Star Trek VI: The Undiscovered Country

The Klingon moon Praxis has exploded, disrupting the Empire's energy production and polluting the atmosphere of the Klingon homeworld. The United Federation of Planets sees the catastrophe as an opportunity, offering assistance in repairing the damage in return for a lasting peace. The Klingon Chancellor travels to Earth to negotiate the treaty but is killed, his assassination pinned on Captain Kirk, a well-known enemy of the Klingon Empire. With Kirk and McCoy imprisoned, it falls to Captain Spock and the Enterprise crew to exonerate their comrades, rescue them and stop those who are determined to end the chances of peace forever.

With the release of Star Trek V in 1989, it was felt that the time of the original Star Trek crew had come to an end, and the next film would star the Next Generation crew. However, Paramount were not keen on waiting until The Next Generation finished before making a new movie in the franchise. Plans for a prequel film set at Starfleet Academy also failed to excite anyone. At the same time, the collapse of the Berlin Wall and the end of the Cold War was firing up the excitement of Leonard Nimoy and Wrath of Khan writer-director (and Voyage Home co-writer) Nicholas Meyer, who saw the opportunity for a great analogy with real-life events. The frugal Meyer's involvement worked for Paramount, who wanted to make the film for less money than the disastrous Final Frontier, and also for Nimoy, who had pondered directing but knew it would annoy co-star Shatner; Meyer was a neutral figure everyone respected and whose work on two previous movies had been lauded. The meme that "every odd-numbered Star Trek film is rubbish" had started gathering pace by this time as well, so the fact the next movie was an even-numbered one and Meyer had worked on the two previous even-numbered films was encouraging.

Star Trek VI is not a subtle film. The comparisons to contemporary politics are fairly obvious, with the destruction of Praxis being basically Chernobyl in space, and the Klingon-Federation peace talks are the end of the Cold War by any other name. However, the film does start building a genuine sense of mystery. When the Enterprise fires on the Klingon ship, despite its records showing a full set of torpedoes on board, it creates a paradox that Spock, Scotty, Chekov and Uhura have to work to unravel. This is great fun - Star Trek usually handles mysteries well, at least those that do not bog down in technobabble - and is preceded by some very powerful scenes employing actors of the calibre of David Warner and Christopher Plummer (an old friend of Shatner's, who's clearly having an absolute whale of a time) as they debate realpolitik and quote Shakespeare. There some startling scenes as Kirk has to confront his racism towards the Klingons, inspired by his constant struggles with them and their murder of his son (in The Search for Spock). Characterisation is strong and the actors do well with the material, Meyer again getting a great performance out of Shatner (though he seems more willing to let some hammier takes go through, possibly due to a lack of time and money) and Nimoy showing up with his A-game, having understandably lost the will to live during The Final Frontier.

The film also features George Takei's best performance as Sulu, as well as giving him much more to do as the Captain of the Excelsior. More disappointing is the absence of Saavik, who was originally supposed to be the traitor on the Enterprise. Kim Cattrall auditioned for the part and impressed Nimoy and Meyer, but was unimpressed to learn she would be the third actress to play the role and turned it down. The producers agreed to rewrites making her a new character, Valeris (Cattrall even named her). However, the script was not adjusted to fit a more Vulcan-like character, leaving Saavik's more emotional tendencies (a result of her supposed half-Romulan heritage, although that revelation had been cut out of The Wrath of Khan) in place with a supposedly purely-Vulcan character. Cattrall does as good a job as she can as Valeris, but the character is somewhat under-written as a result of the changes.

The sequences on Rura Penthe are also disappointing; the lack of budget results in unconvincing sets and iffy alien makeup, though Iman gives a good performance as Martia, and the sequence relies a lot on Shatner and DeForest Kelley's effortless banter to get through it.

The film has a rousing climax with a solid space battle, and it's good to see the constantly-hamstrung USS Excelsior finally cutting loose and showing what it is capable of. The fact that this time everyone knew they were making their last full picture together makes for a more final and emotional ending, enhanced by the fact that the film launched in Star Trek's 25th anniversary year and that Gene Roddenberry sadly passed away shortly before the premiere. 

Star Trek VI: The Undiscovered Country (****) is not as accomplished as either The Wrath of Khan or The Voyage Home, but comfortably emerges as the third-best Star Trek film, with some excellent characters and storylines and some great dialogue. Only a few clunky scenes and budget constraints hold it back from matching the earlier two Meyer films.

Gratuitous Lists: All 13 STAR TREK movies...ranked!

The point of Gratuitous Lists is that the things on it are not listed in order of excellence, but are just on there so people can talk about the shows/games in question rather than argue about the order, which is often arbitrary. But sometimes arguing about the order is just too much fun. After Entertainment Weekly issued a list of Star Trek movies ranked by quality that is simply objectively wrong (how high up is Nemesis?), here's my riposte:

13. Star Trek Into Darkness

Directed by J.J Abrams • Written by Roberto Orci, Alex Kurtzman & Damon Lindelof • Released 23 April 2013

Woah! Shots fired! Into Darkness isn't a good Star Trek movie, I think most people agree, but the worst? Worse than The Final Frontier or Nemesis? That seems harsh.

But on reflection, I think not. Each of the previous eleven Star Trek movies, even the deliberately nostalgia-evoking 2009 reboot, at least had at their heart a core idea, or something they wanted to say. Not necessarily anything that was particularly original or good, but at least something that gave them a reason to exist. Into Darkness doesn't do that. Having laid down a fresh new direction in the 2009 movie, J.J. Abrams abruptly reverses course and gives us a poor remake of The Wrath of Khan whilst completely missing everything that made that earlier movie work (like the fact that it was based on us having known the characters for fifteen years, 79 episodes and another movie previously; this cast and crew hadn't earned that story yet), whilst also dialling back on screen time for everyone bar Kirk and Spock. There's a nasty, dark undercurrent to the film, a lack of respect for innocent life that just isn't very Star Trek and a horrendous casting decision in using Benedict Cumberbatch as Khan. Add to that the lacklustre final battle against a poorly-designed enemy ship and a near-total absence of plot logic, and Into Darkness becomes a sprawling, incoherent mess which aims to be gritty and morally murky and ends up just being comically inept.

12. Star Trek V: The Final Frontier

Directed by William Shatner • Written by David Loughrey, Harve Bennett & William Shatner • Released 9 June 1989

The Final Frontier is, in many respects a badly-directed, indifferently-written movie which is saved by some absolutely killer lines ("I've always known that I'll die alone" could be a Wrath of Khan line; "What does God want with a starship?" could...not) and the emotional bond between the characters. It also acts as some kind of trans-dimensional portal, through which you can gaze into the inner workings of William Shatner's mind. If you emerge with your sanity intact, congratulations, but spend too long gazing into the abyss and The Final Frontier starts looking like something approaching a good film, an offbeat and bizarre character piece with an occasional decent action beat and an ending that was so far beyond the budget's ability to deliver that someone should really have stopped Shatner from attempting it. But of course no mere mortal could stop Shatner once he had been given this kind of power.

I can see why EW put The Final Frontier further up their list. There's something compulsively watchable about the movie, if only because you're not entirely sure what the hell Shatner is going to do next (either directing, acting or writing-wise) and you have to admire the fact that a movie starring actors in their fifties and sixties went up against the Tim Burton Batman film and the Ghostbusters sequel and somehow held its own. But it does only work once. On rewatches, the film's many flaws including its howl-inducing dialogue, weak effects, uncertain tone and poor villain become almost overwhelming.

11. Star Trek: Nemesis

Directed by Stuart Laird • Written by John Logan, Rick Berman & Brent Spiner • Released 13 December 2002

Nemesis almost killed Star Trek. The only film to bomb at the box office (although thanks to DVD it did eventually turn a modest profit), it was responsible for ending Rick Berman's stewardship of the franchise and causing Paramount to completely rethink their plans for how the property would be handled going forwards. For all of that, Nemesis is not entirely without merit: in a young Tom Hardy as a Reman general (and clone of Picard) it has a reasonably good villain, the concluding space battle is one of the better in the series and both Brent Spiner and Patrick Stewart deliver killer performances, both rich in tragedy, introspection and pathos. It's also good to see some major changes to the Next Generation paradigm, with characters being promoted, getting married and moving on with their lives.

But it's also a bitty and underwritten film. The scenes focused on character development were almost entirely cut from the final movie, leaving a string of half-thought-out and underwhelming set pieces (the buggy racing scene is a bit pointless). The film also makes the mistake of killing off a major character and then bringing him back five minutes later. You can only do that once in a franchise (and Wrath of Khan and Search for Spock earned it a lot more), and doing it for the second time here (and a third time in Into Darkness) is a big mistake in terms of building suspense and tone.

Nemesis isn't the worst movie ever made or even the worst Star Trek movie. At its core it has a really strong premise, which is more than you can say about The Final Frontier, but it's certainly the most undercooked and indifferently-directed movie in the history of the series.

10. Star Trek: Insurrection

Directed by Jonathan Frakes • Written by Michael Piller • Released 11 December 1998

Insurrection is the Star Trek movie that everyone kind of forget exists. It's just kind of there. A lighthearted film, even marketed as the "Star Trek date movie" (because that is a thing that anyone ever asked for or wanted), it's completely inoffensive. The villain (played by F. Murray Abraham in fine, scenery-destroying form) is okay, the effects are okay, the story is okay and everything about it is kind of okay without ever being outstanding. It's worst sin is being boring, like a late-Season 5 episode of TNG that you completely forget ever existed until you hit it on a complete rewatch and then you've forgotten about again ten minutes after it ends. However, the film does have one outstanding moment: Data going haywire and Picard defeating him using Gilbert and Sullivan. For that gloriously demented scene, we'll forgive Insurrection its overwhelming beigeness.

9. Star Trek: Generations

Directed by David Carson • Written by Ronald D. Moore & Brannon Braga • Released 18 November 1994
Picard and Kirk meet and team up! To ride horses! And punch Michael McDowell! In the last twenty minutes of the film!

In terms of marketing, Generations oversold the idea of Kirk and Picard joining forces to take down an enemy threat. The budget wouldn't allow for the entire crews of both past and present Enterprises to meet and writers Ron Moore and Brannon Braga were distracted by also having to the write the (far superior) Next Generation series finale, All Good Things, which even Patrick Stewart admitted would have made for a better film.

As it stands, Generations isn't too bad. The saucer separation and crash-landing sequence is splendidly realised, McDowell is a reasonably charismatic bad guy and director David Carson brings a dark, subdued tone to the film which doesn't make any sense (apparently it was encouraged by the studio who loved his work on the classic TNG episode Yesterday's Enterprise) but is extremely atmospheric. Patrick Stewart also gets a meaty emotional storyline when confronting his own mortality and that of his family. But the plot is clunky and filleted with holes (why doesn't Soran just fly into the Nexus in a ship instead of blowing up entire star systems and killing billions of people?), Whoopi Goldberg doesn't get enough to do and the feeling is that they destroyed the wonderfully-designed Enterprise-D (its successor is a much less interesting design) just for shock value.

8. Star Trek

Directed by J.J. Abrams • Written by Roberto Orci, Alex Kurtzman & Damon Lindelof • Released 7 April 2009
J.J. Abrams's reboot of Star Trek is filled with problems which sound rather damning: the comedy moments are awful, there is zero respect given for science or plot logic and Chris Pine is woefully miscast and unconvincing as the young Captain Kirk. But at the same time, the film is energetic and kind of fun, the rest of the new cast (especially Zachary Quinto, Karl Urban and Zoe Saldana) is excellent and the film makes a decent fist of tying in to the existing mythology and continuity whilst also doing its own thing. You also have to give massive respect to Leonard Nimoy who delivers a well-measured performance filled with gravitas. It's also surprising and welcome that Abrams gives us a whole new villain (played with deranged intensity by Eric Bana) rather than trying to bring back any of the big Star Trek monsters or aliens. There's many wince-inducing moments and a tonal mismatch with what came before, but the 2009 Star Trek reboot hits a lot more than it misses.

7. Star Trek Beyond

Directed by Justin Lin • Written by Simon Pegg & Doug Jung • Released 7 July 2016

The newest Star Trek movie is, fortunately, one of the better ones in the series. Problematic elements in the new canon (beaming between star systems, magic blood) are simply ignored, the plot is refreshingly straightforward and mostly bereft of major lapses in logic, the cast is much-better served by the script and Starbase Yorktown is the first outright stunning piece of new Star Trek design in decades. The film moves fast, Idris Elba is a good villain and overall this feels like a fresh, breezy and massively-budgeted episode of the TV show.

6. Star Trek: The Motion Picture

Directed by Robert Wise • Written by Harold Livingston, Alan Dean Foster & Gene Roddenberry (uncredited) • Released 7 December 1979

In Gene Roddenberry's head, all of Star Trek would have looked like The Motion Picture and the first season of The Next Generation: slow, talky and only occasionally letting off a phaser for the fun of it. If the Roddenberry who made the original Star Trek series was a fast-working administrator who understood the beats and needs of action-adventure television, a decade of constant praise and being hailed as a visionary ("The Great Bird of the Galaxy") at Star Trek conventions had not so much gone to his head as triggered an explosion of vanity that could have sunk the franchise. The Motion Picture, in particular, is held up as an example of film-maker overindulgence at its flabbiest.

It's hard to argue with that. But it's also hard to argue against the idea that The Motion Picture is a good film. Whether it's a good Star Trek film is another matter, but The Motion Picture makes some quite bold decisions that, in an absolute million years, no director or writer on Earth would get away with today. It's a slow-paced movie with tons of expensive visual effects. There's lots of scenes where characters sit around and make philosophical scoring points. Spock doesn't get involved in the plot until almost halfway through the film. The Enterprise only fires its weapons once, to destroy an asteroid. There's more lip-service paid to science and the dangers of the everyday technology the characters use (the death-by-malfunctioning transporter scene is still grimly disturbing). There isn't even a bad guy. The Motion Picture is much more Solaris or 2001: A Space Odyssey than Star Wars, which for an effects SF movie released in 1979 was a very bold and counter intuitive decision.

But there's a sense of gravitas, of vision and of scale to this film that Star Trek never achieved before or since. V'Ger is a stunning creation, the best-realised Big Dumb Object in the history of SF cinema, and Kirk and crew's first reaction being to study and negotiate with it is welcome. The film is also a love letter to the starship Enterprise, which arguably has never been depicted with more aplomb than in this movie, and of course its design in this film is now the gold standard for all other attempts to depict the ship. And it easily has the best soundtrack of any Star Trek film (which given how good some of the others are, is saying something). It's not for everyone, and if Roddenberry had been allowed to continue with the franchise he probably would have wrecked it, but The Motion Picture is the oddest, weirdest and - arguably - most interesting Star Trek movie of them all. But, obviously, not the best.

5. Star Trek: First Contact

Directed by Jonathan Frakes • Written by Ronald D. Moore & Brannon Braga • Released 22 November 1996

When The Next Generation created the Borg, it always felt like they were trying to unleash an enemy they didn't quite have the money to realise fully. This, combined with the fear of over-using them and losing their implacable menace, saw them deployed on TNG in only six out of 178 episodes, and arguably only in three of those episodes were they the "proper" Borg.

Using the second TNG movie to fully realise the Borg as a horrific, invasive force of assimilation and destruction was a wise move and First Contact is full of well-directed moments showing this unstoppable enemy in full swing (all handled with aplomb by TNG actor Jonathan Frakes). It also features some rather howl-inducingly terrible moments which are best forgotten (most of the Earth subplot involving James Cromwell's spectacularly grating mad scientist), not to mention how the ridiculous ease with which the Borg cube is defeated in the opening minutes of the film reduces the threat level of the Borg quite a lot. But overlooking that, Brent Spiner and Patrick Stewart deliver killer performances, as does Alice Krige, whose Borg Queen may be the most sinister and disturbing Star Trek movie villain of them all. One ends up wishing for an adult-rated version of this movie where they really go to town with the body horror and action sequences.

We never quite get that and ultimately First Contact pulls a few too many punches. But it's a watchable, enjoyable action film featuring one of Stewart's best performances in the role of Picard, and certainly is the only TNG movie which can withstand comparisons with the best films in the franchise.

4. Star Trek III: The Search for Spock

Directed by Leonard Nimoy • Written by Harve Bennett • Released 1 June 1984

The Search for Spock is the Star Trek movie franchise's most underrated entry, and one that seems to be gaining more in popularity as time goes by. It's the film that introduces more iconic ships and ideas into the Star Trek universe than almost any other: the Klingon Bird-of-Prey, Spacedock, the Excelsior and transwarp technology go on to star in many future Trek movies and episodes. It also uses a fairly narrow plot directive - resurrect Spock - in an enjoyable and rather smart way throughout. Like The Wrath of Khan the script is built on a series of thematic elements which resonate throughout the movie. Kirk's growing age, his frustration with his desk-bound career and his mixed feelings on family: in The Wrath of Khan he gained a son but lost his best friend. The Search for Spock's absolute masterstroke is giving Kirk back his best friend, but taking away his son and his ship and his career: his very reasons for living. For a film that gets a lot of flak (some, like Christopher Lloyd's well-played but ill-defined Klingon villain and the dodgy planet sets, justifiably) The Search for Spock delivers two of the franchise's most brilliantly-staged and tensest moments: stealing the Enterprise from Spacedock and later blowing it up over the Genesis Planet. I mean, how many movies can make reversing the car out of the garage into one of the most iconic set-pieces in the franchise's history?

The Search for Spock's best moment is when Kirk nails that being human is to be irrational and illogical: "The needs of the one outweigh the needs of the many" doesn't make sense, especially when the many includes Kirk's son, his ship, his career and those of his crew. But then in the final scene Spock lives again, and more adventures are promised, and then it makes sense.

3. Star Trek IV: The Voyage Home

Directed by Leonard Nimoy • Written by Harve Bennett, Nicholas Meyer, Steve Meerson & Peter Krikes • Released 26 November 1986

A plot summary for Star Trek IV: The Voyage Home sounds like a bad acid trip. Millions of years ago, an alien probe surveying the galaxy visited Earth and made contact with the most intelligent species on the planet at that time: whales. Figuring that the whales would eventually evolve into a more impressive lifeform, the probe leaves with a promise to swing back by. It does, only to discover that the whales have been killed off by the ape-descendants who have evolved in the meantime. The probe is a bit annoyed by this and prepares to destroy the planet and everyone on it. Kirk and co., heading home to face the music after the events of The Search for Spock, realise they have no choice but to travel back in time to rescue two humpback whales and bring them back to tell the probe to bugger off.

But it works. The Voyage Home is a barmy film which starts off as a relentless, doom-laded SF thriller before turning into an 1980s-tastic comedy in the second act, complete with "nuclear wessels" and right-on ecological messages. It's also genuinely funny, with some great culture-clash moments. It's unusual because there is also no sense of tension: because Kirk and co. can return to their own time at the exact moment they left, they could spend several years in the 20th Century if they really wanted to. This results in some breezy pacing and great character interplay. The finale, where they return home and try to see if their plan worked, is predictable but effective.

The result is the most light-hearted Star Trek movie and the most atypical. It's fun and slightly cheesy but is rooted in these characters and the easy chemistry they've developed over twenty years.

2. Star Trek VI: The Undiscovered Country

Directed by Nicholas Meyer • Written by Nicholas Meyer & Denny Martin Flinn • Released 6 December 1991

After The Final Frontier's ghastly critical reception, both the original series actors and Paramount wanted to to send them out on a stronger note. Leonard Nimoy was brought in to produce and he decided to re-recruit Nicholas Meyer to direct and co-write, developing the idea of glasnost and the notion of the Federation and the Klingon Empire making peace whilst generals and spies on both sides desperately want to prolong the cold war.

The result is a film that takes the metaphor and pushes it forwards a little too obviously, but is really watchable and clever for that. The movie also tackles racism (Kirk invoking the death of his son by Klingons in The Search for Spock as a reason for hating them) and the notions of age and moving on, with Sulu and his Excelsior, a ship bigger, more powerful and faster than the Enterprise, making the Enterprise crew realise that their adventures are over. Thrown in some fun battle sequences and a great villainous turn from Christopher Plummer as a Shakespeare-quoting Klingon general and you have a perfect send-off to the original crew.

1. Star Trek II: The Wrath of Khan

Directed by Nicholas Meyer • Written by Harve Bennett, Jack B. Sowards & Nicholas Meyer (uncredited) • Released 4 June 1982

This is the film that saved Star Trek, by bringing on board a writer and director who had no knowledge about the franchise at all and letting them deliver a faster-paced and better-written movie than the ponderous Motion Picture. Harve Bennett and Nicholas Meyer hit paydirt by bringing back the powerfully charismatic Ricardo Montalban as Khan, a villain from the TV series, and turning their limited budget into a boon. More than half the film is shot on the same set standing in for the bridge of both the Enterprise and the Reliant, and a large chunk of it is a taut, expertly-directed game of cat and mouse in a nebula. The film also has one of the cleverest doomsday weapons of all time with the Genesis Device, a terraforming aid which can be perverted into a force for destruction, and it also competes with The Motion Picture for the title of "best soundtrack in the franchise", promoting James Horner to the big leagues of Hollywood composing.

But where the film works best is its exploration of age, which sees Kirk plunged into a depression as he struggles with the demands of responsibility and his desire to command a starship once again, and it is only as the film unfolds and Kirk gains a family, defeats an enemy and loses a friend that he realises how well off he really is. The film usually sees William Shatner praised - this is by a light-year his finest moment as Kirk - as well as Leonard Nimoy, but DeForest Kelley also does sterling and under-appreciated work as McCoy acting as Kirk's conscience.

Great music, fine performances, brilliantly-developed themes and a superlative soundtrack all make The Wrath of Khan the best Star Trek movie...and we haven't even mentioned the fact that its groundbreaking CG sequence resulted in the creation of Pixar Studios. Not just the best Star Trek movie, The Wrath of Khan is one of the finest SF movies of all time.

Star Trek at 50: The USS Enterprise (NCC-1701-B)

The Excelsior (variant)-class USS Enterprise (registry number NCC-1701-B), built by the United Federation of Planets circa 2290-93. The ship was commissioned and launched in late 2293 under the command of Captain John Harrison. The Enterprise-B was lost in 2329, having served for thirty-six years, making it the second-longest-serving Enterprise after the Constitution-class version.

Class History

In the late 2260s and early 2270s Starfleet made the decision to radically overhaul its fleet of starships and outfit them with the latest technology. This led to the creation of more compact and efficient ships like the Miranda class and the refitting of the venerable Constitution class (in service since the early 2240s). The decision was also made to develop a new and very formidable heavy cruiser, a new flagship class for the fleet. This ship would be outfitted with weapons and defences that would dwarf older ships and would also be outfitted for long-term, deep-space exploration and scientific research.

There would also be another requirement for this ship: it would be the fastest ship in the fleet and the fastest in Federation history. Breakthroughs in warp science had led to the creation of the transwarp theory, which could propel a ship from a standing start to speeds surpassing Warp 9.9 in seconds and then sustain that speed safely and indefinitely. This would allow Federation starships to travel between systems in hours rather than days, between sectors in days rather than weeks and traverse known space in a couple of months rather than in two years or more. It would confer on the Federation a massive strategic advantage over potential enemies, and rapidly increase the speed of its  exploration of the galaxy.

So was born the "Great Experiment", the transwarp drive, and the need to design and build a new spaceframe capable of handling it. It was decided to draw on the highly successful primary/secondary hull arrangement of the Constitution class but in a vessel that was almost twice the size. By the late 2270s this design had been finalised and construction of the pathfinder/prototype ship of the class began in great secrecy. That ship was designated USS Excelsior, construction number NX-2000.

The Excelsior was completed in 2285 and transferred to Earth's new Spacedock facility to begin field tests on its transwarp drive under the auspices of Captain Styles. Captain of Engineering Montgomery Scott, respected for his two decades of service on the USS Enterprise, was transferred to Excelsior to help with the trials. However, Admiral James T. Kirk stole the Enterprise to undertake an unauthorised mission. Scott joined him, sabotaging the Excelsior's transwarp control computer so it could not pursue. This resulted in an unplanned system cascade failure that immobilised the entire ship. The Excelsior had to be towed back into Spacedock for repairs (Star Trek III: The Search for Spock).

"The Great Experiment", USS Excelsior (NCC-2000). Designed in the 2270s, built circa 2280-84 and completed in 2285. The ship was finally commissioned in the late 2280s and undertook its first long-term mission under Captain Hikaru Sulu in 2290-93.

No sooner was the ship operational again then the "whalesong" crisis of 2286 took place and the Excelsior was shut down and neutralised by an alien probe entering Earth orbit, along with the entire Spacedock and the USS Yorktown (soon to be renamed the Enterprise-A). Based on the subsequent disastrous performance of the Yorktown, it could be that the Excelsior was likewise adversely affected by the alien probe's passing and took some time to return to operational status (Star Trek IV: The Voyage Home).

The Excelsior finally began its much-delayed transwarp test missions circa 2287, but by 2289 these trials had concluded unsuccessfully: the transwarp drive was a failure, unable to sustain the transwarp field for very long and unable to deliver the promised speeds. However, although the transwarp drive itself was proclaimed a failure, the ship's spaceframe design was considered excellent and performed even better than had been expected in non-transwarp-related areas. In 2289-90 Starfleet finally formally commissioned the starship, redesignating it NCC-2000 and refitted it with a standard warp drive system. Captain Hikaru Sulu, formerly of the Enterprise, was placed in command of the Excelsior for its first three-year mission cataloguing gaseous anomalies in star systems in the more distant regions of the Beta Quadrant. The Excelsior was returning to Federation territory via the Neutral Zone when the Klingon moon Praxis exploded. A subspace shockwave damaged the Excelsior, which alerted the Federation to the situation. Sulu continued to monitor subsequent events, such as the trial of Captain Kirk for the murder of Chancellor Gorkon, and brought the Excelsior to Khitomer to support the Enterprise. The two starships bracketed and destroyed the Klingon Bird of Prey commanded by the treacherous General Chang, helping to end the crisis (Star Trek VI: The Undiscovered Country).

Starfleet also began building a series of new ships using the same spaceframe and design, now confirmed as the Excelsior-class. This class of starship would soon become the mainstay of Starfleet, with at least dozens and possibly hundreds of starships of this design being built over the next century. The Excelsior-class was still serving with honour and distinction during the Dominion War (2373-75) and ships of this class helped welcome the USS Voyager home after its seven-year exodus to the Delta Quadrant (2378). The Excelsior-class even outlasted the class that had been intended to replace it, the Ambassador, and construction of the ships only began to fall off with the introduction of the more versatile Galaxy class in the 2360s.

With the Excelsior-class entering full production circa 2290, the decision was also made to revamp and revise the design with a variant class which was even more powerful. The decision what to name the first ship of this variant was made when Starfleet - controversially - decided to retire the Constitution-class in 2293.

The USS Enterprise encounters the Nexus energy ribbon on its maiden voyage in 2293.

Operational History

Starfleet had planned to build a series of Excelsior-class starships since designing the ship in the late 2270s. However, it only enacted this plan once the spaceframe for the ship had been tested in the field. Construction of the first batch of ships began circa 2289/90, with at least one of these ships being of the new variant type. The variant type was equipped with additional impulse drives to deliver greater performances at sublight and had its hull design expanded to accommodate greater cargo and living space.

When it was announced that the Constitution-class USS Enterprise (NCC-1701-A) was being retired after seven years in service, it was decided that the first ship of the variant class would be named the USS Enterprise, NCC-1701-B. The Enterprise-B was formally commissioned and launched in late 2293, just a few months after the Enterprise-A was retired following the Battle of Khitomer. Captain John Harriman was placed in command for its maiden voyage. However, Starfleet decided to invite Captain James T. Kirk and two of his former crewmen, Captain Scott and Commander Chekov, on the mission. During this mission the Enterprise-B received a distress call from an El-Aurian ship trapped in an energy ribbon known as the Nexus. The Enterprise-B successfully executed a rescue mission, but suffered severe damage to the secondary hull in the process. During this mission it appeared that Captain James T. Kirk had been killed. However, classified documents later confirmed that Kirk had been drawn into the Nexus (which acted as the gateway to a parallel universe) itself. He escaped in 2371 and was finally killed battling an El-Aurian terrorist named Soran (Star Trek: Generations).

Despite this inauspicious start, the Enterprise-B went on to serve with great distinction and honour. The ship became one of the more decorated to bear the name Enterprise before its destruction in 2329, after thirty-six years in service. It only narrowly missed out on the record set by the Constitution-class Enterprise (NCC-1701), which served for forty years (2245-85).

Ship Overview

The Enterprise-B was a variant Excelsior-class starship, predominantly based on the pathfinder/prototype design of the USS Excelsior but differing in several key respects. The Enterprise-B was one of the first Federation starships designed with a separable saucer section which was designed to operate autonomously and then rejoin the rest of the ship later on. This required the addition of two impulse drives to the saucer to allow it to function by itself. The engineering hull was also modified to allow for more cargo and living space. This proved helpful as the Enterprise-B's very first mission was an evacuation one, and this space allowed more people to be placed on board.

This variant of the standard Excelsior design later fell out of favour, with only a few other starships (such as the USS Lakota) using the same design. The relative infrequency with which the variants needed to engage in saucer separations and the much greater cost/benefit ratio of the standard class saw the Federation switch back to using the original Excelsior design from the early 2300s onwards.

*The Enterprise-B was 511.25 metres (1,677 feet) long, 195.64 metres (642 feet) wide and 86.76 meters (285 feet) tall. The ship had about 30 decks. It had a crew of approximately 750 and employed 10 dual emitter phaser banks and 6 photon torpedo tubes, some of them aft-facing. This contrasted dramatically with the Constitution-class's more modest 6 dual emitter phasers and 2 forward-facing photon torpedo tubes. The Enterprise-B could sustain Warp 9 for considerably longer than its predecessor, with a cruising speed of Warp 7 (compared to Warp 5 for the previous ship).

* The sizing of the Excelsior class has been problematic ever since the original ship was designed in 1983, as the ILM effects crew did not actually decide on a scale for the ship. Aside from the general idea that it was a bigger ship than the Enterprise, no final size determination was made. This was complicated by the lack of details on the model to compare to set details (i.e. the Excelsior bridge was a simple dome with no roof window or other element to compare to the size of the actual bidge set) and the fact that the ship model was deliberately built to be smaller and easier to shoot than the massive and ungainly Enterprise studio model. The matter was address by scaling shots in Star Trek VI: The Undiscovered Country showing the two ships next to each other, with the Excelsior dwarfing the Enterprise.

The matter was supposed to be settled by the publication of The Deep Space Nine Technical Manual, which gave the figures above for the size of the Excelsior-class, apparently drawing on the CGI models built for Deep Space Nine's last two seasons. Although "official", these figures are not necessarily canon and contrasting figures of c. 450 metres (for length) and only 500 crewmembers are given in other sources.

The USS Excelsior confronting a Klingon K'Tinga-class battlecruiser in 2293.

Behind the Scenes
The decision to build a new, "super" Federation starship was made by producer Harve Bennett during the writing of Star Trek III: The Seach for Spock. The script called for the Excelsior, a ship larger and more powerful than the Enterprise, but coming from the same design family: a B-29 bomber compared to the original ship's B-17. David Carson and Nilo Rodis-Jamaro of Industrial Light and Magic were predominantly responsible for early designs of the ship, with Bill George finalising the design.

The idea was that the new ship would make the Enterprise feel antiquated, until Scotty turns the tables and sabotages the ship. However, many Star Trek fans liked the Excelsior - it was actually only the third Federation starship class to ever appear on screen after the Constitution and Miranda (a fourth, the Oberth, appeared only minutes later in Star Trek III) - and it went on to make brief appearances in Star Trek IV and V. In Star Trek VI: The Undiscovered Country the ship played a larger role as Sulu was promoted to Captain and placed in command of the ship. It also played a key role in Flashback, a third season episode of Star Trek: Voyager which was written to celebrate the 30th anniversary of the franchise in 1996.

When Star Trek: The Next Generation began production in 1986 it was decided that the show would be set on an Enterprise a century removed from the NCC-1701-A introduced in Star Trek IV: The Voyage Home. This eventually became the Galaxy-class NCC-1701-D. However, to show a sense of design continuity it was decided to have a wall display showing the intervening ships to bear the name. With the USS Excelsior proving to be a fan-favourite design, it was an easy decision to make the Enterprise-B a ship of that class. In addition to this, the writers decided to use the Excelsior model to represent other Federation starships in ST:TNG, including the USS Hood, USS Repulse and USS  Farragut. The idea was that the Excelsior-class was an experimental, cutting-edge design in the late 23rd Century but by the mid-24th had become a standard, even slightly outdated starship model.

It was originally assumed that the Enterprise-B and C would never appear on screen, but this changed in the third season ST:TNG episode Yesterday's Enterprise, which depicted the Enterprise-C. When Ronald D. Moore was given the task of co-writing the movie Star Trek: Generations, which would see the original series crew handing over to The Next Generation team, he decided to depict the events in the past on the Enterprise-B. The Enterprise-B was a redress of the Excelsior model, adjusted with new impulse engines on the saucer and extensions to the secondary hull. These extensions were to both sell the ship as a variant design and also so one of them could be blown off in the Nexus without damaging the original model underneath. Unfortunately, after filming it was discovered that the adhesive used to fix the new parts in place could not be easily removed, so the extensions were left in place. This is why the USS Lakota in Deep Space Nine's fourth season is also a variant Excelsior-class of the same type as the Enterprise-B. This was the last time that the model was used, so when it was eventually auctioned off the model was still labelled as the Lakota.

For the Voyager episode Flashback in 1996, a new Excelsior model was needed. This model was built at half the size of the original, and was used in several scenes. Although smaller than the original, the model was deemed good enough to appear several times on Star Trek: Deep Space Nine as well. However, by the time that show entered its final two seasons it had transitioned to CGI. The smaller Excelsior model was used as the study and guide for these CGI versions, explaining why the Enterprise-B variant was no longer seen in the other series.

No formally canonical explanation has ever been given for the final fate of the Enterprise-B. However, several short stories and a couple of reference guides state that the ship was lost in 2329 after the crew contracted an unknown infection. The ship was presumably scuttled to prevent this infection from passing onto others. The Ambassador-class Enterprise-C was commissioned in 2332 to replace it. Although these dates have not been confirmed by any TV series or movie, every book, reference guide and new ship model released in the last few years has used these dates, making them the most consistent to be used.

WRATH OF KHAN writer/director joins new STAR TREK TV series

Nicholas Meyer has joined the new CBS Star Trek series as a writer and producer. Meyer is the acclaimed writer/director of Star Trek II: The Wrath of Khan (1982) and Star Trek VI: The Undiscovered Country (1991), as well as a writer/producer on Star Trek III: The Search for Spock (1984) and Star Trek IV: The Voyage Home (1986). Meyer's successful handling of the franchise after the disappointing critical and commercial reception of Star Trek: The Motion Picture (1979) is credited with saving Star Trek and paving the way for The Next Generation and all the later series and films.

Nicholas Meyer (right) directing William Shatner on the set of Star Trek II: The Wrath of Khan.

Meyer joins already-announced producer/showrunners Alex Kurtzman and Bryan Fuller. The new Star Trek series is intended to go into production later this year to debut on CBS in January 2017. The show's setting, time period, premise and cast has yet to be announced.

RIP Harve Bennett, the Man Who Saved Star Trek

Harve Bennett, a veteran Hollywood scriptwriter and producer, has passed away at the age of 84. He had been suffering from oral cancer for a number of years. Bennett had a long and storied history in genre TV and film, but he is best known for his work on the Star Trek movies, with many crediting him for saving the franchise from obscurity after the troubled release of Star Trek: The Motion Picture in 1979.

Leonard Nimoy and Harve Bennett

Born in 1930, Bennett worked in radio before a brief stint in the US Army and then joining the nascent film and television business in Hollywood. He worked through the corporate system, becoming Vice President of Programming at ABC, before switching to a more creative career. He developed The Mod Squad with legendary Hollywood producer Aaron Spelling and produced it from 1968 to 1973. He then teamed up with Kenneth Johnson to produce The Six Million Dollar Man (1973-78) and its spin-off, The Bionic Woman (1976-78). Bennett gained an impressive reputation for making quality work from very small budgets.

In 1980 Bennett was called for a meeting at Paramount. Paramount had concluded that they had dodged a bullet with Star Trek: The Motion Picture, produced for a then-monstrous budget of $45 million (almost five times the budget of the original Star Wars and twice that of The Empire Strikes Back, for comparison), but which had made almost $140 million at the box office. With the film's critical reception mixed, Paramount didn't want to take a similar risk with the sequel and asked Bennett if he could make a more exciting, faster-paced and shorter film for less money. Bennett responded that he could make five films for The Motion Picture's budget. With a budget just one-quarter that of The Motion Picture, Bennett set about making the new film.

Only vaguely familiar with the original series, he sat down and watched all 79 episodes over several days. He made special note of the first season episode Space Seed for its charismatic villain, Khan, played by Ricardo Montalban, and decided that he would make for a memorable enemy in the new film. With a short production schedule looming and no final script in place, Bennett called on an up-and-coming writer and producer, Nicholas Meyer, to assist. Meyer was assigned as director and performed a rewrite of the draft into a final shooting script in just twelve days, impressing both Bennett and the entire cast, who were concerned about the nightmarish constant rewrites from the original film. The resulting film, Star Trek II: The Wrath of Khan (1982), made more than seven times its budget back at the cinema, was a huge critical success and ensured that the franchise would continue.

Bennett returned as producer and writer for Star Trek III: The Search for Spock (1984), co-wrote Star Trek IV: The Voyage Home (1986) with Meyer and produced Star Trek V: The Final Frontier (1989). Bennett was developing ideas for a prequel film set at Starfleet Academy with a young Kirk and Spock when Paramount decided to do a "last hurrah" with the original cast instead. Bennett was offered the writing and producing gig, but turned it down in favour of Nicholas Meyer. Although Paramount offered Bennett the chance to make the prequel film after Star Trek VI: The Undiscovered Country (1991), Bennett turned them down and left Paramount. He subsequently created and produced the moderately successful SF TV series Time Trax (1993-95). Bennett's basic concepts of a prequel film eventually saw the light of day, in a somewhat different form, in J.J. Abrams's 2009 reboot movie.

Harve Bennett's impact on the Star Trek franchise cannot be underestimated: after The Motion Picture almost sunk it, his ingenious spending plans allowed the franchise to continue at a reduced cost. The films revived interest in the franchise and led to the creation of Star Trek: The Next Generation (1987-94) and its three spin-off series. Without Bennett and the work of his collaborators Nicholas Meyer and the late Leonard Nimoy (who directed Star Trek III and IV, as well as working on the scripts for III, IV and VI), it is questionable if the franchise would have gotten past those first couple of films.