Over the last few months I’ve rewatched all of Star Trek: Voyager. Here’s what I thought were the notable episodes of season three…
* Before and After. In the midst of a fairly pedestrian season comes this really wonderful episode, which has one of those timey-wimey plots Star Trek can do so well. As the story starts, we’re several years into the future and Voyager nurse Kes (Jennifer Lien) is now an elderly woman. We then follow her as her consciousness jumps back in time every so often, so we see her at earlier and earlier ages but she only retains memories of her future experiences. But this is not just a sci-fi gimmick. Along the way, as Kes grows younger, she develops as a character and there are effective themes concerning memory, grief, senility, trust and loss. Superb stuff. (Aptly and bizarrely, the episode itself also seems to have knowledge of what’s to come: the structure is not a million light years away from the 2000 film Memento, while there are foreshadows of events we’ll see in Voyager’s next season.)
* Flashback. Produced to honour Star Trek’s 30th anniversary, and featuring classic-series character Sulu (George Takei), this is muddled, dull and has a plot constructed from various bits of nonsense. It even has a ‘Who knows?’ final scene because the script can’t begin to justify what’s happened. It’s mentioned here solely so we confirm that the equivalent episode made at the same time by sister show Deep Space Nine – a playful and postmodern time-travelling romp called Trials and Tribble-ations – is *far* superior.
* Chute. A not-bad one that sees Ensign Harry Kim (Garrett Wang) and helmsman Tom Paris (Robert Duncan McNeill) trapped in an alien prison. It benefits from starting with them locked up, so we jump straight into the story, but it’s a shame the show’s episodic format means they can’t be locked up for that long. Where’s the bravery to say, ‘Six months later…’?
* False Profits. As the punning title suggests, this episode sees a pair of Ferengi, money-obsessed aliens often seen in other Trek shows, crop up. They’re posing as gods on one of those Star Trek planets populated by naïve locals. It’s not the best episode but it does point the way forward: familiar Star Trek continuity from the Alpha Quadrant is starting to encroach on Voyager’s isolationism now.
* Future’s End Part I & Part II. Essentially Voyager’s take on the 1986 Star Trek film The Voyage Home, this sees our characters flung back into Earth’s past – ie, what was the present day to contemporary viewers (1996). There’s a convoluted setup, but no matter: this two-parter is not asking to be taken too seriously. The script has a sense of humour, the cast are enjoying playing their characters as fish out of water, and guest stars Ed Begley Jnr (the villain) and Sarah Silverman (a 1990s woman who helps the crew) are good value. Enjoyably daft.
* Warlord. A member of the Voyager family is possessed by a despotic leader who promptly uses their body to escape the ship. The fact the character used for this plot is the sweet and hippie-ish Kes gives this hokey episode a fun incongruous feel.
* Fair Trade. An effective one about Voyager’s alien chef, Neelix (Ethan Phillips), whose loyalties tested by an old friend involved in some dodgy business deals.
* Blood Fever. A tedious and very possibly sexist episode about chief engineer Lieutentant B’Elanna Torres (Roxann Dawson) being affected by a chemical imbalance and becoming sex-mad. But it’s worth flagging up here because of its brief, rushed ending: Captain Janeway (Kate Mulgrew) and Commander Chakotay (Robert Beltran) find the body of a Borg in some undergrowth. It was inevitable this would happen at some point in the series, given that the characters are stranded in the Borg’s area of space (and that the Borg – totalitarian, cyber-enhanced drones – had recently been given a boost of publicity thanks to being the bad guys in Star Trek movie First Contact).
* Unity. The Borg enter the story in an odd communism metaphor that sees a group of survivors unwilling to give up the order and security being part of a monolithic society had provided them. Chakotay has sympathy, largely because the group’s leader is blonde and pretty.
* Rise. A schlocky but enjoyable episode with one of those sci-fi gimmicks (an enormous elevator, basically) that works as both a setting for an action plot and as a metaphor for our characters’ predicament. Neelix and Lieutenant Commander Tuvok (Tim Russ) get lots of attention, the story feels like a disaster movie at times, and the guest alien race are refreshingly free of pomposity.
* Distant Origin. It gets lumpy in its second half, when the drama becomes very obvious, but this an entertaining one overall. For the opening few scenes, it breaks Star Trek’s usual rule by presenting the story from the point of view of guest characters: reptilian aliens who evolved on Earth in the distant past before heading out into space. (Doctor Who fans will clock this notion’s similarity to one of that show’s recurring races, the Silurians.) The story is a pastiche of the resistance faced by men like Galileo when attempting to advance our knowledge of the universe, and the script has plenty to say on the topic of science versus dogma.
* Worst Case Scenario. Torres stumbles across a virtual-reality game that’s essentially an episode of Star Trek: Voyager, and various characters take turns to play its lead character. So we see lots of version of the same narrative. As it goes, a humdrum idea. But because the roleplaying game is set during a theoretical mutiny aboard the ship, the show is able to rekindle the long-forgotten tension that existed for about 30 seconds in the pilot episode. (Half the crew are resistance fighters who were sworn enemies of the Federation! Remember?!) There are also some smart comments made about storytelling devices and even inside jokes about Star Trek: Voyager clichés.
Sacred Ground. Kes in injured on an alien planet, so Janeway has to spend an entire episode humouring some smug religious types who refuse to help an innocent woman. Woeful.
Next time: Season four