Reviews of Star Trek (1966) and related work
- Sequel: Star Trek: The Motion Picture (1979)
- Sequel: Star Trek II: The Wrath of Khan (1982)
- Sequel: Star Trek III: The Search for Spock (1984)
- Episode: Star Trek: The Unseen Pilot (1965/1986)
- Sequel: Star Trek IV: The Voyage Home (1986)
- Sequel: Star Trek: The Next Generation (1987)
- Documentary: “The Trek Not Taken” (2013)
- Sequel: Star Trek V: The Final Frontier (1989)
- Documentary: Star Trek 25th Anniversary Special (1991)
- Sequel: Star Trek VI: The Undiscovered Country (1991)
- Sequel: Star Trek: Generations (1994)
- Documentary: “Star Trek: A Captain’s Log” (1994)
- Documentary: Star Trek: 30 Years and Beyond (1996)
- Sequel: Star Trek: First Contact (1996)
- Documentary: Trekkies (1997)
- Sequel: Trekkies 2 (2004)
- Sequel: Star Trek: Insurrection (1998)
- Sequel: Star Trek: Nemesis (2002)
- Fan film: Really Bad Star Trek (2004)
- Fan film: “The Final Frontier Revisited” (2004)
- Spin-off: Star Trek (2009)
Star Trek (1966)
Seen in 2019.
According to the eighth feature film in the franchise (First Contact, 1996), there was a devastating war on Earth around 2053. Ten years later, the first human travelling faster than light was detected by a friendly intelligent species. This inspired all of humankind to end “poverty, disease, war” over the next 50 years. A couple of centuries later, humankind is united under some vague archist US-libertarian democracy, living mostly in a post-scarcity economy and interacting with huge numbers of other sapient races. The vast majority are humanoid and many are human.
In this first iteration of the franchise, that back story is not prominent. There is little consistency in things like stellar cartography, “stardate” chronology or uniform colour, but there are references to a future history starting in the 1990s. The most consistent threat is that Captain James T. Kirk might somehow lose the legal right to command his crew on the Enterprise, but he never does.
Episodic science fiction with minimal science content. Also known as TOS, “the original series”.
On the whole, this particular entry in the franchise has aged into a decent flavour of kitsch. Watch it for the grain of truth in the myth that creator Gene Roddenberry tried to improve the standing of the genre while promoting gender equality and ethnic diversity in a clever and reasonably effective way. From the start, the series had Uhura, an intelligent black woman working as a hero on American television in 1966. That’s awesome, even though her role was reduced due to racist viewer complaints. The second-season opener added a Russian. The third season had a somewhat early interracial kiss.
Superficially, Captain Markary’s log entry in Planet of the Vampires (1965) prefigures Kirk. On a deeper level, there are traces of Way Station (1963): Teleportation enabling cosmopolitan understanding amid fear of the looming Cold War. The ideological foundation is otherwise insipid: In this utopia, the “best” people want to join the navy and live like soldiers. There is a bit of Heinlein in that. It is essentially Thorby’s ambition in Citizen of the Galaxy (1957); his Hegemonic Guard is vaguely similar to Starfleet. While the Federation is bright compared to horror-imbalanced 1950s SF, there is no shortage of monsters, oppression or physical violence. Fist fights in particular are weirdly common, this being the era of Batman (1966) and the waning Western.
Each episode of the series strives to be unsustainably self-contained so that the franchise can continue to appeal to casual viewers and kids. This results in a small fraction of interesting thought experiments and a lot of duds. It was 9 years after Twin Peaks (1990) that Star Trek TV finally broke the chains of status quo ante in Star Trek: Deep Space Nine (1999).
TOS’s astrophysics are just as weird and poorly informed as Aniara’s. Set up so as to make internal consistency unnecessary, the ontology is messy. Teleporters malfunction in ways that imply the universe is broken, but the people don’t care. What passes for science here is a plastic backdrop for poorly scripted anthropomorph drama and fuzzy thinking. In a since disregarded episode of Star Trek: Voyager (1995) for instance, the main ship went so fast that it was everywhere in the universe at once and the crew evolved into lizards. The original series is like that, much of the time.
I am grateful to my Trek-loving friend Andreas Skyman for correcting some of my misunderstandings in reviews of this franchise.
References here: Sutter’s Cloud, Time Enough for Love (1973), A Song for Lya (1974), Star Wars (1977), Alien (1979), Star Wars: Episode V – The Empire Strikes Back (1980), The Hidden (1987), Battlestar Galactica (2004), Lost (2004), The Disappearance of Haruhi Suzumiya (2010), Iron Sky (2012), Pacific Rim (2013), Ex Machina (2014), Ghostbusters (2016), USS Callister (2017).
‣ Star Trek: The Motion Picture (1979) – previously
The movies have two advantages: Budget, and an exception to the franchise’s aversion to serialization.
This one has good Mead, an unusual amount of interior greeblies and easily the best plot seed in Star Trek movies, remaking “The Changeling” (1967) with a better ending. Its qualities are illustrated by fan Patrick Collins’ 22-minute recut with the music of TRON: Legacy (2010), entitled “Star Trek: Legacy” (2017), not to be confused with the 2006 video game of that title or the 1990 episode of TNG.
‣ Star Trek II: The Wrath of Khan (1982)
A sequel primarily to “Space Seed” (1967), but it does not deal with the interesting parts of its premise. No attraction but the kitsch.
References here: “Industrial Light & Magic: Creating the Impossible” (2010).
‣ Star Trek III: The Search for Spock (1984)
Seen in 2013.
The anti-scientific mysticism reaches intolerable levels. The mere fact that a space station is built as a giant greebled garage makes my brain burn. This is even dumber than Trumbull’s “dry dock” in the first film. Still, I appreciate the somewhat nuanced portrayal of the Federation, the fact that plot threads are carried over and resolved in a sometimes sane manner, and Christopher Lloyd as a Klingon captain.
‣ Star Trek: The Unseen Pilot (1965/1986)
Seen in 2019.
The original 1965 pilot episode for TOS (first-unit filming completed in ’64), framed by Gene Roddenberry on the set of the latest movie in the franchise, outlining the production context.
The plot of the episode (“The Cage”) is that aliens insist that Captain Pike pick an “Eve” out of a non-haram harem, to live in captivity. Much of this was reused as hypodiegesis in “The Menagerie: Part I” (1966) and “Part II”.
Even ignoring Roddenberry’s spiel, the pilot is genuinely more impressive than the series it spawned. Just to name three positive differences, the first officer is a woman (albeit unnamed), the team beaming down to the planet put on suitable clothes over their pajamas, and they openly state that it would be stupid to send down both the captain and the first officer together, so they don’t do that. Even so, and in spite of Roddenberry’s lament that fist fights were added to the series because the studio wanted a space Western, there is still a long hand-to-hand combat sequence in here, which is pretty dumb. One of the last lines also tips Roddenberry’s hand in regard to the harem. Yeoman Colt says “Just curious, who would have been Eve?”, suggesting multiple attractive women circling Pike without resolution: an egotistical male fantasy prefiguring Tenchi Muyō (1992).
“The Cage” is also interesting in relation to the fear, recurring throughout TOS, that the smug Kirk will lose his command. Pike is a more realistic leader, less confident, openly lamenting the stress of the job as if anxious to step down. This, too, would have been a better choice for the series, provided that he did eventually step down. The only thing that’s clearly worse about this pilot is that Leonard Nimoy hasn’t found his groove as Spock.
‣ Star Trek IV: The Voyage Home (1986)
Seen in 2013.
A more pure and honest form of kitsch than the earlier films. A comedy, as befits the premises.
References here: “New Ground” (1992).
‣ Star Trek: The Next Generation (1987)
Scattered episodes, mainly from the 2012 retouched and remastered edition.
This second series is commonly called TNG. It, not The Motion Picture (1979), is the Empire (1980) of Trek: More ambitious and more serious, it saved the franchise and simultaneously doomed it to a long decline.
The Vulcans—one of TOS’s bad ideas—are marginal in TNG. They are replaced chiefly by an android, who provides deadpan comedic incongruity in the manner of Spock, and by the inclusion of Klingons (retconned with brow ridges) as allies of the Federation. This latter choice, foreshadowed in “Errand of Mercy” (1967), is very good; it’s the same trope as in stereotypical shounen manga where erstwhile enemies develop into friends. This development is another grain of truth to the myth of Trek as constructive science fiction.
‣‣ “The Trek Not Taken” (2013)
Seen in 2020.
Early choices made for special effects in TNG.
The choices were good. I regard Harry the woodworker in “When the Bough Breaks” (1988) as a sign of how awful TNG would have been with CGI ships, removing the craft itself from production.
‣ Star Trek V: The Final Frontier (1989)
Seen in 2013.
The script has two distinct phases: It’s a somewhat competent Star Wars (1977) imitation up to the point where Sybok’s vision is revealed. Then the film becomes a travesty of intellectual and philosophical science fiction, to its end. Themes usually left in the background and best left entirely by the wayside are foregrounded as plot points, particularly the leap of faith. Do not trust a charismatic fanatic whose rousing speech includes the falsehood that Columbus proved the Earth is round. On the plus side, Spock is not constantly stating the obvious: things are illogical.
‣ Star Trek 25th Anniversary Special (1991)
Seen in 2019.
‣ Star Trek VI: The Undiscovered Country (1991)
Seen in 2014.
Interesting production history. It’s a pleasant attempt to re-examine some of the previous idealism in a sober light, after TNG hit its stride, but it is not entirely successful. The ending shows just how much stupidity is being dragged along: The old crew endures a martyr’s torpedoing without injury, before abruptly saving themselves with hand-waved “innovation”, beaming down to rescue everyone through physical force and say a few incoherent words.
References here: “Unification I” (1991).
‣ Star Trek: Generations (1994)
Seen in 2014.
Without having counted at all, I would say this is the record-holder in number of cuts where people on bridges are thrown about like rag dolls while sparks fly inexplicably from their instruments. Star Trek is frequently at its most interesting exploring its own creepy ideology of personal “improvement”, where Ayn Rand meets L. Ron Hubbard. In this ideology, the “Nexus”, where people are happy without having to clean the hallways of the Enterprise with a toothbrush every three hours, must be shown as flawed and consequently rejected. Utterly predictable since “This Side of Paradise” (1967), but it’s pretty well done here.
‣ “Star Trek: A Captain’s Log” (1994)
Seen in 2020.
Clip show with a few actor anecdotes.
Wishful thinking for the fans. It’s bad from the start: The list of advances in science and engineering that lead up to the series’ launch date include the V2 and Sputnik, but not the first human space flight, just the first “American” one. The presentation perpetuates the myth of redshirt susceptibility and adds nothing.
‣ Star Trek: 30 Years and Beyond (1996)
Seen in 2020.
An anniversary gala consisting of a clip show, cast anecdotes, celebrity fan anecdotes, a sitcom-style skit and a couple of musical performances.
Hollywood self-congratulation. DS9 gets short shrift. Ben Stiller’s speech is good though.
‣ Star Trek: First Contact (1996)
Seen in 2014.
A prequel to “Metamorphosis” (1967).
“First Contact” (1991) played straight. The interesting story here is the “Blue Marble” moment where a scientific achievement puts a dent in human narcissism. That is a science fiction story. Unfortunately, the grime and grit of this story feel completely fake on the cheap sets, the humour of it is childish, and the consequences are examined only at a 300-year remove. Much more annoying than this, the interesting story is purposely overshadowed by the glib overachievers of the Enterprise enhancing their glory by directing the historic moment and fighting an irrelevant war with the Borg from “Q Who” (1989). The first corridor warfare scenes are unusually suspenseful, but there is no getting around the silliness of the enemy: all drones are still humanoid, never move faster than a walk, are never armed, and are easy to kill with hands and bullets, unlike the one android member of the crew, whom the Borg were already calling primitive in “The Best of Both Worlds: Part 2” (1990). After 7 years there is still little thought behind the Borg as a faction, and it shows. I think the writers wanted only the emotional reaction displayed here by Lily: mindless disgust.
References here: Pushing Ice (2005).
‣ Trekkies (1997)
Contemporary Star Trek fandom.
Retrofuturism meets a fine example of how single franchises can generate self-perpetuating subcultures.
‣‣ Trekkies 2 (2004)
Broader geographic focus (including Serbian fans), more musical fandom activity, and new visits with people from the original.
Less Schadenfreude. Not quite as awe-inspiring, but some moments are excellent. The deleted scenes are also worth watching.
‣ Star Trek: Insurrection (1998)
Seen in 2014.
About average for the series, despite the negative reception. As usual the crew of the Enterprise is forced to rescue the Federation by rebelling against it. It is interesting how the writers keep returning to that motif, evidently unsatisfied with the way that Star Trek is held up as a positive and hopeful vision of the future. Another interesting point here is the technophobia, greatly generalized from the phobia of the Borg exhibited in the previous film.
‣ Star Trek: Nemesis (2002)
‣ Really Bad Star Trek (2004)
‣ “The Final Frontier Revisited” (2004)
Sweet camp; who cares about camera shadows anyway?
‣ Star Trek (2009)
I suppose this is where the tension and darkness of “Conspiracy” (1988), though not the body horror, became the franchise norm. There is nothing in it, not even a thought experiment. How curious that this retcon-prequel-remake hybrid would be made with so little concern for the highlights of the original and so much action instead.