Over the last few months I’ve rewatched all of the science-fiction series Star Trek: Voyager. So, as the show celebrates its 25th anniversary, here’s what I thought were the notable episodes of the final season…
* Workforce I & II. Sadly, Star Trek: Voyager concludes with a fairly uninspiring season. The pick of the stories, perhaps, is this well-paced two-parter. It begins in the thick of the action with Captain Kathryn Janeway (Kate Mulgrew), security chief Tuvok (Tim Russ), crewmember Seven of Nine (Jeri Ryan), helmsman Tom Paris (Robert Duncan McNeill) and chief engineer B’Elanna Torres (Roxann Dawson) all working on an industrial planet – and none of them can remember their true identity. Being a double-length story allows Workforce the chance to breath a little and for the character stories to bed in (Janeway, for example, has a romance). It also helps that the planet’s aliens are essentially human: the society and class interactions are more plausible than many of Star Trek’s invented cultures.
* Repression. It gets muddy towards the end, but this is a mostly watchable episode about paranoia. Tuvok must investigate after several of the crew – all former members of the Maquis resistance movement – are attacked.
* Inside Man. The latest episode in the long-running ‘Pathfinder’ story arc sees a hologram of recurring character Reg Barclay (Dwight Schultz) beamed across space and onto Voyager. However, as is the way in such stories, not all is as it seems….
* Body and Soul. Buried inside a humdrum plot about aliens who don’t like hologrammatic life forms is a run of reasonably funny scenes that feature the ship’s Emergency Medical Hologram (Robert Picardo) inhabiting the body of his colleague Seven of Nine, giving actress Jeri Ryan a chance to have some fun.
* Nightingale. Passable fluff about Ensign Harry Kim (Garrett Wang) taking command of an alien ship. (Told you season seven was slim pickings.)
* Shattered. Another time-anomaly story sees first officer Commander Chakotay (Robert Beltran) discover he has the ability to move between different time periods – and therefore different iterations of Star Trek: Voyager’s backstory. It’s silly but at least it’s not dull.
* Lineage. A sweet one, this, with no external sci-fi plotline getting in the way. Torres discovers she’s pregnant – she and Tom Paris had married a few episodes earlier – but what should be great news causes her distress. She soon considers a prenatal procedure to reduce her baby’s Klingon-ness, leaving Tom concerned. It’s a good character story with flashbacks to Torres’s childhood that lead to a cathartic explanation of her motives.
* The Void. An interesting premise motors this episode. Voyager is trapped in an endlessly featureless region of space and the crew are forced to form shaky alliances with similarly trapped vessels.
* Human Error. Seven of Nine begins to yearn for a more normal life, so plays out fantasies on the holodeck, including a relationship with an ersatz Chakotay. It’s mawkish but at least it’s about something.
* Homestead. Neelix (Ethan Phillips), the upbeat alien from the Delta Quadrant who joined the crew in the first episode, stumbles across some members of his own race living inside an asteroid. (The fact that Voyager has been speeding away from Neelix’s home world for *seven years* – and has also had several artificial jumps further home in that time – seems to be ignored. Seriously, the ship is now an unfathomably far distance away from where Neelix grew up.) It’s a fairly drab and earnest plot, designed to write Neelix out of the show before the finale. But the last few scenes, as he chooses to stay behind on the asteroid as Starfleet’s ‘ambassador’ to the region and then says goodbye to his friends, are nicely moving.
* Renaissance Man. The plot is drivel, but it’s worth mentioning here because the final few minutes are fun. The Doctor thinks he’s about to be deactivated permanently, so admits a few secrets, betrays a few friends’ confidences and confesses that he’s in love with Seven of Nine. We then learn he’s going to survive, of course.
* Endgame. The last ever episode of Star Trek: Voyager is an oddly flat way to round off a seven-year saga. We begin with what is essentially a flash-forward: it’s 20 years later, and Janeway managed to eventually get her crew home… but it took several more years with there were some fatalities along the way. So the older Kathryn resolves to travel back in time and alter history, allowing her past self and her colleagues to get back to Earth much sooner. The sequence where the ‘present’ crew do indeed make it home lacks any emotional punch and as the end credits roll you’re left with a sense of the underwhelming rather than the joyful triumph it should have been.
* Prophecy. Voyager bumps into some Klingons (again, the writers seem to have put aside just how *enormous* space is) who claim that Torres’s unborn child is the second coming or something. Then, with tedious predictability, they bang on about honour, ritual and sacred texts. Ghastly.