Until the early 90s, prime-time dramas, much like sitcoms and other kinds of series, were mostly episodic, meaning the show had a basic premise that was all you really needed to understand in order to tune in. You could watch any episode in any order without needing to see everything that came before it. Sometimes there was a slight progression or one episode that would call back to another, but if you missed an episode here or there, you didn’t have to worry that you couldn’t follow the next one. Every week was a new, stand-alone story with the same characters, similar to Sherlock Holmes stories. These shows tended to be somewhat formulaic in order to come up with enough material to do several seasons, often over 100 separate stories. Good examples of this are Star Trek: The Next Generation and the early seasons of The X-Files.
Series like Star Trek: Deep Space Nine or Babylon Five were seen as experimental but drew in large audiences because they took longer to tell big stories. Their characters went through deliberate changes, evolving with their grandiose plot arcs. Instead of occasional two-parters, every story would be bigger than one episode, sometimes lasting entire seasons or longer. The drawback to these sorts of shows is that they’re a long-term commitment– if you don’t watch the whole season, if you miss even one episode, you could be missing an important piece of the puzzle and be totally lost until you catch the rerun or wait for the dvds.
These continuous shows are becoming more and more common. Sci-fi fans are especially beginning to expect it. The most successful shows are of this type, shows like Heroes, Lost, and 24. The days of the formulaic and episodic sci-fi show, ala Quantum Leap, seem to be mostly behind us. Why is that? I hear a lot of talk in director commentaries and interviews about this being a positive step forward, that we’ve moved to this kind of storytelling because it creates deeper, changing characters and more complex stories can be told. That’s certainly one of the pluses to the continuous format, but I wonder if that isn’t more of an effect than a cause.
This trend is best illustrated by Smallville. The first season was mostly episodic– you really didn’t have to see the episodes in order (except maybe the pilot) to understand another, even though minor details would come back here and there, and there was a slight build up to the season finale. Slowly but surely the show moved in more of a continuous direction and now it follows the Lost and Heroes thread– you need to see pretty much every episode of a season to follow it. In fact, one of its biggest problems these days is that it still does lame, contrived one-shot episodes in the middle of season arcs that bog down the story. So why didn’t it just stay with the episodic format? I think it’s because writers keep covering the same territory. There are only so many one-shot sci-fi plots you can do in a show. A lot of completely unrelated shows have reused a lot of the same premises. For example, how many times have you seen the fight club scenario? A main character gets kidnapped and forced to fight to the death, and the supporting characters have to rescue him/her. I’ve seen it in Star Trek: Voyager, Angel and Smallville (just last year!). And get this: Birds of Prey was an episodic show that only got 13 episodes, and ONE of them was a fight club episode!
Voyager, “Tsunkatse”
Smallville, “Combat”
My point is, these huge stories that go through an entire season or even a whole series, in the case of Lost, is thriving, I think, because there seems to still be some unexplored territory there. Granted, it’s been THE popular format for close to a decade now (after shows like Deep Space Nine were no longer simply experimental) and so a lot of that ground has been covered. What’s nice about them is that very long stories can look more original, even if they aren’t really in essence, because so much more can happen within them. If the fight club scenario was a six-episode arc, it’s possible something more than the same old formula could be done with it. Heroes has been criticized as being just a live-action X-Men, and yet it’s extremely popular. Is that because the stories are so complex and the characters are given time to mature and grow, so we really don’t mind that the initial premise is something we’ve seen before?
But I sometimes wonder if expecting your viewer to watch every single episode of a show is still too much to ask. A lot of networks have begun putting full episodes on their websites in case you miss something, which makes it a lot easier to catch up if you miss something. But I find it a lot harder to follow a lot of shows at once this way, not only because I have to see every episode, but because there’s a lot to keep track of. With 24, you have to remember everything that’s happened in a day and you have to readjust from it’s hour-to-hour format after watching anything else (which is pretty jarring until you get used to it). With Heroes, I have to keep up with a lot of characters and how they’re all connected, and ditto with Lost, except there I have to remember pretty much everything that ever happened because it all ends being important to understand anything that’s happening!!!
I realize the episodic format isn’t dead. A lot of cop shows still keep this and I think CSI is too, though I’ve never watched it. Chuck is an interesting hybrid of both, with contained stories but a lot of through-lines that only matter if you care to keep up.
So what do you think? Do you prefer the current trend of continuous shows or do wish you could just tune in whenever you wanted and didn’t have to make a TV show a six, seven, or even a ten year commitment? I’d love comments on this.
25. The Klingon forehead debate- It’s odd that one of my favorite things about Trek is actually technically a continuity mistake, but it’s become a huge part of the mythos. The Klingons in TOS had dark skin, beards, and wore chain mail, and that’s all that distinguished them from humans. Then comes The Motion Picture, while creative license was taken and a new look was born– the very menacing-looking Klingon forehead ridges. This look continued throughout the films, TNG, DS9, and Voyager. The strange anatomy difference between TOS and what came after it is never spoken of until DS9’s “Trials and Tribble-Ations,” where Worf says that they don’t talk about it with outsiders and refuses to comment further. In the final season of Enterprise, a two-parter was written to explain why Klingons in that series still had the forehead ridges we see in the 24th century, but why they’re missing in TOS– it has to do with experimenting with the DNA of human augments from the eugenics wars. It was a clever idea and very well executed, but it doesn’t really explain how the Klingons eventually got the ridges back… and so, the debate rages on!
24. “Live Long and Prosper”- Along with the famous Vulcan hand gesture, this is one of those lines Trek is known for, far outside fan circles. It’s a pretty logical greeting and farewell– the big goals in life are to live a long time and “prosper,” probably meaning either to procreate or do something else to benefit society or the galaxy at large. It sounds so much more profound than “see ya later” or “have a nice day” and that’s why even I use it, as my blog sign-off.
23. The Kirk/Spock/McCoy dynamic- TOS was built around a brilliant triangle of characters. Kirk was in charge but looked to Spock and Bones for advice. Spock respected his Captain and the Doctor but didn’t understand human emotion and thought that McCoy especially was too quick to respond emotionally. And McCoy was quick to tell Kirk whenever he thought he was wrong and he understood Vulcans even less than Spock understood him, thinking Spock often cold and uncaring for being so unemotional. Unlike the other series, TOS was less about the full ensemble and more about these three characters, who became very well characterized and quite identifiable. The ensemble format of the other series made all of the characters more three-dimensional, but that was all spawned from this interesting dynamic. Enterprise tried this triangle idea with Archer, Tucker, and T’Pol, but it was poorly executed.
22. Holodecks- Although there were maybe too many episodes that centered on them, holodecks allowed our characters to get off the ship without always having to go to bizarre alien worlds. It let a lot of early Earth culture, history and literary references seep into Trek, so that while the series went into the future, it didn’t forget where it came from and it wasn’t afraid to compare itself to history. Holodecks also made for fun humorous episodes, creating things like Captain Proton, Data’s Shirlock Holmes program, and holodeck obsession as an interesting psychosis with Reginald Barclay.
21. Seven of Nine- She saved Voyager from being canceled and she added a human dynamic to the show that it was drastically lacking before. Voyager had so many alien characters and Maquis, which were so different from Starfleet ideals they might as well have all been alien, that Seven gave Voyager new dimension. The Borg Collective became more of a flawed philosophy and Seven actually made some compelling arguments in favor of the lifestyle. Naturally, individuality wins out, but that was a debate that hadn’t been explored nearly enough at that point. Plus, she brought the Borg in as a regular villain, and it was much more fun to see them every few weeks than the Kazon.
20. Cloaking Device- The cloaking device was great because it gave Starfleet’s two biggest enemies (at least before TNG)– The Romulans and the Klingons– something it didn’t have. It made them more of a threat. Some of the best moments in Trek are when a ship decloaks and you didn’t expect it. Some interesting stories came from the device, including the phasing cloak in “The Pegasus” and the only cloak Starfleet did get away with using on the Defiant in DS9.
19. Phasers- I’m sure this needs little explanation. Phasers are one of the technologies Trek is most known for. There are many different kinds with different settings, but I just like them because they have cool sound effects.
18. Treknobabble- Starting with Scotty, Trek is netorious for it’s made-up tech and bulky explanations of it. It’s the classic way to get out of a tough bind. Sure, it’s a bit of a plot contrivance, but it’s a TV show! It’s the formula the thing was based on and part of Trek’s particular charm. Although you’d be surprised how much of it sounds like babble and is actually worked out and in starship tech manuals.
17. Locutus of Borg- “The Best of Both Worlds” is arguably one of the best cliffhangers in television history, not to mention widely considered TNG’s best episode. Locutus is a frightening and unique villain because he is Picard, but he isn’t, being an unwilling part of the Borg Collective. Riker’s decision to fire on the ship at the end of Part I is nerve-racking– back in the day, there was no telling if Picard would survive or not. Of course, he was rescued in Part II, but for his brief moments on the screen, Locutus was one of Trek’s most memorable bad guys.
16. Vulcan nerve pinch- Spock can take a guy out without any violence whatsoever. He grabs his neck and the guy’s down. What’s a more logical maneuver than that? It may seem like a quirky plot device, yet it’s actually more realistic than knocking someone out for minutes or hours by punching him in the face one time which frequently happens on television but rarely in real life. But in order for characters to get out of a trap or get past some guards, it’s often a necessary-but-contrived plot contrivance. TOS was brilliant for this invention, and it’s too bad only Vulcans could do it… with the exception of Data.
15. Klingon language- Star Trek has a fully realized artificial language with a full vocabulary and syntax. How many shows can boast that? There is a fair amount of Klingon spoken in Star Trek, and while the actors haven’t always gotten the pronunciation just right, it’s real Klingon. You can look up any Klingon word spoken in Trek in the Klingon Dictionary. I have studied the language some myself and though the words are difficult to memorize, the grammar isn’t too difficult to learn– but it is unlike any language you’ve ever studied. There are also full classics– including Shakespeare’s Hamlet and Much Ado About Nothing– which have been translated in Klingon and are available for purchase.
14. Tribbles- Everybody loves tribbles. I don’t know if it’s because “The Trouble With Tribbles” was the first real comedy episode of Star Trek or if fuzzy creatures that won’t stop multiplying all over the ship was such an absurd idea for plot conflict that everyone remembered it, but between that episode and “Trials and Tribble-ations,” they’ve charmed fans and non-fans alike.
13. Vulcan mind meld- I realize the Vulcans have made this list a lot, but this is their single greatest contribution to the mythos. The Vulcans could have simply been a telepathic species but somehow mind-melding is more epic and often jarring to watch. The idea that someone can touch you and know everything you know is a little scary and it helps us understand why the Vulcans have to be so logical and unfeeling. If they weren’t, they could use this ability against anyone they wanted to (much like Sybok did in Star Trek V: The Final Frontier). In a sense this is a little like the Borg concept with two “minds being one,” but they’re usually used to help people find information they’ve buried, come back from a coma, or even regain mental stability, in the case of Sarek in TNG when he melded with Captain Picard. Melding allows us to explore characters minds in a way never before done in another series.
12. Warp Drive- Warp drive is another ingenious invention because it’s light speed (which we know is virtually impossible to achieve) but with a good deal of logic behind it, since it’s accomplished by folding space. We couldn’t have Trek without warp, and it’s given us some of the best special effects in science fiction film and television.
11. Q- Trek’s best villain, second only to Khan. Q first appeared in TNG’s pilot, “Encounter at Farpoint” and he was truly where no one had gone before. He was similar to Trelaine from “The Squire of Gothos” in that he was of a race of omnipotent beings, but Q was more menacing and until he appeared in Voyager, more dangerous. John deLance’s sarcasm and humor made him a thrill to watch every time he appeared and he’s probably Trek’s most unpredictable character. You always know you’re in for a treat with Q because you’re never sure exactly what he’s up to. It’s not until the final episode of TNG, “All Good Things,” that we realize Q really does care about what happens to Picard and humanity. He was a perfect counterpoint for Picard and served well as his “Khan.”
10. Khan- Hands down, Trek’s greatest villain. He only appears twice but it’s a testament to the impact he had on Trek lore in “Space Seed” that his second appearance was in a film where he had the title role. Khan’s back story of being the genetically engineered ruler of two-thirds of the planet during the late 90s is nothing short of epic, as is his never-ending mission of revenge in The Wrath of Khan. “Revenge is a dish best served cold” is one of the most quoted lines in our popular culture, and with good reason.
9. The Mirror Universe- There is nothing more fun than seeing complete opposite, evil versions of all the characters you’ve come to know and admire in a series. “Mirror Mirror” gave us just that, answering the question of what Star Trek would be like if it were about a negative future instead of a positive one. After all, Roddenberry’s optimistic vision is great, but dark and twisted is a very fun place to go. “Mirror Mirror” along with the several Mirror Universe episodes of DS9 and the two-part “In a Mirror, Darkly” in Enterprise gave the actors a real challenge to play the same characters, but if they had existed under entirely different circumstances. The message at the end of “Mirror Mirror” of Kirk telling mirror Spock that one man can make a difference in an entire universe is my personal favorite of TOS.
8. Redshirts- Don’t beam down in a red shirt. If you do, you’ll probably die. Everyone knows this– even a lot of non-Trekkies. There has definitely been a pattern of dispensable crew members in Star Trek and while we laugh at it, it’s definitely one of the things that makes TOS most classic and memorable.
7. First Contact- This movie was hands-down the best of the TNG films. It may have had a few plot holes but overall, it was a masterpiece. It re envisioned the Borg and made them finally look truly frightening. It made Zefram Cochrine a well-developed, human character. And it finally revealed that Earth’s first contact with an alien race was with the Vulcans. It also introduced the Borg Queen, which many fans thought was a mistake, yet she is a worthy opponent for both Picard and Data and her upper body dropping from the ceiling to connect with the rest of her was an incredible special effect.
6. Transporter- This is the most ingenious of Trek inventions. It was created to save the producers money in visual effects and time in story-telling– if you transport people to a planet, you don’t have to show shuttle crafts all the time. But it also looks really neat and is a sound idea, in theory. More than even warp drive, the transporter is a technology we can imagine actually working and it’s probably the technology from Trek that has sparked the most imagination.
5.The Prime Directive- Starfleet’s most prized principle of non-interference with other cultures has spawned a lot of great ethical and moral debate in Trek and is where a lot of its heart comes from. It’s a good, noble idea and most everyone would probably agree with it… yet one blanket philosophy doesn’t cover every situation. Sometimes the right thing to do, as every Captain in Trek has learned, doesn’t mesh with this directive. That’s where the best conflicts come, and these debates are what made Trek a unique and smart series.
4. Enterprise NCC-1701- The original starship under Captain Kirk. It’s one of our most recognizable images in American culture, it’s epic, and it’s classic. Many of the later ships look great, but you couldn’t have those designs if you didn’t have this one. That first ship shaped the whole future of Star Trek– I’d argue that a lot of seemingly-unrelated decisions, stories, characters, sets, props, etc. may have been effected with a different ship design. The saucer, the nacelles, all of this came from that first, beautiful design.
3. Captain Picard- Probably the most confident, or at least confident-looking character in Trek, Jean-Luc Picard gives a lesson in good leadership every time he appears. He’s the kind of Captain who rarely makes a mistake and when he does, he never makes it again. Picard is who I think most men want to be– reliable, disciplined, and able to appear indestructible. Add to that Patrick Stewart’s top-notch acting and accent and there’s nothing not to like about Picard. Even in bad episodes, Picard is always worth watching.
2. Captain Kirk- Well… I can’t put Picard above Kirk. I just can’t. James T. Kirk is the classic Trek Captain. He never makes a mistake, and I mean never. Even if we the audience thinks he does the wrong thing, it’s not in the context of Star Trek. Evil computer running the lives of an alien race? Kirk is going to destroy it no matter the ramifications. Maybe that seems like a bad idea, but he’s Captain Kirk. If he says blow up the computer, that computer’s got to go! His womanizing and dramatic line-delivery only makes him more charming and fun to watch. Kirk is the guy every man wants to be who doesn’t want to be Captain Picard… which, now that I think about it, might be a higher percentage. Kirk is younger, looked good to the ladies when his shirt got ripped off, and he could fight. Kirk will forever be one of the top 5 cultural icons of the 20th century and probably beyond, right up there with Superman. And like Picard, he had some great speeches.
1. Deep, complex continuity- Star Trek has over 700 episodes and 10 films. It has a lot to say and there’s something in it for everyone. Once you know Star Trek as well as someone like myself, you can make a Star Trek connection with almost anything. It’s a universe with a rich history both in canon and out with a huge mythology like nothing else on television. The best thing about Star Trek is that there’s so much of it, by the time you’ve seen everything there is to see, you’ll be a different person when you go back and start all over. You’ll always take away something new from it.
