If, like me, the thought of a new Star Trek TV series fills you with a peculiar combination of hope and dread, you might be interested to learn that CBS has employed the services of the writer, Nicholas Meyer for the new (as yet, untitled) Star Trek reboot due to be aired in 2017.
Nicholas Meyer is no stranger to the Star Trek franchise, having written several of the original cast films. After the original Star Trek series was cancelled and Star Trek: The Motion Picture flopped, Meyer breathed new life into the dying franchise by writing Star Trek II: The Wrath of Khan. Since the success of that film, the Star Trek franchise exploded into the phenomenon it is today, with more TV spin-offs, films, computer games, conventions and merchandise than you can shake a bat’leth at. Indeed the Abrams film, Star Trek: Into Darkness, which is replete with references to The Wrath of Khan, serves only to underline the fondness fans have for that particular film. I doubt I’m the only fan waiting with bated breath to see what kind of story Meyer is going to cook up for us in 2017.
Fans have been, at best, mixed in their opinions about the most recent Star Trek offerings. Star Trek: Enterprise was, in my humble opinion, truly dreadful. I think I knew it was going to be dreadful from the moment I heard the words ‘It’s been a long road…’. I have a great deal more respect for the efforts of Abrams in creating Star Trek (2008) and Star Trek: Into Darkness but even these seem to lack the magic of the original series and The Next Generation. I doubt I’m alone in wondering if Meyer can again save Star Trek from dying a very slow and painful death or if it really is ‘time to put an end to your trek through the stars’ (Q in TNG ep., ‘All Good Things’).
Perhaps the reason the previous series have all been so successful (Enterprise notwithstanding) is that they were all very different from each other. Thus, even though they were all set in the same fictional universe, there was never a feeling that one was a poor imitation of the other; rather, they stand side by side to create the great tapestry that we now think of as the Star Trek universe.
The original series first aired in the mid-’60s and it shows, not only in the costumes, music and other stylistic points but also in the kinds of themes it explores. For example, through the depiction of a utopian future, issues of racial equality are dealt with again and again through-out the original series at the very same time that real-life people like Martin Luther King Jr. were actively involved in the American civil rights movement. Nevertheless, this ‘utopia’ still does not allow for female captains. In fact, the final episode of the original series specifically deals with a woman who wishes to captain a starship and, in an effort to do so, swaps bodies with Captain Kirk and is eventually busted because she was ‘hysterical’.
Jump ahead to The Next Generation and we see a Star Trek universe which has definite continuity with the original (no doubt due to the fact that it was created by Gene Roddenberry, who also created the original) but has also adapted to suit the period it was aired (late ’80s-early ’90s). Female captains are now seen on screen (although it is not until Star Trek: Voyager that we see a female captain in the regular cast) and we now also see that the Star Trek ‘utopia’ has expanded to include the disabled, such as Geordie LaForge; the blind chief engineer who is in no way disadvantaged or patronised on account of his blindness.
Since [being blind and wearing the VISOR] are both a part of me and I really like who I am, there’s no reason for me to resent either one (LaForge in TNG ep., ‘Loud as a Whisper’, parenthesis mine).
The themes dealt with in each series are by no means the only differences, especially when you begin to diverge into the Voyager and Deep Space Nine series. The creators of these two shows (both created after the death of Gene Roddenberry) very wisely shied away from imitating Roddenberry’s work by creating yet another series about humans exploring space on the starship Enterprise but instead created two completely different stories which complimented the series created by Roddenberry. Voyager, like the first two series, is also set on a starship, however instead of exploring the galaxy, the crew of the starship Voyager are lost on the other side of the galaxy and are trying to make the treacherous journey home. Deep Space Nine is also very different to the other series. This show is not set on a starship at all, but on a space station orbiting the planet Bajor. It includes a complex meta-narrative, far darker and more intricate than anything seen in previous incarnations of Star Trek.
When we compare this to Star Trek: Enterprise and the Abrams reboot, it is perhaps a little easier to see why both of these have proven to be so unpopular. In and of themselves, they are entertaining enough to watch but they both attempt, in their own ways, to recapture and update the magic of Gene Roddenberry’s original creation. In this, they fall sadly short.
We can really only speculate as to what the new series will be like, since CBS have been pretty tight-lipped about it so far. Enterprise and the Abrams reboot may give die-hard fans reason to believe that the new series will be a disappointment but I do not believe it is fair to write off the new series before we have even heard any details about it. Unofficial fan-made shows and movies such as Star Trek: Renegades and Star Trek Continues suggests to me that it is still possible for gifted writers who care about Star Trek to create a new Star Trek that is worth watching. I think what matters most is that Nicholas Meyer and any one else involved in writing for this new show remains as faithful as possible to the work of Gene Roddenberry while still feeling confident to go carefully, reverently and boldly where no one has gone before.