We repeatedly saw Janeway integrate individuals from outside of Starfleet – sometimes even individuals who had never before heard of Starfleet – into the fold. Photo: Nickelodeon/Paramount+Īgain, this calls to mind several subplots that took place over the course of VOY’s seven-season run. This is clearly reflected by the themes of Prodigy, albeit through a mirror: instead of relying on the Federation’s philosophies in order to return to their home, there’s a question of whether or not the “cadets” can make their way to the (literal and metaphorical) territory of the Federation when they originate from outside it. Time and time again, we saw their Starfleet beliefs challenged by the wild and untamed elements of the Delta Quadrant, and time and again, we saw Janeway prevail. When Voyager was stranded in the Delta Quadrant, Janeway turned to the philosophies and guidelines of the Federation in order to guide her crew home. Obviously, the presence of Hologram Janeway goes a long way towards explaining this connection… but the reasoning for using Captain Janeway for this role (instead of Picard, the Sisko, or even Sulu) can be seen throughout VOY. This can be seen in the setting (back to the Delta Quadrant) and even the aliens we meet (hint: think of the recent experience Robert Duncan McNeill‘s Tom Paris had on-board the Cerritos).
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In many ways, Prodigy is a direct sequel to VOY. This also served to turn the philosophy of the Federation inwards, questioning how it might be used to navigate difficult moral quandaries, such as those that arose from the ongoing (and increasingly complicated) conflict between the Bajorans and the Cardassians.Īnd VOY offered a different perspective on Starfleet once again, taking Captain Janeway ( Kate Mulgrew), who had a deep personal commitment to the Federation’s philosophies, and seeing what happened when she and her crew were tossed over to the Delta Quadrant, a location seventy years removed from Earth. Meanwhile, under the command of the deeply emotionally wounded Commander Sisko ( Avery Brooks), DS9 took the space station’s stationary spinning literally, and allowed for deep inner exploration of each member of the crew. Sit & spin: themes on-board DS9 reflected the movement of the station. The D is a beacon of what humanity could accomplish if we could put aside petty concerns and work together for the good of everyone. Captain Picard ( Patrick Stewart) serves as the model of a near-perfect leader, being both capable and conscientious while remaining commanding and uncompromising. TNG represents the flagship series, and shows humanity as we could be at our best. But it’s important to note that one of the reasons they each succeed so well is that they each take a markedly different approach to their thematic subject matter.
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And in 1995, the third pillar of Trek’s second Renaissance arrived: Star Trek: Voyager.įor many, this is considered to be a golden age of Trek, and with good reason: all three shows remain examples of incredibly affecting and intelligent serialized television storytelling. Thanks to the success of TNG, it was followed by Star Trek: Deep Space Nine, which began in 1993. Fortunately, in 1987, Star Trek: The Next Generation arrived.