Untitled Star Trek Project

This week: a clever script, a complete absence of banter, a frog alien that scores zero on the B’omar Scale, astonishingly good incidental music by Mahler and Tchaikovsky, and two outstanding performances from Mark Harelik and Kate Mulgrew — all working together perfectly to create one of Voyager’s Best Episodes Ever. Enjoy. (You will.)

This week, on Star Trek: Deep Space Nine: Quark wants Grilka, Dax wants Worf, Nerys wants Miles, Worf wants Grilka, Miles wants Nerys, Worf wants Dax, Odo wants Nerys (probably), and Julian wants not to know any details about any of this. Meanwhile, Joe wants more of this sort of thing, while Nathan just wants some special effects and reflective surfaces, but will settle for a turbolift that goes up and down without jerking.

When the Enterprise takes on board an inexplicably touchy and unreasonable box of flashing lights dangling from a fishing line, hilarity ensues. Also, racism.

You know how it is: it’s your first spinoff — a cast of delightfully high-concept characters set against a colourful backdrop, with story possibilities around every corner. But then you find yourself limping towards the end of your first season. You’ve done the plague one, the weird alien fugitive one, the buddy comedy one with the CGI shaving cream, and the terrible boardgame one that everyone will have such fond memories of. So what’s left? How about a story where all of your beloved regulars play people no one cares about, embroiled in a conflict that no one has any interest in? We can do that, can’t we?

Space. The final frontier. These are the voyages of the starship Enterprise. It’s five-year mission: To explore Strange New Worlds. To remind us of our love the Original Series. To have a fun adventure every week. To look like nothing else on television. To boldly attempt —  for a world exhausted by impending catastrophes — to be the most authentic expression of Star Trek since the 1960s.