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Post by Dimitris on Mar 11, 2005 4:41:20 GMT -5
Production: 098 Season: 4 Episode: 22 Air Date: 05.13.2005
Six years in the future, an emotional Captain Archer and the crew return to Earth to face the decommission of Enterprise and signing of the Federation charter.
Synopsis
Six years in the future, an emotional Captain Archer and the crew return to Earth to face the decommission of Enterprise and signing of the Federation charter, ratifying the newly-formed alliance of planets they helped forge.
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Post by Dimitris on Mar 11, 2005 4:41:52 GMT -5
Cast & Creative Staff
Cast: Scott Bakula as Jonathan Archer John Billingsley as Dr. Phlox Jolene Blalock as T'Pol Dominic Keating as Malcolm Reed Anthony Montgomery as Travis Mayweather Linda Park as Hoshi Sato Connor Trinneer as Charles "Trip" Tucker III
Guest Cast: Jonathan Frakes as Will Riker Marina Sirtis as Deanna Troi Jeffrey Combs as Shran
Creative Staff: Director: Allan Kroeker Written By: Rick Berman and Brannon Braga
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Post by Dimitris on Mar 11, 2005 4:42:39 GMT -5
03.10.2005 Production Report: Final Enterprise Episode Wraps
As this is the last Production Report for a while, STARTREK.COM would like to thank writer Sandy Stone for putting these together, plus the Enterprise cast, crew and production offices for their support and help over the years. We wish everyone the best of luck in all of your future endeavors and we look forward to talking with you in the future, in order to reflect on the past. Live long and, well, you know the rest. - Ed. After an eventful final day of shooting on Tuesday, the sets are being struck, departments are finalizing their affairs, and the actors are clearing out their trailers as photography on Star Trek: Enterprise has wrapped for the final time.
The series finale is called "These Are the Voyages ..." and it's probably no secret by now that this last episode of the Star Trek prequel features two very special guest stars: Jonathan Frakes and Marina Sirtis.
We are keeping mum on story details right now, but Frakes and Sirtis are indeed playing their Next Generation personas Riker and Troi. As co-executive producer Manny Coto mentioned in a recent interview, the finale does not involve time travel — the most we'll tell you here is that it does involve the Holodeck.
Another guest star in this episode is Jeffrey Combs, getting blue one last time as the Andorian "Shran."
Production number 98 commenced late in the day on Friday, February 25, after half a day was spent completing episode 97, "Terra Prime." That Friday was the day of the "Save Enterprise" rally which took place in front of the Paramount main gate (related story). In fact, the demonstrating fans caught glimpses of Frakes and Sirtis arriving in their cars. And when Combs reported for work and parked on the lot, he immediately came back out to the gate to visit with the demonstrators. Anthony Montgomery was another cast member who came out and spoke to the crowd.
During the eight-day principal photography schedule (one day longer than usual), most of the shooting took place on standing NX-01 sets, but there were new sets constructed to represent 24th-century locales. Among them: Ten Forward, the Observation Lounge, Troi's Quarters, and TNG-style Corridors. We will also see scenes in the Hologrid, but those were shot in front of a greenscreen for rendering later.
Another swing set restored for this episode was a section of the complex on snowy Rigel X. Rigel X was the planet Archer's crew visited during their very first mission in "Broken Bow." Also, the rarely-seen Chef's Galley was set up and used.
Throughout the eight days of shooting, Frakes was at various points dressed in a TNG-era uniform; as an NX-01 crewman; as a MACO; and ... as one other person who perhaps should remain a surprise.
There were other special guests in the cast of this episode. Playing an NX-01 Engineer in one scene was NASA astronaut Mike Fincke. Fincke made news on STARTREK.COM in December when he and Russian cosmonaut Gennady Padalka received a "Starfleet Award" after their return from a six-month mission on the International Space Station (related story). During his stay in orbit, Fincke had an opportunity to speak with Scott Bakula using a very-long-distance phone connection; now he was able to chat with him in person!
In the cast list, you will see Jasmine Anthony playing "Shran's Daughter." Jasmine is an 8-year-old actress who was seen in "Catch Me If You Can" and a few other films. There is also the name "Solomon Burke" playing an Ensign; this is not the 64-year-old R&B singer known as the "King of Rock and Soul" — he is simply a young actor, who, as far as we know, has no relation to his more famous namesake. (Oddly enough, the very day this Solomon Burke was on set at Star Trek, "the" Solomon Burke was in New York taping an appearance on Conan O'Brien!)
On a side note, in the production report for "Demons" (related article), we mentioned that the part of "Colonel Green" — seen giving a speech in archival footage on a monitor — had not been cast yet. That footage was shot last Monday, Feb. 28, during B-unit photography, and the part was played by Steve Rankin. A popular character actor for military roles, Rankin previously played the Romulan "Patahk" in TNG's "The Enemy"; a Cardassian officer in Star Trek: Deep Space Nine's "Emissary"; and the Klingon "Yeto" in DS9's "Invasive Procedures." That B-unit day, directed by Dan Curry, was spent capturing numerous insert shots for "Demons" as well as the two parts of "In a Mirror, Darkly," mostly involving visual effects and stunts. That included shots involving the computer-generated Tholian and Gorn (although a physical "Gorn claw" created by Makeup was used in one shot), and a fight between mirror-T'Pol and mirror-Hoshi, performed by stuntwomen Boni Yanagisawa and Diana Inosanto, respectively.
The final day of principal photography on "These Are the Voyages..." — this past Tuesday — was similar in spirit to that of the Deep Space Nine finale "What You Leave Behind," in that a large crowd scene for late in the episode consisted almost entirely of behind-the-scenes crew people, production and creative staff, and other special guests to the set. Without giving away specific story points, there is an Auditorium filled with a large crowd (most of which will be computer generated) that includes a "VIP Section." Within that crowd you may spot showrunner Manny Coto as an admiral; writer Andre Bormanis in a civilian suit; writer Garfield Reeves-Stevens in a Starfleet jumpsuit; and his wife Judith in a futuristic civilian dress. Larry Nemecek, editor of Star Trek Communicator magazine, was also there in a suit, with his hair slicked back. (Larry's suit, rumor has it, was the same one worn by Avery Brooks in "Far Beyond the Stars"!) All told there were about 15 "VIPs" along with two dozen other extras appearing in that Auditorium scene.
There was a lot of great energy on and around the set that afternoon. Crew members, staff members, cast members, extras and others were getting pictures taken with each other, getting scripts and call sheets signed by the actors, and bidding each other farewell and good luck. It was like being a senior on the last day of high school.
After that buzz died down late in the afternoon, things started to get bittersweet as the principal actors completed smaller scenes and each, in turn, were "released" for the last time by unit production manager Brad Yacobian. With each actor, their dismissal was marked by applause from the crew, and a lot of hugs and emotional good-byes. (When John Billingsley left the set, he was heard to say, "Well, that's much better than being released from prison!" Have some experience with that, John?)
Jolene Blalock and Scott Bakula were the last of the principal cast to be released, so Bakula took the opportunity to say a few words to the entire company. In particular, he thanked the crew members who had been working on Star Trek for 18 years since the beginning of Next Generation, for making him and his castmates feel so welcome during the four years of this show's run. And he got emotional as he reminded everyone to "remember the people we lost" (without naming names, he was apparently referring to assistant director Jerry Fleck and "Ensign Cutler" actress Kellie Waymire, who each died before their time).
Principal photography was officially done on Tuesday, but Frakes and Sirtis were actually not finished yet — they came back on Wednesday, March 9, to complete several greenscreen shots where their characters are moving in and out of the Holodeck/Hologrid.
Of course, there is still work to be done over the coming weeks, as editing, visual effects, sound effects, music scoring and other post-production activities will continue into May.
The final get-together for the entire cast and crew of Enterprise will be the wrap party in mid-April.
Now that the show has wrapped for good, several of the creative staff and a couple of the actors will be in attendance at Creation Entertainment's Grand Slam convention this weekend in Pasadena (related story). Connor Trinneer will be there on Saturday, and Jolene Blalock will be present Sunday in her first convention appearance. Also going on stage Sunday will be several members of the Enterprise creative team, including Coto, Bormanis, the Reeves-Stevens couple, and Mike Sussman. They will be taking questions, so see what other details you can get out of them regarding the finale.
"These Are the Voyages..." was written by the show's creators Rick Berman and Brannon Braga, the pair's first and only script of the fourth season. The episode was directed by Allan Kroeker, making this his third Star Trek series finale in a row, after "What You Leave Behind" and Voyager's "Endgame."
The final installment of Enterprise is scheduled to air May 13 at 9:00 p.m. (ET/PT), immediately after "Terra Prime" at 8:00. Watch Episode Detail for updated information, as it becomes available.
The airdate schedule from UPN is unchanged since the last production report. The next new episode is "Bound" on April 15, followed by the two-part mirror-universe arc, followed by the two-part Earth-Moon-Mars story, followed by the series finale.
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Post by Dimitris on May 11, 2005 3:07:44 GMT -5
Synopsis:
Riker seeks advice from the NX-01's last mission on the Enterprise-D holodeck.
Review: by Steve Krutzler
So the end is here. After saving Earth from Xindi and Suliban and FutureGuys, ENTERPRISE and her crew call it quits this week with the series finale "These Are The Voyages..." After four years and 98 episodes, the show truly goes out with a whimper -- but not for the reason you may think. In fact, ENTERPRISE's final episode is perfectly appropriate and is really the sum of the show's creative parts.
The basic premise anyone who reads this web site by now knows: Riker circa TNG's "The Pegasus" (the one where his former captain asks him to restart illegal cloaking experiments that led to the death of 71 former crewmates) needs advice on how to deal with the truth weighing on his heart -- as we know he exposes the secret experiment -- and so Counselor Troi suggests gaining command insight from a particular mission of Jonathan Archer and the crew of the NX-01.
Let me stop right there: great idea. Many ENT fans have pregnant doged and moaned, but let's face it, if you really got into this when TNG blossomed, it's a real treat to see a "new" NEXT GEN episode. And one with a beautiful CG-rendered Enterprise-D sporting more realistic and energetic movements than we ever got during the show's original run. The NG scenes are easy to buy and Jonathan Frakes and Marina Sirtis credibly play their ten-year younger selves. There are ample TNG references as well, from Reed telling Trip "All good things..." in regard to the NX-01's impending mothballing to Brent Spiner doing a brief voice cameo that really brings back those pre-GENERATIONS memories. The closing sequence of "TATV..." is thoughtful and does a good job of saying "goodbye" to the last eighteen years of STAR TREK on television. Archer even offers a toast "to the next generation" in the episode. For the most part, this section of "These Are The Voyages..." works brilliantly.
The problem with the episode -- and forgive me for kicking the show when it's down -- is that the ENT portion sucks. Just plain sucks. But it's not unexpected. In true ENT form, even the teaser starts with a bland intro that tries to grab your attention with the "surprise" revelation about Riker after a suspenseful bridge scene in which the ENT crew nail bitingly discuss Captain Archer's speechwriting skills. Ok, I'm being too harsh. The average dude watching doesn't read this site or TV Guide spoilers or Entertainment Weekly reviews or Ain't It Cool News and thus has no idea about the setup (well, wait, 2.5 million watch ENT these days and if you figure between this site and the official site we're nearly at a million uniques, but I digress).
The excitement continues when we learn that on the way to sign the Federation (or proto-Federation) charter in San Francisco, Archer must make the crucial decision to disobey orders and delay arrival for the ceremony in order to aid his old buddy 'Shran' with a personal matter. Ok, wait a minute. Riker is looking for advice on how to handle his participation in a high-level Starfleet conspiracy that could lead to war from a mission in which Archer must help Shran -- newly-prone to business dealings with "the wrong kind of people" right out of Crime Scenarios 101 -- rescue his offspring from a band of galactic thugs (read: foreheads of the week)? Ok, let's see where this goes.
Well, nowhere is about where. Along the way we learn that even six years in the future Jolene Blalock is still phoning in her performance out of (refreshingly) not embarrassing character writing but a sort of personal protest of the aforementioned that started last season; Trip and T'Pol's nary-seen and strangely developed "romance" is of crucial command importance to 24th century officers; command-level officers including the ever-logical Vulcan T'Pol complain to the ship's chef about the captain's decisions; and, oh, Trip meets his fate not seeking vengeance against the Xindi for killing his sister or uncovering a Romulan plot to incite war by remote or fighting the Borg or even at least being executed by alien Nazis trying to win the Temporal Cold War in 1944, no, but in "heroically" sacrificing himself to save Archer from the band of previously mentioned galactic thugs who (surprise) board Enterprise and threaten to kill Archer if he doesn't turn over Shran (yawn). Kirk's death was spectacular by comparison and yet lambasted endlessly.
But all of this is too orchestrated to merely be coincidental. In fact, it's probably quite deliberate. Juxtaposing the enormity of Riker's command decision in "The Pegasus" with Archer's in "TATV..." is a mismatch even the greenest of dramatists could recognize; so is having one of your main characters go out less gloriously than any number of guest characters in certain other STAR TREK series. We're left with the conclusion that these were intentional choices, and it's not hard to see when looking at ENTERPRISE as a whole. Kirk died for something of enormous proportion -- an entire civilization and potentially more considering the danger of Tolian Soran. But that very nature is what ENT wanted to strip out of its characters. Archer would never triumphantly utter "once again we've saved civilization as we know it," and by the time he had to make decisions of galactic importance (i.e. season three), we knew it. Archer's big decision here is whether to arrive on time to a self-aggrandizing ceremony where he'll be annointed a bona fide Starfleet (and STAR TREK) hero. Comparing Riker's ethical dilemma in "The Pegasus" to a scenario in which the biggest thing at stake is Archer's status as a literal and figurative icon just adds insult to injury.
The show has professedly tried to focus more on character than galactic adventure. This is a series that eschewed the heroic mold for its central character by making him wet behind the ears and spouting boob jokes about his first officer. So we get it. The point was to humanize the typically superhuman STAR TREK "captain". The problem is that Archer was humanized right out of believability early on in the series, and now the final episode spends a great deal of time lingering on how humble and uncomfortable this character is at being a hero. Archer as 'Hamlet', the captain who couldn't captain because he has to seek validation of his decisions from the Vulcan first officer he distrusts anyway and can't write a speech without endless equivocation and fidgeting. "You look very heroic," T'Pol tells him as he ventures out into the great chamber at the end to deliver the speech. Well, glad someone told us.
For a show supposedly more focused on character, the series finale relies on two large gaps in existing characterization. Much ballyhoo is made of Riker playing "Chef" in the Holodeck because apparently everybody talks about professional and relationship problems with him. Yet the gag fails to generate any fire in the script precisely because the gag of Chef never having existed (a gag stolen from DS9's mute Morn) counteracts it. What's to be gained from seeing Riker play Chef when we've never seen Chef in the first place and there's no character to, forgive me, 'quantum leap' into? When Riker interacts with Enterprise crewmembers we're left wondering whether he's reading a Holodeck script that tells him what Chef would be likely to say, or whether he's just winging it. The point is, it's just a place-filler because no real Chef character exists; meaning the script has created a cheat device for Riker to sit in and get stuff told to him. If the VOYAGER staff gleaned a meaningful existential, technological, and human statement from never giving The Doctor a name, ENTERPRISE's elliptical attempt accomplishes something much more literal, and appropriately metaphorical for the series as a whole: a character that never was!
Trip and T'Pol's romance gets significant talking time in "TATV..." but let's face it, that's pretty much what this relationship boiled down to. Some back massages, an awkward morning after, and countless angst-filled subplots about these two characters hashing out a relationship that was never developed on screen. Again, it's a payoff with no setup. The development simply never existed, so it fails to compel in the final analysis.
If ENTERPRISE's focus on the mundane was the method chosen to make the show more character-oriented (assuming we pretend DS9 didn't exist), the fact is that if characters' lives and emotions are ordinary or worse yet, undeveloped, you have to go to great lengths to make the audience care. DEEP SPACE NINE is the only STAR TREK that ever "got" character drama in any systematic way. And it isn't about creating bland characters that are reluctant to step up and spend a lot of screen time equivocating about things that ultimately are of little import (like angst about nearly non-existent relationship). Sending off the ENTERPRISE crew in the ultimate example of this strategy -- heroes meeting their demise in clichéd, mundane circumstances, and contributing ageless wisdom to future generations not through extraordinary actions but the most ordinary -- demonstrates why we're saying goodbye four and not seven years later.
Wrapping the story in a TNG frame only highlights these inadequacies and the indignity of not jettisoning this losing formula long ago. "TATV..." doesn't fail ENTERPRISE because it features the TNG cast, but because it can't rise above the problems that dogged the series from day one. Even in death, the show defiantly sticks to an ill-conceived concept of characterization and seems to lament that the audience just never "got it." Sadly, it's the producers who rarely ("Similitude," "Cogenitor," "The Forgotten") "got" what real character drama is all about.
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Post by Dimitris on May 14, 2005 15:29:54 GMT -5
Plot Summary:
As Sato discusses her plans to travel to Brazil and Archer frets about his speech to the assembled delegates of the interplanetary alliance, Will Riker sits on the bridge and observes. His personal log notes that the arrival of Admiral Pressman has put him in an awkward position vis a vis his role as first officer of the Enterprise-D, and Counselor Troi recommended gleaning insights from a historic holoprogram, suggesting that he take on the role of chef who was a sort of unofficial counselor near the end of the NX-01's ten years in space. As Riker observes, Shran hails Enterprise, calling in the favor Archer has owed him for years even though Archer believed him dead. Shran's daughter has been kidnapped by shady business associates, and he needs help getting her back from a Rigellian trading outpost.
While Archer prepares a rescue mission despite the fact that he's due to arrive at Earth for the ceremony, Riker interacts with the crew in the guise of preparing a banquet with everyone's favorite meals before the NX-01 is decommissioned. He learns that although T'Pol and Tucker ended their relationship several years earlier, she misses him, and that Reed admires the engineer while Sato thinks he's cute. Troi briefly joins Riker on the NX-01 and learns Riker's true dilemma: he feels torn between his obligation to Pressman and the fact that Pegasus was testing an illegal cloaking device that could cause war with the Romulans, something Pressman has ordered Riker to keep from Picard as he prepares to make another attempt. When Archer takes a team to the surface - accompanying the crew over Tucker's objections that the captain should protect himself - Riker goes along, listening as T'Pol admits to Tucker that she will miss him when they leave Enterprise for new assignments.
Shran retrieves his daughter and sends her to safety with T'Pol just before Archer and his crew exchange weapons blasts with the kidnappers, whom Shran and Archer have tried to dupe. Archer saves Tucker's life while Riker, playing the role of a MACO, lays down cover fire. Archer doesn't believe that the thugs can follow them at warp four, but while Riker observes the captain and Tucker toasting the next generation, the NX-01 comes under attack and is boarded. Tucker protects Archer, leads the aliens down an access corridor and blows them and himself up to protect the ship; he is still alive when Archer finds him, but he dies in sickbay. While packing his things, T'Pol tells Archer that she wants to meet his parents and that she finds emotions very difficult. Archer says he used to believe that he would find something magnificent wherever he went, but now Trip is dead and he has to give a speech about how it's all been worthwhile. T'Pol points out that Trip would be the first to say that it was worthwhile.
Having talked to many other crewmembers about Tucker, Riker finally meets the man himself, taking his order for dried catfish with hushpuppies. The engineer observes that while Archer will never admit it, he's very proud to be one of the people signing the charter for the planetary alliance. Then he asks "Chef" what he's going to do next - sign onto another ship or open a restaurant in the Berkshires - and adds that he's sure Riker will make the right choice, which is just what Troi told him when he admitted that he would have to betray either his promise to Pressman or his commitment to Picard and his principles.
At the ceremony, still observed by Riker and Troi, T'Pol scolds Archer for stalling on his speech and says that it is not logical to be modest when he deserves credit for his accomplishments. Archer gives her a hug before heading out to face the delegates, speech in hand. Troi tells Riker that she memorized that speech in grammar school, admiring the alliance that gave birth to Federation, and Riker announces that he is ready to talk to Captain Picard. As they end the program and leave the holodeck, Picard's voice is heard intoning that these are the voyages...then Captain Kirk's voice comes up, continuing, "to explore strange new worlds, to seek out new life and new civilizations," and the final voice is Archer's making his speech as his ship heads into a nebula, "...to boldly go where no man has gone before."
Analysis:
There are probably two reviews that could be written of this episode: the critical reactions of an Enterprise viewer and the overall impressions of a longtime Star Trek fan. Being both, I must admit from the outset that the latter overwhelms the former for me; it's hard for me not to enjoy any episode that features Riker and Troi (their relationship is one of the few things I love unreservedly in Insurrection and Nemesis), and it's hard for me not to get a little choked up being told that Kirk and Picard's famous voiceover was originally their predecessor's speech to the assembly that became the UFP. As a Next Generation episode I'd give "These Are the Voyages..." decent marks - not perfect ones, but it's perfectly in character, the storyline fits nicely into the events of "The Pegasus" and I love the casual way Data slips in, even if it's just his voice. The two episodes that followed "The Pegasus" on the air, "Homeward" and "Sub Rosa", are two of my least favorite hours of Star Trek, so it's not like Next Gen got everything perfect, anyway.
But I don't think any Enterprise fan could be blamed for being disappointed at this sendoff for this cast and crew whom we see six years down the road and...nothing. Mayweather still hasn't gotten any sort of promotion or real responsibility, Sato's still opening hailing frequencies, Tucker and T'Pol still haven't worked out exactly what kind of feelings they have for each other, and worse, there's almost no interaction between the crewmembers; we hear Reed talking about Archer, we hear Sato talking about Tucker, but we don't see the character interaction that would make these moments real. One of my big complaints with Enterprise all along has been its insistence on telling rather than showing who these people are. Having Sato declare out of the blue that she was a troublemaker at the Academy isn't the same thing as seeing her do something rebellious; having T'Pol's mother announce that her daughter always struggled with her emotions isn't the same thing as seeing consistent development of that theme. By putting the focus on Riker and his limited scope, we lose any possibility of one last glimpse of the NX-01 crew together.
I'm sure there will be debate about whether this episode should count as canonical; for all we know, the holoprogram is more the equivalent of a TV movie about the life of Jonathan Archer than reality, and it made for better drama to kill Tucker saving the captain's life than to focus on the fact that, yes, this crew was stupid enough to let their ship get boarded by a bunch of alien thugs because they arrogantly believed they could outrun the villains. It's really painful to watch Tucker die an even more meaningless death than Kirk's - he doesn't give up his life saving a planet or rescuing the ship, just marching a bunch of hairy bad guys away from Archer to make sure the captain gets home to make his big speech. What dramatic purpose did his death serve? This isn't like Tasha Yar, where there was an actor trying to get out of a contract! Personally it seemed to me that Trip might have had a bit of a death wish, not sure where he was going next and not having any more emotional connection to T'Pol than a pronouncement that she'd miss him. We've known since the first season that Tucker would lay down his life for Archer and the ship; this death only serves notice about how little we really know about him, his long-term goals and dreams, and that last little conversation with Riker about catfish and Mobile underscores the way the same couple of lines from the series Bible are really all these writers ever gave the man.
I don't want to take anything away from Connor Trinneer, who really demonstrated in the final three episodes the extent to which he is the most valuable actor on Enterprise. He had me wiping my eyes in "Terra Prime" as he played Trip mourning for a daughter he hardly knew, even though I found the whole instant-paternity instinct rather contrived. His acting is the reason I believe Reed and Sato when they explain that there was so much more to Tucker than redneck hick and solid engineer, because there's really not a lot in the scripts to suggest otherwise. But really I could say the same for Reed and Sato as well. I doubt that in these reviews I have ever given as much credit to this cast as it deserves. I really like all the characters on Enterprise in a way that I did not in the end like many characters on Voyager, and the credit for that must go to the actors, because if I sit down and try to make a list of things I learned about Sato or Reed as opposed to moments I think Linda Park and Dominic Keating really nailed, it's pretty sparse. (My favorite moment in the finale, which will probably surprise no one: the segue when Riker is talking to Reed about Tucker and asks, "Did you find him attractive?" only to have the camera then reveal that he's now talking to Sato, though I choose to believe he also asked Reed, who was supposedly once planned to be the first gay character on Star Trek.)
There's a kind of painful irony watching Archer and his crew stick their necks out for Shran and his daughter when it seems none of them have managed to have children of their own - at least not children who survived. It's as if they've been stagnating personally and professionally as time passed while Shran, who has apparently made some very stupid decisions, also built a life for himself that matters deeply to him. What matters deeply to, say, Mayweather? A week ago we heard him profess to Brooks that maybe he was ready to leave space and settle down...now we find out that he's sat at those same controls for six years, changing very little. If this is the best for the characters that the writers could come up with for the final episode, I'm rather grateful they didn't write all the intervening boredom in which nobody grew or changed or left the ship or nearly died or was wounded enough to force a career change or simply asked to be transferred from engineering to communications just to do something new.
And seeing Riker and Troi just brings that home: At the time of "Pegasus," Deanna was considering what it would mean to have a serious relationship with Worf after considering Riker the great love of her life, and Riker was increasingly asked why he settled for remaining second in command to Picard rather than seeking out his own ship. Archer's Enterprise is returning home to be decommissioned after ten years; we saw far more upheaval on Picard's Enterprise in only six years. We know that ultimately Riker and Troi do come back together, that he gets his own ship, that they get the happy ending Tucker and T'Pol never will. And maybe they were never meant to, but it would have been nice to see them try, you know, instead of to see them in denial and then be told after the fact that it just didn't work out and very little changed otherwise on the NX-01.
I don't think that "These Are the Voyages..." is the stink-bomb of an episode that some of the early reviews have claimed, nor do I think it's the glorious send-off for the Star Trek franchise that some folk at Paramount would like us to believe. It's more an orphan episode of an orphan series that never quite worked out its continuity issues, that never fully embraced its role as a prequel to Gene Roddenberry's Star Trek...that provided several seasons of entertainment and likeable characters, but, had it not borne the Star Trek label (and who can forget that it didn't for two full seasons), would never be classed as the sort of groundbreaking, gutsy science fiction that Next Gen and Deep Space Nine were and that I hope the next incarnation may be.
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Post by sharesPat on May 2, 2019 17:39:09 GMT -5
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