“Boldly Going” in new creative (and risky) directions is the lifeblood of good Star Trek

Star Trek is always best when it bets big on new ideas

Gene Roddenberry was very concerned when “The Trouble with Tribbles” crossed his desk in 1967.  It represented a departure from other Star Trek stories.  It was, primarily, a comedy and while it did have a core story element, environmental over-population, it was still a comedy. Territory the fledgling series had never attempted before.  It had some funny scenes with Captain Kirk covered in Tribbles in one scene while delivering some amusing “one-liners” throughout.  This was head-spinningly different.

If it didn’t work out, critics would laugh Star Trek off the air.  But, Roddenberry and company took the risk. The show leaped into popularity, becoming one of the most loved episodes of all time.

It provided an important lesson: the show could be flexible and still be great Star Trek too.

Ten years later Star Trek would take its first plunge into a new genre: animation.  Star Trek moving into the “superficial” world of Saturday children’s television could kill off any future live-action prospects and while many adults loved TOS and wanted to see its return to network television they also cringed at the idea of a “children’s version” with dumbed down storytelling.  What they got was a trimmed-down, but fairly faithful version of the original show.  The Television Academy also rewarded it with an Emmy for “Best Children’s Program” in 1975.  Even today, 50 years later, new fans are discovering this “lost” Trek series, finding many storylines compelling and interesting. The pinnacle episode was “Yesteryear” which would become the inspiration for much live-action Trek that would follow, decades later.

“Fresh minds, new ideas!”

When TNG came on the scene it too made some creative (and risky) choices.  In reviving the live-action episodic Star Trek, Roddenberry deliberately chose TNG’s debut 95 years after TOS, making TOS cast return problematic best, instead forcing introducing completely new characters, and even adding a young teen, to the mix. This was a virtual creative suicide pill for long-time fans who saw the character as a cheap trick to gain new, young viewers.

Forcing storylines to work around new, rather than well-established characters proved risky and unlike the original series, it took TNG several seasons to get “new” Star Trek right.  But “right” they did (eventually).  TNG is routinely voted the most beloved of all Star Trek series. The risky, creative changes paid off.

In 1993, Rick Berman and Michael Piller took the next creative chance, a new Star Trek space adventure series NOT centered around a space-fairing starship like TOS and TNG, but instead taking on darker storylines centered on a space station.  The idea itself seemed contrary to Trek’s main mantra and Roddenberry’s belief the “Enterprise” was as much a central character as its human cast. DS9 also grappled with a less-than-idyllic Trek universe, introducing both internal and external conflict.  Finally, this new series went for diplomatic intrigue as its main dramatic driving force – hardly standard Star Trek storytelling.

Fans rebelled early and the first season was uneven at best. But eventually, it found firm footing utilizing a novel (at the time), continuing story arc.  While DS9 was the most controversial and divisive of 1990’s Star Trek offerings, it still retains a loyal audience.  Many themes originating in that series have lived on in subsequent Star Trek series, allowing for broader storytelling.

Finally, we look at contemporary Star Trek.

Lower Decks and Prodigy return us to animated storytelling.  Maybe the most both feature is they are both Star Trek canon (something TAS never officially achieved). One is a comedy, now loved by many, many fans, the other a departure from classic Trek storytelling but offering younger fans stories of respect, honor, and integrity. I have to admit, that I have a soft spot for this series, and since it doesn’t follow standard Star Trek expectations, we are treated to very unpredictable stories and character development.  Our heroes spent much of their first season, on the run from Janeway and crew.  I couldn’t help but hope this resourceful, young crew would escape their “olders” and continue their voyages of personal discovery.

And now comes the riskiest of the risky, Strange New Worlds musical episode, “Subspace Rhapsody” (Paramount Plus)  This one episode departed so fully from our expected storytelling, that it created massive fan comments, both pro and con.  But, through a curious plot-point twist, managed a wonderfully imaginative episode, showing off the cast’s enormous talents along the way.

Love it or hate it – it will most likely, be one of the most memorable Star Trek episodes ever.

As Captain Kirk said in “Return to Tomorrow”, “Risk is our business, that’s what this starship is all about. It’s why we are aboard her.”  He has a point, you know.  Star Trek always seems “best” when we get to see our favorite show through a new lens. As long as our characters are presented faithfully and coupled with stories highlighting Star Trek’s best qualities, there will always be room for experimentation,  fulfilling its mission: “boldly going where no Trek has gone before.”