I’ve been thinking about the past and future of Star Trek a lot in the past year. I’ve been a fan all my life, but I don’t think the franchise has been living up to its potential for decades. This is not a view based entirely in nostalgia—I do not think a return to the strict formulae of the 1960s or the 1990s is what is needed to move forward. But I do advocate taking what is valuable from the past and bringing that with us into the future as we consider something new. So here are a few broad strokes on what I’d like to see from Star Trek at the movies (and on TV) in that future. My pipe dreams for what Star Trek could be.
“STAR TREK offers an almost infinite number of exciting Science Fiction stories…” —G.R., 1964
I want to see Star Trek storytelling like the stars themselves: full of amazing, fantastic, infinite experiences. I’m tired of war and vengeance—you can get that almost anywhere these days. Let’s see what the 25th century has to offer. Let’s see films and shows boasting epic scope, imagination, and a sense of wonder. Both huge and intimate at the same time: personal human stories on a canvas the size of the galaxy. Star Trek needs to feel like it is pushing the boundaries of human understanding and possibility. I want Star Trek to be expansive, open-minded and large-hearted, enthralled with the insane promise that human beings will someday venture to the very stars and find there new life and new civilizations. I want to be awed at the movies and thrilled for the future.

Star Trek proposes a radical hope: that humanity will be alive and thriving in the centuries to come, will have overcome greed and scarcity, will have helped to build an intragalactic coalition of peoples and worlds in the spirit of egalitarian cooperation, and will satisfy its deep desire to explore by relentlessly pushing the boundaries of the ultimate frontier, looking ever outward (and inward to know ourselves). I need that hope right now; a lot of humans do. We need more collective, cultural hope. We need to see futures on-screen that make us yearn to realize them, not ones promising more despair.
“These are the voyages…” So let’s voyage. I want Star Trek to make me feel like I’m on a ship soaring between the stars again. Show us grand ambitions we can aspire to, show us what life might be like as we sail the deep. Star Trek’s traditional understanding that interstellar travel, even faster-than-light, will take a long time (although shortened to several hours or days to serve the needs of fiction) allows us to spend time with the characters on their journeys. The fact that travel times in recent productions have been shortened to a matter of seconds or minutes is a shame—it makes the galaxy feel small, and doesn’t allow us much time for meditation or to experience life aboard ship. I want to feel the flight. The odyssey, the quest, the trek. We’re on a starship! The word still gives me chills. What could be more grand, what venture more exciting? An “enterprise” is both “a vigorous and determined undertaking” and one’s “initiative and resourcefulness.” I’d like to feel both senses of the word when I see a Star Trek movie.
I want Star Trek that is preachy and fun, joyful and serious, and unapologetically earnest and bold about its humanistic values, even if that seems corny now. I want Star Trek helmed by people who believe in optimism over pessimism, hope over despair, truth over ignorance, peace over violence, cooperation over isolation, tolerance over fear, love over hatred, compassion over selfishness, beauty over ugliness, and reason over irrationality. I want Star Trek that believes in “the fullest realization of the best and noblest that we are capable of as human beings.”
I like action movies as much as the next guy, but the mode of the modern action movie is overstimulation, usually asking as little from its audience as possible—and cranking out middling action titles is not what Star Trek is best at. Star Trek’s purpose originally was thoughtful action-adventure for adults, something that didn’t exist in science fiction. Trek’s first models were Westerns (the most popular TV and film genre of the time), shows like WAGON TRAIN and HAVE GUN WILL TRAVEL. Those still aren’t bad models. These shows featured adults dealing with moral or ethical dilemmas (as thorny as television advertisers of the 1950s would allow) in the course of their travels, overcoming these problems with boldness, empathy, sharp wit, and tough action when necessary (the violence is at a minimum in a show like HAVE GUN, which ironically is about a man who tries to use his gun as little as possible). That’s what Trek was intended to be, but in space, and with the distinct possibilities that parallel worlds, time travel, and alien lifeforms, etc, hold for storytelling. “Thoughtful action-adventure for adults” doesn’t rule out lightheartedness or even whimsy—a little nonsense now and then is relished by the wisest men, after all—but it does rule out cynicism and having our heroes solve problems with violence as a first resort. Conversely, optimism and lightheartedness don’t equal naiveté or silliness. Imbuing a show or movie an essentially optimistic worldview does not mean it can’t be taken seriously or deal with mature matters, but that maturity doesn’t mean it has to be ugly, disturbing, and violent (qualities often mistaken for maturity).
(Aside: These were always lofty goals. There will always be failures. Sometimes attempts won’t succeed, and episodes won’t hit the mark, but in those cases you can still usually understand what the writers were trying to do, whether or not it works. People like to bring up bad episodes and movies in these discussions as if that proves Star Trek is nothing special. But the existence of bad episodes does not prove that Trek isn’t philosophical or good, just that the people making it were/are only human. Sometimes our reach exceeds our grasp, but that’s okay. Failures of execution are understandable. There’s a difference between subverting the ethos of a show and merely not living up to its ideal.)
Sometimes I’ll finish a movie and think “Why can’t we have Star Trek movies like that?” I think Star Trek needs new templates. There are a few movies and genres I think could serve as blueprints for Star Trek to build from, or which at least contain some attributes which Trek could take inspiration from. For example:

MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (2003): This is a film about trust, leadership, camaraderie, and the tensions of command and duty and brotherhood. And for me, this is how you show life aboard a ship at war: by focusing more on the life and the ship than the war—and when it’s time to battle, emphasizing clever strategy and then, yes, when called for, violence. But Tolkien’s line (spoken by Faramir in THE TWO TOWERS) comes to mind: “War must be, while we defend our lives against a destroyer who would devour all; but I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend.” If Star Trek must show us war, then do it this way, with a dose of humor and exploration, with a distaste for blood and disintegrations, and a love for what is worth defending.

INTERSTELLAR (2014): I know that opinions are mixed on this movie, but there are two key takeaways for Star Trek. One is the film’s vision of humanity saving itself: we have the intelligence, we just need the will. I find that very powerful, even if it is absurd to hope for. The second is the small, human story of a father and daughter told within a larger, high-concept science-fictional framework. Intimate and epic at the same time. This is the kind of storytelling I think Star Trek is well suited for.

ARRIVAL (2016): Not much trekking is done here, but there are precious few films that put this much weight upon the value of learning one another’s languages, of the urgent need for communication and cooperation. Star Trek should be sending these messages.

Exploration movies like MOUNTAINS OF THE MOON (1990; the story of a real British expedition to find the source of the Nile river), THE WAY BACK (2010; a WWII survival drama chronicling a perilous journey across five countries in a desperate race for freedom), or THE LOST CITY OF Z (2016; another story of a real explorer in the 1920s who discovered evidence of an advanced civilization in the Amazon rainforest) could serve as inspiration for modes of storytelling in Star Trek. Imagine new stories in the Star Trek universe that center upon pioneers, that show exploration as something personal, extremely difficult but worth doing. Or stories that celebrate nature’s mysteries and the human spirit resolved to survive against cosmic odds.

Some of the great British war epics tell stories of individuals within wartime situations that don’t spend all their time reveling in the horrors of war itself, movies like THE FOUR FEATHERS (an action-adventure “war” epic showing that selfless courage is displayed in ways besides fighting), LAWRENCE OF ARABIA, THE BRIDGE ON THE RIVER KWAI, and so many more. I’m not saying these particular stories should be cloned and put into spacesuits, but this unfashionable type of filmmaking (meticulously composed character study / psychological drama mixed with roaring adventure, films that make you feel something and give you time to feel it, stories that often feel personal and mythological at the same time) is very appealing to me. Star Trek can and should escape the rut of “futuristic action” and move back into “the human adventure is just beginning” mode.

And Star Trek’s own fictional universe is rich. There is plenty of room to tell new stories, or even—maybe—to revisit old stories with a new eye. With current visual effects, we could come across a mysterious Dyson sphere or a hollowed-out asteroid ship, and really feel awe at the scale of such a construct as our heroes do. We could re-learn the story of the fate of Earth’s own early interstellar probes (yes, I do think a remake of THE MOTION PICTURE could work, in the right hands—with TMP, again, the failure is in the bland execution of the story, not the story itself or what it’s trying to achieve), or perhaps the fates of Earth’s first colony ships. We could see stories that take place across decades or centuries, travel through time portals, into other dimensions, across our own galaxy—not just because it’s under attack or something, but to know ourselves, to understand some ancient mystery or just to meet some new, utterly alien species. There are dozens of Star Trek novels telling ambitious, entertaining stories (ones like FEDERATION or PRIME DIRECTIVE come to mind) that could be adapted for film, even loosely adapted, instead of making revenge stories over and over.
What follows is some visual inspiration, a “mood board” of the kinds of images I see when I think about all the above.

This is a photo of Earth from the Apollo 7 mission. Humankind in space is itself hugely inspiring. In the movies, I’d love to see VFX of planets like this, from low orbits making them look like real worlds. Source

This is a shot from INTERSTELLAR of the Endurance orbiting Saturn. There’s a similar shot of the Enterprise inside V’Ger in TMP that I like. Compositions like these really drive home the enormity of the undertaking of space exploration and the vastness of our (or any) solar system. Expansive stories need sights and sounds to match.

Less realistic but with no less scope and scale is this painting by John Harris (unknown date / title), which shows a colorful encounter with an impressive piece of astronomical engineering.

In the same impressionistic vein, this John Berkey painting (unknown date / title) demonstrates, as a lot of Berkey’s space paintings do, the color and flair missing from a lot of sci-fi visuals today. The lighting in this one really sells a mood.

In the opposite direction, this Andy Probert illustration shows the Enterprise as any vessel would look in deep space—dark. I like this image because it makes the ship feel like a submarine, and somewhat mysterious.

This 1973 painting by Rick Guidice is a mythological metaphor for the Voyager probes’ gravity-assist “slingshot” maneuvers around Jupiter, and can also be read as man hurling himself to the stars.

This rendering (by Lee Stringer) of a lone astronaut walking on the Enterprise-D shows the scale of this fictional feat of engineering as well as humanizing it. Imagine being that person, standing there for the first time or the fiftieth. Source

Lou Feck did a bunch of great cover art for the Blish TOS episode novelizations, but this is my favorite. It gives human dimension to a strange alien landscape, the Enterprise streaking overhead as our three heroes consider their next moves.

By Ivan Aivazovsky (unknown date / title), this painting gives a great sense of the struggle of venturing into (or out of) unknown waters.

A very recent piece by Jared Shear, depicting the New Horizons probe’s approach to Ultima Thule. Humankind in space, exploring the unknown, today, now. Source

Another beautiful, real image from 2017 of an Earth spacecraft approaching Earth’s International Space Station. Source

A piece by Paul Chadeisson simply titled Space Station. This image is another kind of VFX shot I’d love to see in Star Trek: massive structures lit harshly by the light of the nearest sun. Source
Thanks for reading. LLAP.









