Starfleet Uniforms in “STAR TREK: PICARD”

STARFLEET UNIFORMS IN “STAR TREK: PICARD”

Recently, I have come across a good number of articles on the Internet about the the upcoming CBS All Access series and recent addition to the STAR TREK franchise, “STAR TREK: PICARD”. I admit that my curiosity about the new series has led to some kind of anticipation for it during the past several months. There is one aspect of my curiosity that has been settled – namely the costume designs for the Starfleet uniforms to be featured in the new series.

According to the publicity surrounding “PICARD”, it is supposed to be set at least twenty years after the events of the 2002 film, “STAR TREK NEMESIS” . . . roughly around 2399. This period – namely the end of the 24th century and the early years of the 25th century – in Federation/Starfleet history has already been featured in television shows like “STAR TREK DEEP SPACE NINE” and “STAR TREK VOYAGER”. Because of my memories of the Starfleet uniform designs featured in those episodes, I realized that it did not jibe with the new uniform designs for “PICARD”, as shown in the image below:

It had occurred to me that this new uniform design for “PICARD” reminded me of the Starfleet uniforms worn between Seasons One and early Season Five on “DEEP SPACE NINE” and throughout “STAR TREK VOYAGER” (which was set in the Delta Quadrant), as shown in the images below:

 

 

I found this rather odd, considering that the time period for “DEEP SPACE NINE” and “VOYAGER” stretched from 2369 to 2377-78. Had the uniforms for Starfleet changed so little during the 20-30 years period? Not quite. Starting in 2373, Starfleet officers and crewmen wore new uniforms shown not only in Seasons Five to Seven of “DEEP SPACE NINE”, but also in various STAR TREK movies, beginning with the 1996 film, “STAR TREK: FIRST CONTACT”:

 

So what happened? Did Christine Bieselin Clark, the costume designer for “PICARD” had decided to create a new twist on the uniforms featured in “VOYAGER” and the earlier seasons for “DEEP SPACE NINE”? Or had she forgotten those uniforms featured in at least two STAR TREK uniforms set in the future? What am I referring to?

There was an episode that aired in early Season Four of “DEEP SPACE NINE” called (4.03) “The Visitor” in which Captain Benjamin Sisko had disappeared due to an inversion of the Bajoran Wormhole. The episode featured how his son Jake Sisko’s life would have eventually unfolded over the years. The episode included a scene set 25 to 30 years later in which two of Captain Sisko’s officers – Julian Bashir and Jadzia Dax had visited Jake, wearing Starfleet uniforms:

 

One could dismiss this as a possible future uniform for Starfleet personnel. And yet; in the series finale for “VOYAGER” called (7.25-7.26) “Endgame”, which began in 2404 and featured an elderly Admiral Kathryn Janeway plotting a trip to the past to change the future for the crew of U.S.S. Voyager.; the same uniform design was featured:

 

Had Clark, along with creator Alex Kurtzman, and the other producers of “PICARD”, simply decided to forgo those future uniforms featured in both “DEEP SPACE NINE” and “VOYAGER”? Had Clark even seen those episodes? Or did she decided to create new Starfleet uniforms that were similar to the more familiar uniform featured in the STAR TREK television shows set during the 2370s for the sake of nostalgia? Regardless of the answer, I can only feel that this is a step down for the new series.

 

“NORTH AND SOUTH” Trilogy Locations

Below are images of locations used in the television adaptation of John Jakes’ “NORTH AND SOUTH” Trilogy. The three miniseries aired between 1985 and 1994:

 

 

“NORTH AND SOUTH” TRILOGY LOCATIONS

Boone Hall Plantation; Mount Pleasant, South Carolina – This plantation had served as the exterior shots for the Main family’s South Carolina plantation, Mont Royal in “NORTH AND SOUTH: BOOKS I & II”:

 

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Stanton Hall; Natchez, Mississippi – This mansion was used for the interior shots of the Main family’s South Carolina plantation house, Mont Royal in “NORTH AND SOUTH: BOOKS I & II” :

 

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Calhoun Mansion; Charleston, South Carolina – This manor house served as the Hazard family’s Lehigh Station, Pennsylvania mansion, Belvedere in “NORTH AND SOUTH: BOOKS I & II”:

 

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Greenwood Plantation; St. Francisville, Louisiana – This plantation had served as the South Carolina plantation, Resolute; which was owned by the Mains’ neighbor, Justin LaMotte in “NORTH AND SOUTH: BOOKS I & II”:

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Jefferson College; Washington, Mississippi – The rooms at this former all-male college had served as the barracks at the U.S. Military Academy in West Point, New York in “NORTH AND SOUTH: BOOK I”:

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Sunset Station; San Antonio, Texas – This historic train station had served as the rail terminal station in St. Louis, Missouri in “HEAVEN AND HELL – NORTH AND SOUTH: BOOK III”:

 

“Celebrating Unoriginality”

“CELEBRATING UNORIGINALITY”

Many people love to praise FOX science-fiction series, “THE ORVILLE” to the sky. Many praise it for being the epitome of the “traditional aspects” of the STAR TREK franchise. Even more so than the latest entry of the latter, “STAR TREK DISCOVERY”.

I have my suspicions on why so many love to praise “THE ORVILLE” to the detriment of the CBS Access series. I suspect that both sexism and racism are two of the reasons behind this sentiment . . . especially in regard to the leading lady of “STAR TREK DISCOVERY”. However, there is some aspect or style of “THE ORVILLE” that makes me understand why many others would make this claim about the series being “traditional Trek”. Unfortunately, I do not think this aspect has proven to be beneficial to the FOX series.

How can I be anymore blunt? To me, “THE ORVILLE” is basically a remake of the second Trek series, “STAR TREK NEXT GENERATION”, but with a touch of leading actor Seth MacFarlane’s style of humor. I just wish the series could be different. Offer A DIFFERENT STYLE in its presentation of episodes. It had recently occurred to me that “NEXT GENERATION” reminded me a lot “STAR TREK THE ORIGINAL SERIES” than any of the other Trek shows. In terms of format and the style of shows, it is almost seems like a remake or continuation of the 1966-69 series. Perhaps this is not surprising considering that the 1987-94 series, along with “THE ORIGINAL SERIES”, was created by Gene Roddenberry. This could be a reason why it seems more beloved by the franchise’s fandom and producers, save for the first series.

My recent viewing of “THE ORVILLE” made me suspect that it pretty much repeated what “NEXT GENERATION” had done in terms of storytelling and format. Although both shows were willing to explore the different quirks and minor flaws of its main characters, both seemed hellbent upon portraying Humans as generally more superior than other alien races. Both shows seemed willing to put humanity on a pedestal. The Moclus race, as personified by the Lieutenant Commander Bortus character, bears a strong resemblance to the Klingons of the 24th century. And Bortus seems to be another Lieutenant (later Commander) Worf. Even the relationship between MacFarlane’s Captain Ed Mercer and Adrianne Palicki’s Commander Kelly Grayson almost seems like a re-hash of the Commander William Riker and Counselor Deanna Troi relationship, as portrayed by Jonathan Frakes and Marina Sartis in “NEXT GENERATION”. And yet, the Trek shows that followed “NEXT GENERATION” seemed to be willing to offer something different.

“STAR TREK DEEP SPACE NINE” was set on a space station and possessed a narrative structure that very slowly developed into a serial format by its third season. “STAR TREK VOYAGER” featured a crew traveling alone on the other side of the galaxy that comprised of Starfleet officers and crewmen, Maquis freedom fighters, an ex-convict/former Starfleet officer, two aliens and a former Borg drone. Superficially, “STAR TREK: ENTERPRISE” seemed a lot like “THE ORIGINAL SERIES” and “NEXT GENERATION”, but it was set a century before 1966-69 series – during the few years before the establishment of the Federation, and it featured a serialized narrative about a major war during its third season. “STAR TREK DISCOVERY” proved to be a Trek series that has been serialized since its first episode. More importantly, its main character IS NOT a star ship or space station commander.

The Trek shows that had followed “NEXT GENERATION” have been more willing to explore the uglier side of the Federation, Starfleet and Humanity; than the first two series. This has been especially apparent in “DEEP SPACE NINE”“VOYAGER” and “DISCOVERY”. And aside from “VOYAGER, the Trek shows that followed “NEXT GENERATION” have been willing to utilize a serialized format – something that many fans seemed to lack the patience to endure lately. Most of this criticism toward a serialized narrative has been directed against “DISCOVERY”. However, I personally find this ironic, considering that the other Trek shows have used this narrative device with the same quality as the other shows. At least in my eyes. I suspect that this heavy criticism toward “DISCOVERY” has more to do with the show’s lead than its writing quality. Even “VOYAGER” has been willing to serialized some of its episodes on a limited scale, especially during its mid-Season Four.

Officially, “THE ORVILLE” is not a part of the Trek franchise. Why does it feel that it is? And Why does it have to feel like it? Because its creator and star, Seth MacFarlane, had this need to pay homage to “NEXT GENERATION”? Or even “THE ORIGINAL SERIES”? Why? Some advocates of “THE ORVILLE” have pointed out the series’ style of humor and the fact that it features a LGBTQ couple. However, “DISCOVERY”, which had premiered during the same month and year, also features a LGBTQ couple. And previous Trek shows and movies have featured or hinted LGBTQ romance and/or sexuality in the past – namely “DEEP SPACE NINE” and the 2016 movie, “STAR TREK BEYOND”. Even television series like “BABYLON 5” and “BATTLESTAR: GALACTICA” have featured or hinted LGBTQ issues. But more importantly, both shows, along with “FARSCAPE” and others in the science-fiction genre have managed to be completely original both style and substance. Why did MacFarlane feel he had to literally copy “NEXT GENERATION” when other Trek shows have managed to be more original? The only aspect of “THE ORVILLE” that I truly find original is its occasional use of twisted humor. And even that has appeared even less during the series’ second season.

This is what I find so frustrating about “THE ORVILLE”. One, I feel that it is basically “traditional Trek” disguised as another science-fiction franchise. Even worse, it seems like a close rip-off of “STAR TREK NEXT GENERATION”. I see nothing complimentary about this. I find it sad that so many people do. And I find it even sadder that so many people are willing to put “THE ORVILLE” on a pedestal for . . . what? For the series’ lack of originality? Because these fans want to cling to the past? This is just sad. No . . . not, sad. Pathetic. At least to me.

 

Favorite Episodes of “STAR TREK DEEP SPACE NINE” Season Three (1994-1995)

Below is a list of my favorite episodes from Season Three of “STAR TREK DEEP SPACE NINE”. Created by Rick Berman and Michael Piller; the series starred Avery Brooks as Commander Benjamin Siesko:

FAVORITE EPISODES OF “STAR TREK DEEP SPACE NINE” SEASON THREE (1994-1995)

1. (3.26) “The Adversary” – The Federation’s Ambassador Krajensky informs newly promoted Captain Benjamin Sisko that there has been a coup on Tzenketh. During the journey to Tzenketh, Sisko and the crew discover that a Changeling from the Dominion may be hiding aboard and sabotaging Deep Space Nine’s only ship, the U.S.S. Defiant. Lawrence Pressman guest-starred.

2. (3.09) “The Defiant” – Commander William Riker of the U.S.S. Enterprise shows up unannounced and the station’s second-in-command, Major Kira Nerys shows him the Defiant, where he reveals his true motives for coming to Deep Space Nine. Jonathan Frakes and Tricia O’Neil guest-starred.

3. (3.21) “The Die is Cast” – Former Cardassian spy-turned-tailor Elim Garak reluctantly tortures Odo for information to prove his loyalty to his former mentor, Enabran Tain, as a joint Tal Shiar/Obsidian Order attack on the Founders in the Omarian Nebula is underway, without Starfleet’s involvement. Paul Dooley and Leland Orser guest-starred.

4. (3.11-3.12) “Past Tense” – A transporter accident sends Sisko, Dr. Julian Bashir, and Lieutenant Jadzia Dax back to Earth’s dark past in the 21st century, a time just before the Bell riots, a violent civil disturbance in opposition to Sanctuaries which are controlled ghettos for the dispossessed. Bill Smitrovitch, Jim Metzler and Clint Howard guest-starred.

5. (3.19) “Through the Looking Glass” – Sisko is kidnapped and forced to impersonate his deceased mirror universe counterpart in order to convince Jennifer Sisko to defect to the Terran Rebellion. Felecia M. Bell and Tim Russ guest-starred.

Honorable Mention: (3.24) “Shakaar” – Vedek Kai Winn, who has become a political leader on Bajor, needs Kira to convince the former resistance leader Shakaar, now a farmer, to return soil reclamators needed elsewhere in Rakantha, which used to be Bajor’s most productive agricultural region. Duncan Regehr and William Lucking guest-starred.

Favorite Television Productions Set in the 1930s

Below is a list of my favorite television productions (so far) that are set in the 1930s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1930s

1. “Agatha Christie’s Poirot” (1989-2013) – David Suchet starred as Agatha Chrsitie’s most famous sleuth, Hercule Poirot, in this long-running series that adapted her Poirot novels and short stories.

2. “Moviola: The Scarlett O’Hara War” (1980) – Tony Curtis starred as David O. Selznick in the second episode of the miniseries, “Moviola”. The television movie featured Selznick’s search for the right actress to portray the leading character in his movie adaptation of “Gone With the Wind”.

3. “Edward & Mrs. Simpson” (1978) – Edward Fox and Cynthia Harris starred the 1978 adaptation of the events leading to the 1936 abdication of King Edward VIII of Great Britain. The seven-part miniseries was based upon Frances Donaldson’s 1974 biography.

4. “Mildred Pierce” – Todd Haynes directed and co-wrote this television adaptation of James M. Cain’s 1940 novel about a middle-class divorcee, who struggles to maintain her family’s position during the Great Depression and earn her narcissist older daughter’s respect. Emmy winners Kate Winslet, Guy Pearce and Emmy nominee Evan Rachel Wood starred.

5. “Upstairs, Downstairs” (2010-2012) – Heidi Thomas created this continuation of the 1971-1975 series about the Hollands and their servants, the new inhabitants at old Bellamy residence at 105 Eaton Place. Jean Marsh, Keely Hawes, Ed Stoppard and Claire Foy starred.

6. “And Then There Were None” (2015) – Sarah Phelps produced and wrote this television adaptation of Agatha Christie’s 1939 novel. Craig Viveiros directed.

7. “The Last Tycoon” (2016-2017) – Billy Ray created this television adaptation of F. Scott Fitzgerald’s unfinished novel about a Hollywood producer during the mid-1930s. Matt Bomer starred.

8. “Indian Summers” (2015-2016) – Paul Rutman created this series about the British community’s summer residence at Simla during the British Raj of the 1930s. The series starred Henry Lloyd-Hughes, Nikesh Patel, Jemima West and Julie Walters.

9. “Damnation” (2017-2018) Tony Tost created this series about the labor conflicts in the Midwest, during the Great Depression. Killian Scott and Logan Marshall-Green starred.

10. “The Lot” (1999-2001) – This series centered around a fictional movie studio called Sylver Screen Pictures during the late 1930s. The series was created by Rick Mitz.

Favorite Television Productions Set During the U.S. CIVIL WAR

Below is a list of my favorite television productions set during the U.S. Civil War: 

FAVORITE TELEVISION PRODUCTIONS SET DURING THE U.S. CIVIL WAR

1. “The Blue and the Gray” (1982) – This three-part CBS miniseries focused on the experiences of two families linked by two sisters – the Geysers of Virginia and the Hales of Pennsylvania – during the U.S. Civil War. John Hammond and Stacy Keach starred.

2. “Copper” (2012-2013) – Tom Fontana and Will Rokos created this BBC America series about an Irish immigrant policeman/war veteran who patrols and resides in New York City’s Five Points neighborhood during the last year of the U.S. Civil War. Tom Weston-Jones, Kyle Schmid and Ato Essandoh starred.

3. “North and South: Book II” (1986) – James Read and Patrick Swayze starred in this six-part television adaptation of John Jakes’s 1984 novel, “Love and War”, the second one in John Jakes’ “North and South” Trilogy. David L. Wolper produced and Kevin Connor directed.

4. “Gore Vidal’s Lincoln” (1988) – Sam Waterston and Mary Tyler Moore starred in this two-part miniseries adaptation of Gore Vidal’s 1984 novel about the 16th U.S. President during the U.S. Civil War. Lamont Johnson directed.

5. “The Young Riders” (1989-1992) – Ed Spielman created this ABC television series about six riders who rode for the Pony Express between 1860 and 1861. Ty Miller, Josh Brolin and Anthony Zerbe starred.

6. “Class of ’61” (1993) – Steven Spielberg produced this ABC television movie about a few West Point graduates who found themselves on opposite sides of the U.S. Civil War. Dan Futterman, Clive Owen and Andre Braugher starred.

7. “Mercy Street” (2016-2017) – Lisa Wolfinger and David Zabel created this PBS series that followed two hospital nurses on opposite sides, at the Mansion House Hospital in Alexandria, Virginia during the U.S. Civil War. Mary Elizabeth Winstead, Hannah James and Josh Radnor starred.

8. “Lincoln” (1974-1976) – Hal Holbrook and Sara Thompson starred in this NBC six-part miniseries about the life of the 16th U.S. President. George Schaefer directed.

9. “The Million Dollar Dixie Deliverance” (1978) – Brock Peters starred in this Disney television movie about an escaped Union soldier who flees to the Union lines with five Northern children who had been snatched and held as hostages by Confederate soldiers during the war. Russ Mayberry directed.

10. “For Love and Glory” (1993) – Roger Young directed this failed CBS pilot about a wealthy Virginia family disrupted by the older son’s marriage to a young working-class woman and the outbreak of the U.S. Civil War. Daniel Markel, Tracy Griffith, Kate Mulgrew and Robert Foxworth starred.

NORTH AND SOUTH: BOOK II” (1986) – Episode Five “December 1864 – February 1865”

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“NORTH AND SOUTH: BOOK II” (1986) – EPISODE FIVE “December 1864 – February 1865” Commentary

“NORTH AND SOUTH: BOOK II” finally reached its home stretch in Episode Five, the penultimate episode. Well . . . almost. Beginning several weeks after the end of Episode Four, Episode Five continued the miniseries’ portrayal of the Civil War’s last year for the Hazards and the Mains. It also put three or four subplots to rest.

Episode Five opened with George Hazard still imprisoned inside Libby Prison in Richmond, Virginia. The episode also continued with Madeline Main’s efforts to feed Charleston’s poor and war refugees, Charles Main and Augusta Barclay’s wartime romance, and the survival of Mont Royal’s remaining inhabitants. Episode Five also closed several subplots that included Stanley and Isobel Hazard’s war profiteering, Elkhannah Bent and Ashton Main Huntoon’s plot against Jefferson Davis’ administration, and Madeline’s relationship with former officer Rafe Beaudine.

This episode featured some excellent dramatic moments. Lewis Smith certainly shined in his portrayal of Charles Main, who had hardened considerably after three-and-a-half years of war. This was especially apparent in scenes that included Charles’ reluctance to help his cousin Orry Main rescue George Hazard from Libby Prison, his cold-blooded killing of a Union prisoner, his attempt prevent fellow scout Jim Pickles from deserting and his emotionally distant attitude toward lady love Augusta Barclay and her manservant, Washington. Another well acted scene featured Brett Main Hazard and Semiramis’ encounter with former Mont Royal overseer, Salem Jones. Watching Erica Gimpel point a shotgun at Tony Frank, considering their characters’ past history, brought a smile to my face. I also enjoyed the poignant scene between Brett and her mother, Clarissa Main, while the latter painfully reminisced about the past; thanks to Genie Francis and Jean Simmons’ performances. And both James Read and Jonathan Frakes knocked it out of the ballpark in the scene that featured George’s confrontation with Stanley and Isobel over their war profiteering. They were supported by fine performances from Wendy Kilbourne and Mary Crosby.

But another truly superb performance came from Terri Garber, who got a chance to portray Ashton Huntooon’s increasing doubts over Elkhannah Bent’s scheme against Davis. This was especially apparent in one scene in which Ashton silently expressed shame over her willingness to prostitute herself to a potential contributor for Bent’s plot. She received fine support from Jim Metzler as her husband James Huntoon and Patrick Swayze as Orry Main. But I felt that Philip Casnoff’s Bent nearly became slightly hammy by the scene’s end. Even Lesley Anne Down and Lee Horsley managed to shine as Madeline and the infatuated Rafe Beaudine. But I must admit that I found one of their later scenes slightly melodramatic.

Yet, despite these dramatic gems, I was not particularly impressed by the writing featured in Episode Five. I had a problem with several subplots. One, I had a problem with the subplot involving Stanley and Isobel’s profiteering. It made me wish the screenwriters had adhered to author John Jakes’ original portrayal of the couple in his 1984 novel, “Love and War”. I felt this subplot had ended with a whimper. It was bad enough that George had killed Stanley and Isobel’s partner in a bar fight. But aside from the dead partner, the only way the couple could face conviction was to confess. And I found it implausible that a remorseful Stanley would still be willing to do that after receiving an earful of angry insults from George. Very weak.

Episode Five also allowed Madeline and Bent’s subplots to interact for the purpose of killing off Rafe Beaudine. Frankly, I found the idea of Bent traveling from Richmond to Charleston for more funds . . . only to be told to seek hard cash from“the Angel of Charleston” – namely Madeline. The latter recruited a retired stage actress portrayed by Linda Evans to impersonate her and discover Bent’s plans. And what was Madeline’s next act? She left her boarding house (in the middle of the night) to warn . . . who? The script never made it clear about whom Madeline had intended to warn. Why? Because her night time task was interrupted by Bent, who had recognized the stage actress. And before Bent could lay eyes upon Madeline, Rafe comes to her rescue. What can I say? Contrived.

I also found Bent’s scheme to get rid of Jefferson Davis and assume political and military control of the Confederacy rather ludicrous. Audiences never really saw him recruit any real political support for his scheme . . . just money from various wealthy Southerners. The screenplay never allowed Bent to make any effort to recruit military support for the weapons he had purchased. In the end, I found the entire subplot lame and a waste of my time.

And finally, we come to the efforts of “Madeline the Merciful” to find food for Charleston’s poor. Personally, I found this subplot ludicrous. Madeline did not bother to recruit other women from Charleston’s elite to help her. And I suspect some of them would have been willing to help. I also found this subplot extremely patronizing. Again, it seemed to embrace the“savior complex” trope to the extreme. The subplot seemed to infantilize all social groups that were not part of the city’s white elite or middle-class – namely fugitive slaves, working-class whites and all free blacks. I found this last category surprising, considering that the screenwriters failed to acknowledge that not all free blacks were poor. In the end, this entire subplot struck me as a white elitist fantasy that Julian Fellowes would embrace.

The production values featured in the episode struck me as top-notch. Both director Kevin O’Connor and the film editing team did excellent work for the actions scenes in Episode Five. I found myself impressed by the scenes that featured George’s escape from Libby Prison, his bar fight with Stanley and Isobel’s profiteering partner, Bent and Rafe’s fight in Charleston and the former’s encounter with Orry and the Huntoons back in Virginia. More importantly, Robert Fletcher continued to shine with his outstanding costume designs, as shown in the following images:

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Yes, Episode Five featured some fine dramatic moments and performances. It even featured some solid action scenes. But . . . I was not particularly happy with most of the subplots. I also found the ending of one particularly subplot rather disappointing. No one felt more relieved than me when Episode Five finally ended.