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Star Trek: Enterprise – Oasis (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.

Oasis is an interesting story.

It was also an interesting story that time it was produced as Shadowplay during the second season of Star Trek: Deep Space Nine.

Ghosts of Star Trek's past...

Ghosts of Star Trek’s past…

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Star Trek: Enterprise – Rogue Planet (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.

And with Rogue Planet, Star Trek: Enterprise wanders back into “generic Star Trek territory.

Rogue Planet is a story that could easily have been told on any other Star Trek spin-off. Indeed, a great deal of its story elements feel inherited like hand-me-down clothes. Hunters chasing sentient game is a stock science-fiction trope, but it is one that the franchise has explored quite frequently. The first season of Star Trek: Deep Space Nine gave us Captive Pursuit, another story about our heroes interfering in the hunt of a self-aware life form. The fourth season of Star Trek: Voyager introduced the Hirogen, a bunch of big-game hunters that put the Eska hunters to shame.

In fairness, wearing a glowing green eye patch on a pitch black planet probably isn't the best strategy...

In fairness, wearing a glowing green eye patch on a pitch black planet probably isn’t the best strategy…

Indeed, it hasn’t even been that long since Star Trek did an episode about hunters pursuing sentient prey. The final season of Voyager had produced Flesh and Blood, a gigantic feature-length television movie around the Hirogen and their pursuit of holograms that had developed self-awareness despite not meeting the more obvious criteria for sentience. This isn’t Enterprise retreading old ground; this is Enterprise retread ground that hosted a big song and dance less than fifteen months earlier. As with Civilisation and Sleeping Dogs before it, Rogue Planet has a definite “been there and done that” feeling to it.

That’s a shame, because there are a host of interesting elements here. They just are pushed into the back seat for a stock science-fiction plot.

Oh, Trip, have some respect!

Oh, Trip, have some respect!

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Star Trek: Enterprise – Shuttlepod One (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.

Shuttlepod One is the best episode of the first season of Star Trek: Enterprise.

If you want to be particularly cynical about it, you could argue that it’s the show’s first absolutely unequivocal success. Enterprise‘s first season is a lot stronger and more interesting than most give it credit for, even if most of its stronger episodes were qualified successes – like Breaking the Ice, Cold Front or Dear Doctor – that hinted at a new type of character-driven Star Trek without entirely committing to it.

... it is very cold in space...

… it is very cold in space…

The first season of Enterprise tried quite a lot of new things that didn’t always work. That’s fine. That’s what a first season should be for. The greater tragedy is that the second season (or even the tail end of the first season) didn’t necessarily try to improve on those experimental successes, and instead fell back on that conventional Star Trek plotting that had been competing with that more experimental style in the first two-thirds of the first season.

In many ways, Shuttlepod One is the unlikely zenith of the first season. It comes off a string of flawed-but-intriguing episodes only briefly interrupted by the misfire that was Sleeping Dogs. However, the episode was written by creators Rick Berman and Brannon Braga to save budget in the second half of the season, filmed as a way to recoup budget overruns from elsewhere in the year. Despite that, it’s a compelling glimpse of Enterprise as it seemed to want to be – very much character-driven Star Trek.

Reed has a close shave...

Reed has a close shave…

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Star Trek: Enterprise – Shadows of P’Jem (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.

Shadows of P’Jem is a wonderful episode. It is, in many respects, the first true post-9/11 episode of Star Trek: Enterprise, and it is a surprisingly thoughtful one at that.

In many respects, Enterprise has already established itself as Star Trek for the George W. Bush era. Archer is the franchise’s first white American male lead character since Kirk, and his contempt for politics and thirst for action mirrors the popular image of George W. Bush – a dynamic man with no time for questions or hesitation. Even little touches – like the fact that officers drink beer rather than champagne, or the anti-intellectual contempt that Archer and Trip feel towards Vulcans – suggest a Star Trek show that is very much in line with Bush’s America.

Shadows on Coridan...

Shadows on Coridan…

However, Shadows of P’Jem was among the first episodes written after the events of 9/11, and it’s an episode that seems quite thoughtful and introspective. The franchise has often used the Federation as a stand-in for American values and ideals. Shadows of P’Jem twists this idea on its head, offering the future Federation members as stand-ins for various facets of American foreign policy.

Shadows of P’Jem is a considerate and reflective look at what Walter Nugent termed “the habits of empire”, a look at the cost and consequences of imperialism in a post-colonial age, and how those issues tend to fester.

A night in sickbay...

A night in sickbay…

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Star Trek: Enterprise – Sleeping Dogs (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.

There’s really very little to say about Sleeping Dogs. It’s not particularly good, it’s not particularly bad. Like Civilisation before it, it’s an episode of Star Trek constructed to a familiar formula. The ship in question answers a distress call from an alien ship. Our crew attempts a rescue mission, during which the away team end up stranded. Meanwhile, our captain tries to figure out how to communicate with an alien from a radically different culture, eventually coming to realise that he must address them on their terms.

These are all stock elements, and they are mixed into Sleeping Dogs with a minimum of fuss. The only real kink in Sleeping Dogs is that the aliens in question are Klingons. However, we’ve spent so much time with Klingons in the various other Star Trek spin-off shows that using them as a light seasoning in a fairly stock Star Trek plot doesn’t make for a particularly appetising combination.

Again with the Klingons...

Again with the Klingons…

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Star Trek: Enterprise – Dear Doctor (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.

Dear Doctor is certainly the most ambitious episode from the first season of Star Trek: Enterprise, and also the most controversial.

The show’s first true “Prime Directive” episode, the show wrestles with the moral implications of “playing god”, attempting to justify the inevitable development of “Starfleet General Order Number One”, the rule prohibiting interference in the development of “less advanced” species. As such, there is almost an impossible amount of weight bearing down on Dear Doctor, as the show tries to explore the moral conundrums that result from contact with a less technologically advanced species.

Stargazing...

Stargazing…

Dear Doctor is an episode that is deeply problematic. Indeed, it was a show that was so controversial and so divisive that UPN itself insisted on a change to the episode’s ending. It’s an episode that tends to provoke strong reactions, from both defenders and detractors. It inspires passion. It is not uncommon to find people who will rank the episode among the very best of Enterprise and the very worst of Enterprise.

While the show’s internal logic and conclusions are quite unsettling, Dear Doctor is a provocative and challenging hour of television. It is decidedly more ambitious than any of the episodes surrounding it, even other experimental shows like Breaking the Ice or Shuttlepod One. While it might not be the best episode of the first season, it is certainly the most breathakingly ambitious and engaging. And that must count for something.

There's trouble in its DNA...

There’s trouble in its DNA…

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Star Trek: Enterprise – Cold Front (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.

It is customary, these days, for television shows to map out their mythologies years in advance. Depending on when you ask him, executive producer Bryan Fuller boasts of having a six- or seven-year plan for Hannibal, despite the fact that the show spends each cancellation period on the bubble line for NBC. Indeed, the move away from the standard television pilot format means that shows are encouraged to have long-form plots and arcs mapped out.

However, that isn’t always the case. The X-Files was very much made up as it went along, with little real thought put into how the show’s sprawling alien mythology hung together beyond the immediate future. Even heavily serialised shows like Lost or 24 were plotted as they went along, with plans radically changing as the show evolved. Unlike film, where you (mostly) need a finished story before you start filming, television is a medium where you don’t really need an ending in mind as you begin telling the story.

There's a lot on the (time) line...

There’s a lot on the (time) line…

So it really shouldn’t be a surprise that Star Trek: Enterprise introduced the idea of the “Temporal Cold War” without any real idea of how the story was meant to develop or conclude. Although structured as something of a serialised arc among a (mostly) episodic couple of seasons, the Temporal Cold War is something that makes very little sense in the context of the show. Even years after the fact, the Temporal Cold War is a mystery, with Brannon Braga casually dropping the reveal that, well… Archer did it.

Of course, that plot development doesn’t make a lot of sense… but that’s par for the course. It is very hard to tie the various Enterprise time travel episodes together into a logical and cohesive narrative. Cold Front doesn’t even bother to answer questions immediately relevant to its own narrative, let alone hint at logical future developments for the series’ recurring time-travel plot line. It’s a story that seldom makes sense within individual episodes, let alone when they are strung together.

In space, all warriors are (temporal) cold warriors...

In space, all warriors are (temporal) cold warriors…

And yet, despite that, Cold Front is a pretty great episode. Part of that is down to the Temporal Cold War plot line, with Cold Front introducing a welcome sense of ambiguity to the conflict and selling the idea that Archer has wandered into something much larger than he can comprehend. On an otherwise quiet mission, Enterprise finds itself embroiled in a conflict between two forces that Archer does not fully understand, as if the ship and its crew have found themselves engaged on one front of a war in heaven.

However, Cold Front works just as well with the elements that exist outside the Temporal Cold War. As with Breaking the Ice, the episode plays like a regular day on board the Enterprise, as Archer and his crew find themselves welcoming religious pilgrims on board and making friendly first contact as they gather to watch some beautiful interstellar phenomenon. It’s an episode that draws attention to the quiet wonder and majesty of deep space exploration, elegantly and effectively.

Hang on in there...

Hang on in there…

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Star Trek: Enterprise – Fortunate Son (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.

Fortunate Son is a solid premise ruined by an overly simplistic execution.

One of the more interesting aspects of Star Trek: Enterprise is a chance to return to the pioneering spirit of the original Star Trek. It’s an excuse to imagine what the early years of humanity’s exploration of space must have looked like. More than any other spin-off except Star Trek: Deep Space Nine, this show lends itself to world-building and expansion. What does space look like before the Federation was established? How was it regulated before a gigantic conglomeration of space-faring races decided to impose their own laws and rules upon the spaceways?

Well, that sucked the air out of the room...

Well, that sucked the air out of the room…

Broken Bow made a big deal about how the Enterprise was the first human ship capable of travelling at warp five. In essence, it is the beginning of the Star Trek franchise as fans know it. The speed that engine brings and the distance the ship can cover serve as a gateway to the wider Star Trek universe. So, logically, if Enterprise is the first step in that direction, the ship must be emerging into a universe that looks radically different – a culture that is very distinct from that depicted on the other Star Trek spin-offs. With slower engines, fewer ships, less known about the universe, this should be an entirely different world.

Fortunate Son touches on this idea a little bit, throwing Archer into conflict with the crew of a long-haul space freighter over intergalactic piracy. The problem with the episode is that it feels very much like Archer is arguing from a position grounded in the Star Trek franchise as it is yet to develop, rather than the current status quo. In his debates with Ryan, Archer gets to be right for two contrived reasons: Ryan is written as an idiot; and Archer’s philosophy applies to the status quo of over five hundred other episodes.

Beaten to the punch...

Beaten to the punch…

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Star Trek: Enterprise – Civilisation (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.

After Breaking the Ice hinted at what Star Trek: Enterprise might become, Civilisation is an episode that nudges the show right back into its comfort zone. It’s an episode of Star Trek that feels like it could have been produced for Star Trek: The Next Generation or Star Trek: Voyager, with only a minimum amount of change to the script. However, what is strangest about Civilisation is the way that it feels like a rather direct throwback to the very classic Star Trek show, serving as a tale about our hot-blooded captain fighting evil imperialist adversaries and seducing sexy alien space babes.

Of course, there’s a sense that this sense of regression is exactly what the show is aspiring towards. After all, Archer was advertised as “Captain Kirk’s childhood hero”, and it makes sense for the show to play with the classic Star Trek tropes that are regarded so affectionately by popular culture. Unfortunately, Civilisation lacks the spark and wit necessary to make such a pulpy homage work, instead feeling too much like a dull retread.

David Ickes was right!

David Icke was right!

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Star Trek: Enterprise – Breaking the Ice (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.

Breaking the Ice is the first episode of the first season of Star Trek: Enterprise not to reserve a “story by” credit for Rick Berman and Brannon Braga. (Although – in the To Boldly Go documentary – Braga has suggested that at least some of the episode came from his own ideas.)

It is instead credited solely to the writing team of Maria & Andre Jacquemetton. A husband-and-wife writing team, the duo have a long history of writing for television. Before they worked on Enterprise, their credits included Baywatch Nights. However, they are probably more notable for the work that they did after Enterprise, working as executive producers and writers on Mad Men. The duo have won WGA awards for their contributions to Mad Men and been nominated for Emmys.

Guess who's coming to dinner...

Guess who’s coming to dinner…

It is very easy to take the pedigree of the writers on Star Trek for granted. After all, Ronald D. Moore went from a Star Trek: The Next Generation fan with a spec script to the showrunner on the rebooted Battlestar Galactica. Bryan Fuller went from a workhorse on the Star Trek: Voyager staff to a television auteur with work on Dead Like Me, Pushing Up Daisies and Hannibal. Brannon Braga has been prolific since his departure from the franchise, while Ira Steven Behr and René Echevarria have worked consistently in genre television.

It is tempting to claim that Enterprise was something of a formative experience for the Jacquemettons, but that would be disingenuous. Despite writing the show’s first script without a credit to Berman and Braga, the duo were not around long enough to make an impression on the show. They departed at the end of the first season, along with most of the writing staff. Indeed, the most significant influence that Enterprise had on their career was probably the fact that they used to discuss the idea for Mad Men with creator Matt Weiner while they were working on this show.

They're cracking up out there...

They’re cracking up out there…

Still, while hardly a demonstration that Jacquemettons were a creative force to be reckoned with, Breaking the Ice is a solid little episode. It ranks as the strongest episode of Enterprise since the pilot. In many respects, it recalls the Prime Factors/State of Flux duology from the first season of Voyager. It is a flawed episode that has no shortage of ambition, offering a taste of what could make its show unique in the Star Trek pantheon.

It is an episode that celebrates everything that makes Enterprise unique as compared to the other Star Trek shows, taking a great deal of pleasure in things that the audience had come to take for granted in the franchise. It’s a quiet character piece, where what little plot exists is pushed very much to the background, and which offers a much more nuanced view of human/Vulcan relations than Strange New World or The Andorian Incident.

Those Vulcans are cold so-and-sos...

Those Vulcans are cold so-and-sos…

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