrix Zero, Part II feel like a rather blatant rip-off of an already underwhelming two-parter, but without the core appeal. Voyager has reached the point where the appearance of the Borg is a source of dread, but not for the reasons that it should be.

She’s had some bodywork done.

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Star Trek: Voyager – The Haunting of Deck Twelve (Review)

It seems strange that Neelix was not a larger part of Star Trek: Voyager.

To be fair, Neelix never disappeared into the ensemble to the same degree as characters like Chakotay, Kim and Tuvok. However, the series often struggled with how best to approach the character and how to make him work. It is notable that the production team went to the effort of writing Neelix off the show shortly before the seventh season finale, sending him to live with a colony of (very far from home) Talaxians in Homestead and consigning him to a cameo in Endgame. The character was often just there, his role hazy and undefined.

A Briefing With Death!
Errr, I mean, Neelix.

Of course, there were reasons for this. Neelix had been drafted on to the crew as an expert on the Delta Quadrant in Caretaker, and it made sense that this role would become increasingly redundant as time went on. By Fair Trade, Neelix was largely redundant, his knowledge exhausted. More than that, the early seasons of Voyager anchored Neelix’s character development to an abusive relationship with two-year-old. The toxicity of Neelix’s relationship with Kes in episodes like PhageTwisted and Parturition made it hard to invest in Neelix as a character worthy of attention or effort.

However, across the seven seasons of Voyager, there is a strange sense that Neelix is perhaps the single character most perfectly adapted to Voyager. He is the character who has developed in the direction that is perhaps most compatible with what Voyager has become, both in how it tells its stories and what it uses those stories to talk about. More than any other character on Voyager, Neelix is the character with the deepest roots in Delta Quadrant history and the character who is most firmly committed to oral traditions of storytelling, both recurring motifs within Voyager.

Smoke and mirrors.

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Star Trek: Voyager – Fury (Review)

Normally, the return of an old cast member to an established show is a cause for celebration, akin to a belated family reunion.

The obvious examples involve the appearances of cast members from other shows on later spin-offs. Think of the reverence and sincerity with which Star Trek: The Next Generation treated Spock and Scotty in episodes like Unification, Part I, Unification, Part II and Relics. Think about the delight with which Star Trek: Voyager greeted Geordi LaForge in Timeless or Deanna Troi in Pathfinder. Even when Star Trek: Deep Space Nine subverted expectations with Jonathan Frakes’ appearance in Defiant, it was still joyful. If anything, Star Trek: Enterprise went too far in accommodating Troi and Riker in These Are the Voyages…

Self-control.

Even within individual shows, the return of long-absent cast members is often treated as an opportunity to celebrate that character, and perhaps even to acknowledge past missteps involving them. Yesterday’s Enterprise brought back the character of Tasha Yar, and used the opportunity to rewrite her mean-spirited and pointless death in Skin of Evil. When mirror!Bareil visited in Resurrection, the episode became a meditation upon how the character’s intrinsic decency was strong enough to transcend dimensions and to define even the worst version of himself.

This approach to the return of established characters makes a great deal of sense for a wide variety of reasons. Most obviously, the production team have gone out of their way to recruit these actors for this specific purpose; it makes sense that these episodes should serve as a celebration of their contributions to the franchise. Even beyond that, it is safe to say that almost any lead character on a Star Trek series has something resembling a fan base; think about the ominously-named “Friends of Vedek Bareil.” Why bring back a character, and attract in those fans, just to do something horrific?

That healthy blue glow.

All of this serves to make Fury all the more perplexing. Fury is an episode of Voyager that effectively resurrects the character of Kes, a regular on the first three seasons of Voyager who departed the series in The Gift at the start of the fourth season. The return of Kes is a strange choice, in large part because the production team often struggled with what to do with the character while she was part of the core cast. Still, there are any number of interesting possibilities. And there is the possibility that, like Yesterday’s Enterprise or Resurrection, the production team might use the occasion to say something interesting about Kes.

Unfortunately, Fury is a spectacular mess of an episode with half-developed character motivations and a highly surreal premise that undercuts a lot of the appeal of bringing Kes back in the first place.

Having its cake and eating it too.

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Star Trek: Voyager – Muse (Review)

In its own way, Muse marks the end of an era for Star Trek: Voyager, as Joe Menosky’s last solo script for the series.

To be fair, this is not Menosky’s last script credit on the series. Menosky would collaborate with Brannon Braga on the season-bridging two-parter Unimatrix Zero, Part I and Unimatrix Zero, Part II. In fact, those episodes have themes that play directly into Menosky’s interests; the two-parter is a story about dreams and narratives, about worlds that exist beyond the literal and the concrete. More than that, Menosky would work on the writing staff of Star Trek: Discovery, contributing the script to Lethe, one of the season’s stand-out episodes that was also about narratives – albeit internalised ones.

Dropping the mask.

However, Muse still feels like it marks the end of an era. Menosky had been a fixture of the Berman era of Star Trek dating back to the fourth season of Star Trek: The Next Generation, making his debut with Legacy and arguably making his biggest impression with Darmok early the following season. Menosky’s involvement with the franchise ebbed and flowed in the intervening years, but his influence was often felt. Indeed, Menosky even contributed a handful of scripts and stories to Star Trek: Deep Space Nine, including the teleplay for the underrated Dramatis Personae.

With Menosky’s departure from Voyager at the end of the sixth season, Brannon Braga would become the longest-serving writer working on the Star Trek franchise. His tenure on the television franchise would surpass that of Ronald D. Moore, and of any writer who hadn’t spanned the gap from the end of the original Star Trek to the early seasons of The Next Generation, with the arguable exception of producer Rick Berman. As such, Muse feels very much like the end of an era. It marks the departure of one of the guiding light of the Star Trek franchise, albeit one often overlooked or ignored.

Storyteller.

Muse is an episode that speaks to Menosky’s key interests within the Star Trek franchise, the idea of Star Trek as something akin to a modern mythology. More than any other writer on Star Trek, Menosky is invested in stories that are fundamentally about stories. His influence on Voyager is more subtle than that of Michael Piller, Jeri Taylor or Brannon Braga, but can felt in the recurring idea that Voyager itself is a Delta Quadrant myth. More than any of the other Star Trek series, Voyager feels like it is a story about a collection of archetypes rather than characters.

Menosky first articulated this idea in the closing scene of his otherwise forgettable script for False Profits, but reinforced it in episodes like Distant Origin, Living Witness and Blink of an Eye. It could reasonably be argued that this idea became part of the show’s identity, to the point that it can even be traced through episodes not explicitly credited to Menosky, like Live Fast and Prosper. It seems appropriate that this idea should serve as the central theme of Muse, an episode that might be read as a thesis statement on Menosky’s approach to the franchise.

Acting out.

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Star Trek: Voyager – Live Fast and Prosper (Review)

Live Fast and Prosper is a reasonably adequate mid-tier episode of Star Trek: Voyager.

It is not awful. It has an interesting premise, with some interesting potential for development and exploration. It fits with some of the larger fascinations of Voyager – in particularly recurring themes of identity and narrative, and the intersection of the two. More than that, unlike a lot of Voyager episodes, it has a story that feels somewhat original. This is not a dull rehash of a familiar story, a shiny new exterior hastily assembled over a familiar storytelling engine.

“Get this… whatever it is… to Sickbay!”

At the same time, it is also not very good of itself. Although Live Fast and Prosper has an absolutely ingenious premise, it never seems to push itself beyond that point. It never makes the leap that the best stories make, from an interesting premise into a satisfying execution. Live Fast and Prosper is pretty much exactly the episode that every audience member would anticipate given the one-line plot description of “Voyager encounters a group of con artists who have been impersonating them for shady business deals.”

The result is an hour of television that is solid, if not impressive. Live Fast and Prosper feels like a middling delivery on a fantastic promise, to the point where its status as merely adequate is almost as severe a disappointment as some of the spectacular misfires around it.

Unfamiliar faces…

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