Category: Whole Story

the story’s finished, so it’s time for a complete retrospective!

Year of Hell? Star Trek: Voyager – The First Year under the Microscope

Star Trek at 50 Voyager Year One

Star Trek at 50 Voyager Year One

Star Trek at 50. Having celebrated the 50th anniversary of that incredible first season of Star Trek’s Original Series, Jokerside jumps to the television franchise’s fourth incarnation. In the Golden Age of Star Trek, could USS Voyager propel the franchise on to further success in its first year?

This is an updated version of an article originally published in two parts by those kind folks over at Some Kind of Star Trek.

A THOUGHT THIS GOLDEN ANNIVERSARY. DURING THE GOLDEN AGE OF STAR TREK, 1995 MIGHT JUST HAVE BEEN THE GOLDEN YEAR. Star Trek: The Next Generation (TNG) had ended its hugely successful small screen run, but only to leap to the big screen. I a year’s time that crew would find their finest hour against the Borg on 21st century Earth. Star Trek: Deep Space Nine (DS9)was shrugging off that most common of franchise issues, a couple of weak seasons, and kicking off its seminal Dominion War story arc. And then there was Star Trek: Voyager.

Unlike previous series, Voyager was designed as a flagship that would sit on franchise owner Viacom’s brand new United Paramount Network. Before that channel morphed into The CW in 2006, Voyager stood as the network’s second longest running series, claiming the allotted seven years that the two proceeding series had and would enjoy. In the heady-mix of 1995, Star Trek fans knew that they had something good, but it was impossible to predict the incredible swerves DS9 would take nor the triumphs and failures of The Next Generation on the big screen over the next few years. If anything was certain, it was that Star Trek: Voyager was embarking on a voyage with a specific mission. To replace TNG as the franchise’s premier ship bound series.

Over two decades on, it’s easy to see the perils and promise of 1995. It was inevitable in those early days that Voyager would make its way home from its catapulting to the far side of the Delta Quadrant. Were Voyager made today, or even a few years later as Enterprise soon discovered, that happy ending might not have been so obvious. When that third Star Trek live action sequel series started on 16 January 1995, it wasn’t evident how impressive the gauntlets that each of its forebears had laid down were. From the moment Voyager met her fate in the Badlands, DS9’s stock started rising. While other Star Trek series had achieved success in their own lifetime, even the first incarnation to begin with, let alone on the big screen viewers of the purposefully awkward DS9 are always just that little more partisan.

Post-Deep Space Nine

“Dismissed. That’s a Starfleet expression for ‘get out’.”

So there’s a vested interest there. There are people who don’t like DS9, just as there are those who don’t take to Star Trek. It’s an awkward series, that certainly didn’t help itself the minute young upstart Commander Sisko was immensely rude to Captain Jean-Luc Picard during the pilot. Yeah, that was an awkward jumping off point. But it was a confrontational, slightly odd move that the show made its speciality. It rewarded regular viewing, becoming a crucial player in the rise of American arc-based television revolution. As with TNG, the first two seasons of that second sequel series were hardly classics. In fact, of all the Star Trek shows, only The Original Series has any claim to have hit the ground running. But at Voyager’s launch, while Deep Space Nine was starting to forge forward with genuine originality that would not only lay the path for Battlestar Galactica and all manner of other arc shows but also inadvertently undo the grip of star ship shows on American TV, Voyager was moving in the opposite direction. While DS9 actively cut a path away from the syndication model that had defined the success of previous series, Voyager stuck resolutely with carrying on the mantle of The Original Series (TOS) and TNG. It may have been built on a large and overarching arc, but it saw no reason why that should change the nature of incident, adventure and monster-of-the-week structure that was there from the first season of TOS. Perversely that wilful glance back sat at odds with the format of the long journey home.

So, about that vested interest. Jokerside completed a leisurely retrospective of that DS9 vintage before its 20th anniversary in 2013. A viewing so leisurely that the Federation could have stumbled across the Dominion and kicked off a war in the same three year timeframe it took to complete all seven series. But that retrospective confirmed my suspicions: Deep Space Nine is an incredible achievement. Despite the many early bumps, it seized its position as the younger, difficult brother of TNG, with cynical and audience grabbing stunts and a flash new non-syndicated competitor and melded them with the strengths of its strong cast to produce something really special. It was real end of the century Star Trek. But also so prescient of the formative of the 21st century. And fresh from that retrospective, Jokerside took on the shortened first series of Star Trek’s New Hope. And of course, that means Jokerside accidentally started watching Star Trek: Voyager. Continue reading “Year of Hell? Star Trek: Voyager – The First Year under the Microscope”

1966: Star Trek at 50

1966: Star Trek at 50

1966: Star Trek at 50

It’s 50 years to the day that Star Trek first transported onto NBC at 8:30… In celebration of five decades of the intergalactic pop-culture giant that followed, Jokerside takes a look at that classic first year…

Star Trek: The Original Series

IT WAS THE FIRST SERIES OF STAR TREK THAT SET A CRUCIAL LINK BETWEEN THE SHOW AND TIME. Three instances to be specific, and one of those, City on the Edge of Forever, remains a science-fiction classic. Time travel would return to Trek again and again… But it was just one of the staples of the franchise that came ready-made for exploration in the 29-part season that aired between 1966 and 1967. So much of what would become synonymous with Star Trek was set in those early days, but it’s just as well time travel was present and correct. Because pinning an anniversary on Star Trek could take Spock months of slingshot calculations.

The past

“To boldly go…”

A key date was April 1964 when creator Gene Roddenberry pitched his draft for Star Trek draft to Desilu Productions, run by Lucile Ball and producer of her shows including I love Lucy and at that time The Lucy Show. The concept developed from the adventures of Robert April Captain of the S.S. Yorktown to the first pilot The Cage, centred around Captain Christopher Pike in the form of Jeffrey Hunter. The Cage was commissioned in May 1964, filmed later that year and promptly passed on by NBC. Famously dismissed as “too cerebral” they did see a glimmer of something in the premise. And so, against all expectation they commissioned a second pilot, Where No Man Has Gone Before, which switched control of the Enterprise to William Shatner’s Captain James T. Kirk. Accepted, series production commenced and Where No Man Has Gone before aired on 22 September 1966. But wait, that’s not right…

Star Trek had a tortuous genesis. The kind Khan Noonien Singh would happily defrost to detonate. In February 1966, four months before production on that second pilot started, when that script was emerging from its own difficult selection process, Desilu almost called time on the embryonic show. Used to half hour productions, they were financially overburdened by their risky new space venture and their other hour-long production, Mission Impossible. It was Head of production Herb Solow who managed to calm things down. Then, when it came to transmission, the running order threw up all sorts of issues for the show’s uncertain network. So, in the event Where No Man Has Gone Before was screened third in the running order, the premiere falling to on 8 September. To make matters slightly more confusing, Star Trek was properly first broadcast on 6 September, 1966 on Canada’s CTV network.

But then, from difficult beginnings… For all its triumph on the big screen, grossing $2.3 billion over 13 films so far, television is the real berth of the good ship Enterprise. And that’s why 8 September is the date. When Star Trek hit its home nation network and began a classic and influential year. All the more idiosyncratic that it couldn’t shake off its unusual production history.

Hitting the ground running

“Out here we’re the only policemen around”

It wasn’t simply that Where No Man Has Gone Before stepped back in the running order. Just about the first third of that first year is jumbled around thanks to the network’s desperate juggling of themes and stories. Looking at the produced episodes, many of which were spilling over schedule thanks to on-set rewrites, they felt their toes chill. There are some dynamic effects from the transmission order as it emerged that Fall. It’s strange to see Uhura’s role reduce then grow again, just as it is for old pal Gary Mitchell to pop up three episodes in, about the same time as the ship’s complement decides to change uniform for a week (a switch back to the heavy crew necks of The Cage uniforms). But it’s not insurmountable. And while that running order makes watching the first series a little more difficult than it should be, as the network’s decisions knock the balance of that first year off, it immediately highlights the rugged survivalism built into the concept. The strength of the conceit and the core characters was there almost instantly, and from its formative days Star Trek was girded for the future.

The show would burn brightly and quickly. Cancelled after a reduced third year, it would be years spent in syndication that developed its true following and proved its enduring appeal, leading to its mild television resurgence in the 1970s, shift to the big screen and proliferation in the 1980s and 1990s. Those glorious days before story arcs, where running order was irrelevant to broadcast. Star Trek took the test with its first episode and proved that optimism is everything. And so it was that when The Man Trap aired on 8 September it easily won its time slot with a 40.6 share of the audience.

What unfolded until 13 April 1967 was a quite incredible 29-part run. There’s barely a dud among the bunch, quite the opposite of the reputation that subsequent Star Trek series would earn for their weak opening years. What’s particularly astonishing is how easily Star Trek managed to reflect contemporary culture, for good and bad, establish a template for talented creators to comment on that contemporary culture and also set so many of the themes, facets and recurring elements that have remained with the show and film series for 50 years. No doubt those will be present and correct when Star Trek Discovery hits in 2017.

What better way to celebrate the show than look at those crucial ingredients. Continue reading “1966: Star Trek at 50”

Highlander at 30: The Beginning – Threat of the Future

Highlander at 30

Highlander at 30

There can be… Many futures…

The original Highlander film has reached its 30 year milestone on the road to immortality!

Despite its obsession with The Rules, it’s been three decades of contradictory, legacy-obsessed complication. To celebrate the anniversary, Jokerside looks at the lesser seen and most fascinating part of the franchise’s convoluted saga. Not the past Highlands of Scotland, or the presents New York of The Gathering, but the unmistakably dark future awaiting humanity no matter who wins The Prize

IF THERE’S ONE THING ABOUT BEING IMMORTAL, YOU’RE GOING TO SEE A LOT OF THE FUTURE. JUST AS LONG AS YOU KEEP YOUR HEAD. But if there’s another thing, it’s that the complicated franchise that sprung from 1986’s Highlander is all about avoiding that future. On one hand, each Immortal is trapped in The Game, the ultimate Darwinian whittling process that reduces their number in one-one-one sword combat according to The Rules. Down until the last Immortal standing, the One has blocked every other immortal from seeing that future by default. And their reward is The Prize.

But for a franchise every bit about time as very old men (usually) decapitating each other, it’s the future that casts the most ominous shadow. Yes, even compared to the desperate times of the past, present and Kurgan. As it’s all about time, it’s hardly a surprise that Highlander has struggled with internal consistency from its beginning.

Crucial to the mix is that past of course. Everything’s built on it, and that’s especially pulled out in the rolling soap of the 1990s series that followed that other younger MacLeod, Duncan. Letting grudges and loss scar every immortal, with a wry poetic justice ready to play out in the present, that’s crucial ingredient. That contemporary time has moved since the 1986 of the original film. Onto the presumed 1994 of the third film or the rolling final decade of the 20th century during the television series and first spin-off film. But it remains a small window considering the incidents that built to it. The present is the audience’s window into a hidden world of course. It amounts to fascinating scraps that for all their faux complexity never rise above the simple concept of an archaic fight to the death unravelling in the shadows. It’s the interactions with mortals and skewered police procedurals that make for the intrigue around it. Mortals remain crucial to the plot, but seldom seem affected by the outcome…

Because then there’s the future.

A little bit of asking around the fans, slightly familiar and couldn’t care less of Highlander doesn’t feedback ‘The future’ as a big patch in Highlander’s broad tartan. But for Jokerside that’s the most fascinating part. And typically, there’s more than one aspect of it in the saga’s different continuities. There’s a future post-Immortals where the final player has claimed The Prize, but also alternate futures where immortals are still awaiting The Gathering.

What’s intriguing is that either way, it never pans out too well.  For any of us.

The Threat of the Future

Of course, while Immortals may have long lives of various lengths, packed with memories and presumably great brain power to store it, but most Immortal existences are focussed on surviving to the future. An interesting side effect of knowing far more about the past than any mortal.

Highlander (1986)

Madison Square Garden, 1986. The posturing, melodrama and frankly confounding rules of a wrestling bout in the great arena is just a cover. In the car park below a shout of “MacLeod” pulls us into The Game. The challenger soon dispatched, and with that kill we’re at a step closer to the end of The Gathering.

In 1986’s Highlander Connor MacLeod has been lodged in New York for a considerable time, the pre-destined place of The Gathering. Later in the film MacLeod’s mentor Ramirez eloquently describes it as “An irresistible pull towards a far away land. To fight for The Prize.”

In that first film the last handful of Immortals have assembled for a finite Gathering, despite some ambiguity in what the friendly Kastagir says to MacLeod halfway through. Those Immortals have been whittled down to a handful come the start of the film after centuries of undercover warfare. MacLeod’s opening kill is a scrappy affair which the Highlander finishes with a decapitating strike so strong he embeds his sword in a concrete pillar. When he does he doesn’t utter a word. The first utterance of that famous line falls to his nemesis, The Kurgan.

 “There can be only one”

Of course, that first film makes a classic franchise mistake. Not only does it start in the very final days of The Game, even worse it links the hero’s victory right back to his origin. It’s the same mistake bigger and better received films have made. 1989’s Batman is a prime example. There, slotting the Joker back into the Batman’s creation just as the Dark Knight later aids the Joker’s emergence may look great on paper, but villain takes the twisted superhero’s motivation with him at the end. That was something the DC franchise struggled to move on from… Highlander gave up pretty much instantly. Continue reading “Highlander at 30: The Beginning – Threat of the Future”

Jungle Garb: Star Wars Episode VI – Return of the Jedi

Star Wars VI - Return of the Jedi

Star Wars VI - Return of the Jedi

Third, a long, long time ago in a galaxy far, far away… There was a jungle moon…

A glimpse at the original Episode VI, its iterations and context in the wake of The Force Awakens glorious boosting of Hollywood’s mightiest space franchise.

Black shirt Jedi

IF NOTHING ELSE, RETURN OF THE JEDI BROUGHT SOUND TO CINEMA IN 1983. IT WAS THE FIRST ENTRY OF THE STAR WARS SAGA TO EMPLOY THX TECHNOLOGY. But more importantly, it was a closing chapter on the saga that had sent palpable shockwaves across Hollywood… And would influence film-making forever more.

It’s the one with the Ewoks, the one with the Emperor. The one that simply can’t live up to the promise of its two predecessors. Return of the Jedi completed what is no enshrined as the original trilogy exactly six years to the day after the first film’s release. And it was here that Star Wars became ever-so-slightly self-derivative; ruling out any similar accusations against the latest instalment, The Force Awakens. While the majority of the film is dedicated to completing the story in a huge multi-set-piece final act, it was happy to pick up the familiar and convenient elements of the Death Star and space dog fights from the first film. It continued the process of focussing the epic space opera through one bloodline that had been set by the conclusion of The Empire Strikes Back and Jedi took to some strange if strangely satisfying conclusions.

Unsurprisingly, the pressure on the production was immense. The Empire Strikes Back had built on the success of its predecessor, claiming around $450 million at the world box office and critical acclaim with it. The risk had been there, with maverick creator George Lucas financing the film himself, but he recouped his investment in months and had bona fide proof that his epic space opera was no mere flash in the galaxy.

Much like the Death Star, if you could solve a few technical issues, why not recapture that Force lightning?

Star Wars: Return of the Jedi (1983)

Vader’s early arrival and purpose is an unwitting mirror of the film’s production.

Waiting three years for a resolution to The Empire Strikes Back? How on Endor have we explained that to the generations that followed? After the vapid and rather obvious developments of the prequel trilogy, The Force Awakens provided the experience closest to that long wait between 1980 and 1983, even if we’re waiting for jaw dropping revelations. If the new sequel trilogy manages to match the saber-dropping, hand-lopping twists that the original films managed, they’ve done very well indeed.

The sheer quality of Episode IV had managed to set Star Wars on an even greater course to immortality than the tremendous performance of the first film had managed. Having seen the Rebellion on the run after their unexpected victory and prematurely triumphant ceremony at the close of Episode IV, the odds seem even more stacked against the “small band of rebels” Jedi’s opening scrawl refers to. So, how surprising that at the head of the film we encounter a near completed new Death Star. The message is clear, despite the loss of ships, strategy, limbs and friends that battered our heroes in the film before, the real risk is that all their efforts might be in vain.

Continue reading “Jungle Garb: Star Wars Episode VI – Return of the Jedi”

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