TV-PG, 25 45-min. episodes
Creator: Gene Roddenberry
Directors: Corey Allen, Paul
Lynch, Russ Mayberry, Richard A. Colla, Rob Bowman, Cliff Bole, James L.
Conway, Richard Compton, Joseph L. Scanlan, Michael Ray Rhodes, Kim Manners, Michael
Vegar, Les Landau, Whin Phelps, Robert Becker
Writers: Gene Roddenberry,
D.C. Fontana, John D.F. Black, Katharyn Powers, Michael Baron, Herbert Wright,
Richard Krzemien, Diane Duane, Michael Reaves, Michael Halperin, Worely Thorne,
Larry Forrester, Maurice Hurley, Tracy Tormé, Lan O’Kun, Robert Lewin, Patrick
Barry, Michael Michaelian, Hannah Louise Shearer, Robert Sabaroff, Karl Geurs,
Ralph Sanchez, Sandy Fries, Richard Manning, Hans Beimler, Joseph Stephano,
Deborah Dean Davis, Deborah McIntyre, Mona Clee
Starring: Patrick Stewart,
Jonathan Frakes, LeVar Burton, Denise Crosby, Michael Dorn, Gates McFadden,
Marina Sirtis, Brent Spiner, Wil Wheaton
Guest starring: John de
Lancie, Michael Bell, DeForest Kelley, Colm Meaney, Brooke Bundy, Jesse
Lawrence Ferguson, Karole Selmon, James Louis Watkins, Armin Shimerman, Jake
Dengle, Tracey Walter, Mike Gomez, Stanley Kamel, Eric Menyuk, John Durbin,
Brenda Bakke, Jay Louden, Josh Clark, Frank Corsentino, Douglas Warhit, Majel
Barrett, Robert Knepper, Nan Martin, Robert Ellenstein, Carel Struycken, Anna
Katarina, Lawrence Tierney, Harvey Jason, William Boyett, David Selburg, Karen
Montgomery, Sam Hennings, Patricia McPherson, Leonard John Crofoot, Carolyn
McCormick, Gene Dynarski, Katy Boyer, Alexandra Johnson, Clayton Rohner, Marsha
Hunt, Michael Pataki, Jerry Hardin, Brenda Strong, Jandi Swanson, Walter
Gotell, Elizabeth Lindsey, Gerard Prendergast, Mario Roccuzzo, Ward Costello,
Robert Schenkkan, John Putch, Robert Ito, Stephen Gregory, Vaughn Armstrong,
Charles H. Hyman, David Froman, Vincent Schiavelli, Marco Rodríguez, Vyto
Ruginis, Julia Nickson, Judson Scott, Merritt Butrick, Richard Lineback,
Kimberly Farr, Ron Gans, Michelle Phillips, Rod Loomis, Henry Darrow, Ray
Reinhardt, Jonathan Farwell, Michael Berryman, Marc Alaimo, Anthony James, Leon
Rippy, Gracie Harrison, Peter Mark Richman
I was told after I reviewed
all three seasons of the original “Star Trek” television series, that I would
enjoy “Star Trek: The Next Generation” even more. Although, I was a huge fan of
“Star Trek” as a kid, I never watched “Star Trek: The Next Generation” when it
was on TV. It was a matter of bad timing. It started airing at that period in
my late high school life when extra curricular activities began to take
precedence over television. It was also on one of those new channels that
seemed to be forbidden on my father’s television. Then, I went on to college
and pretty much stopped watching television all together. So, I was very
excited to start watching this “new” ‘Star Trek” series 25 years after the fact
thanks to Netflix.
My first impression is that
for the most part my friend was right. I don’t really like it more after only
the first season, but there are certainly some aspects that make it more
enjoyable. Mostly, this one just hasn’t dated as much as the original series.
The improved production values really free the viewer up to enjoy the stories
and science fiction more than on the original series. There is so much
suspension of disbelieve involved in appreciating the original series that it
can be a bit of a strain on those enjoyment receptors, I suppose.
What the sophomore series
lacks are the strong characterizations of the original. This is something I
hope improves over the course of the series. Of course, there is a much larger
cast of primary characters this time around. While some of the supporting
characters of the original series, like Sulu, Scotty, and Chekov, grew into
larger roles; the core characters of that series were really only Kirk, Spock
and Bones. Here there’s Picard, Data, Geordi, Riker, Worf, Troi, Dr. Crusher,
Wesley, and Tasha Yar. That’s a great deal of character development to handle
and it obviously takes a few character cutbacks and more than a season to do
it.
The first season is filled
with a great deal of establishing elements throughout the entire season. You
can see the writers trying to establish interest in the many different crew
members. Rarely has the structure of a series been as easy to dissect as this
one’s. That’s also because it follows such an iconic series. During the middle
episodes of the season a few aspects seem to be on autopilot and some of the
energy of the series is lost. However, the writers do a fairly good job
establishing this entire series as part of the same mythology of the original
and yet still its own individual entity.
It was a very important
choice to make Picard such a different captain than Kirk; yet it also involved
a huge risk in terms of the structure of the series. How do you rest the weight
of carrying the series on a more controlled and less active captain, especially
when the dramatic nature of the first series’ captain was one of the main
reasons for its success. Of course, Picard will become more active throughout
the run of the series than he is in the first season, but the writers use this opportunity
to make Picard the one who establishes all the new rules of this slightly
further advanced Starfleet from the original crew’s.
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