Star Trek: Discovery S1

This may read more like ruminations of a casual Star Trek fan. Such people exist right?





I genuinely had my doubts about Star Trek: Discovery (2017-present). I actually didn't have that much of an interest to be frank about it. I won't deny I wasn't just a little bit intrigued with Star Trek: Discovery in the hands of Bryan Fuller (Hannibal). Could it or would it come close to being as good as Star Trek: The Original Series (1966-1969) or at least Hannibal if we were to compare apples to oranges at least in terms of quality?



Obviously some prefer Star Trek: The Next Generation (1987-1994) even more, a seriously gloriously restored on Blu-ray. While others embraced the deviation from formula set by Star Trek: Deep Space Nine (1993-1999) and the likes of creative upstarts involved with it including Ronald D. Moore (Battlestar Galactica, Outlander). Star Trek: Voyager (1995-2001) had its own advocates (along with detractors; is anyone ever really happy even within the Star Trek universe?). Then there were those fans of Star Trek: Enterprise (2001-2005) seen as something like an odd duck stepchild, but that show too had its moments and an equally impressive cast.



And for all of the worlds that populate Star Trek, not unlike 007 and James Bond, there is a certain set of expectations, rules, a framework and perhaps, yes, even a formula to the franchise.

I wondered at this point in this writer's game if I even had an interest in another Star Trek variation within the longstanding franchise. Part of me seemed fatigued, maybe a bit bored by its output. That's sad to say I know.



Further, I have never been overly enthused by the films, particularly the action films established by J.J. Abrams. They are good action movies, but not particularly required viewing for a science fiction fan and especially those who loved the original Star Trek series. Again, it pains me to say, but they are just okay.

So I half expected Star Trek: Discovery to fail with Paramount/CBS falling squarely on its face by expecting membership to CBS All Access. I won't do it. I just can't. Again, as you know, I'm sort of casual about it all.



I recall having a similar reaction to Stargate Universe (2009-2011). I remember thinking it appeared too radically different and therefore unworthy of the Stargate moniker and franchise. In its first episode there was a big-breasted brunette being banged in a space closet. Normally this would be a good thing, but I was thrown. And I was wrong about Stargate Universe and I was too late to the party, as I suspect others were. It was cancelled before my enlightenment. It was a fascinating new endeavor for the franchise and arguably the best. In the end I loved Stargate Universe. I just couldn't have been more wrong about a sci-fi property.



At this point there have been some very different reactions to Star Trek: Discovery. So I offer my humble take here. With so little enthusiasm for Star Trek you can imagine my surprise when I actually enjoyed this new telling, new approach to the universe of Star Trek. Though the dynamic take on the mythology makes it relatively easy to see why fans of any of the previous Star Trek series might have problems with it. Not me. It was a refreshing journey into Trek. And Star Trek: Discovery energizes the franchise in a similar fashion to J.J. Abrams yet felt more intelligent through its scripting led by an equally dynamic cast.



In short, Star Trek: Discovery, Season One, blew me away. Warp factor 9.99. Indeed it offered a significant departure not only from formula but defied my expectations in every way. All involved were indeed boldly going with this franchise and creating a fresh, new, relatable canvas for an assortment of fascinating characters and storylines. It was fearlessly weaving Star Trek into a kind of complex, science fiction adventure story perhaps I had longed for.



This iteration of the franchise is not without its moral or philosophical center despite this entertainment either - an area the recent films often leave me vacant. This achievement rests squarely on the writing. The emotional core of the series rests firmly with Sonequa Martin-Green (The Walking Dead) as Michael Burnham, a revelation here, but the other characters are equally layered. Martin-Green is tremendous though.

There is a cinematic quality to the series certainly inspired by the Abrams films. Even the adventure aspects of the Star Wars (1977) effect seems in play. But there are also homages to such classic science fictions as Dino De Laurentiis' Flash Gordon (1980). The show has sound effects that pay tribute and return us to Star Trek: The Original Series. Thank you.



The opening theme by Jeff Russo is a sophisticated, modern yet classical tribute to the spirit of the original's opener immortalized by Alexander Courage.

There are monsters and wildly creative forms of organic propulsion. Love that sporedrive. Alternate universes. Klingons. There are unexpected dark twists and turns. There are equal parts character drama, suspense and action. There just are not enough good things to say about a series that is indeed Star Trek whilst feeling like something entirely different. It's understandable some Star Trek franchise fans might take issue or have been rankled by the results, but I hope most are endorsing this latest production with open arms and give it a chance and support, because it's wonderful. And this time, unlike Stargate Universe or Firefly (2002), I'm not late to the party.



This was one of the most engaging Star Trek variations I had ever experienced. I'm here to say I am happy I am on board the Discovery and look forward to experiencing Season Two, because this show felt like an experience when I watched it on Blu-Ray.

It is an exceptional series beyond science fiction --- absolutely brilliant. I had no idea anyone would have had the balls to reinvent the franchise in such a vainglorious and original fashion. Stunning. Star Trek: Discovery is some of the most riveting serialized outer space science fiction I've seen in some time. The level of actual dramatic engagement is on par with the kind of television that made the reinvigorated, reimagined Battlestar Galactica (2003-2009) so magnetic for me.



To put this in some perspective, in recent years, The Expanse (2015-present), now moving into its fourth season, and based on the literature of James S.A. Corey has maintained the mantle of superior, smart, science fiction storytelling. Star Trek: Discovery may in fact best that series in some ways or at the very least match it on a narrative level, while retaining the kind of character energy that infused the Ronald D. Moore Galactica, and that's really saying something. It's that damn good. I've yet to invest in Season Two and I'm thrilled there are more seasons to come. This writer hopes the series does indeed live long and prosper. This is one of the greats at the moment. Who knew a franchise begun in 1966 could still have so much to offer.



I have had difficulty finding quality series with which to engage. Hell, I'm re-watching HBO's The Wire (2002-2008). But I am humbled to say I could not have been more wrong and more surprised at the results on display for this new Star Trek. I would easily watch this again too. While incredibly ambitious, at times dark, there is a twinkle in the eye of this one. Excited for the future, I am indeed a convert and this from someone who ranks Star Trek: The Original Series at the top.

At some point maybe I will take a closer look because this one is a keeper, but for now...Wow! This was indeed an unexpected discovery.

 

The kind of background character you're just itching to know a little more about.

Grace Lee Whitney (1930-2015)

These posts are always unfortunate. Following the sad loss of Leonard Nimoy in February we now lose another of the venerable crew of the starship Enterprise. The beautiful Grace Lee Whitney (1930-2015) portrayed Yeoman Janice Rand for eight episodes in Season One of Star Trek: The Original Series (1966-1969), arguably the best and most important season in Star Trek franchise history. Her grace and special presence was felt in a number of classics including Miri, Charlie X and The Enemy Within.



Though her role was small in the big picture, hers was indeed memorable. As supporting characters go, Whitney's Rand was significant to the series history.



Whitney penned her own biography on her journey with The Longest Trek: My Tour Of The Galaxy (1998). Ironically, Nimoy wrote the foreword for her book. In fact, Nimoy was a strong supporter of Whitney during her time on Star Trek and remained a friend.

It's very sad to see these icons from our youth pass. Where does the time go? My gosh Whitney was 85.



Whitney was quite hurt following her termination from ST:TOS. She had such a magnanimous spirit about her role in the series too. In a 2009 interview with The Sun Whitney offered this of that period in her life that resulted in substance abuse.

"They wanted William Shatner to have romances in each episode with a different person, because for him to be stuck with one woman was not good for him and it wasn't good for the audience. That's what they told me, so I was written out. There were two blonde girls and one black girl. Nichelle was a more important character and couldn't be written out. Everything's political in America. One of the blondes had to go. The other one was engaged to the boss, so guess who went? I just about killed myself. I drank, that's what we do, we drink to get rid of pain. I was really mad. My God, was I bitter."

 

On a minor footnote, Whitney also starred alongside actors Carroll O'Connor and Space 1999's Barry Morse in The Outer Limits' Controlled Experiment (1964).

Later, Whitney found redemption returning to the Star Trek film franchise and the convention circuit as a popular favorite among fans of the series. She also returned as Rand in Star Trek: Voyager for the episode Flashback (1996). She was a well-recognized, spunky survivor from the inaugural year of Star Trek. And so we are sorry to lose another one to the stars.

 

Leonard Nimoy (1931-2015)

"Live long and prosper."

and

"Fascinating."

 

I knew the day would come one day, but I never prepared myself for how crushing that feeling would be. It's kind of hard to accept.

Leonard Nimoy (1931-2015) passed away today. What more can you say about this great and influential actor who gave us the iconic Mr. Spock and affected generations through three seasons of Star Trek (1966-1969)? I have no words at the moment.

Honestly, that's all I have for now. There is no breadth or scope of words to do this man justice. Though it feels a piece of us is lost with his passing we have gained everything and more from his contributions.

It's a sad day to be sure.



So gosh, now that I've had a little time to compose myself, it's still hard to believe Leonard Nimoy is gone.

It seems like yesterday I was catching him on Fringe (2008-2013) as Dr. William Bell, and well it was pretty much yesterday.

In the last many months there were hints and signs of Nimoy's failing health and I was indeed concerned this day would arrive sooner than any of us would want for those we love. Nimoy was indeed one of those people.

On a personal note I can tell you that some of my fondest memories was having dinner with my grandmother and watching Star Trek in syndication in the 1970s. The two of us adored the characters. And when Spock offered his often sage analysis my grandmother and I would look to one another and essentially nod in agreement as if to say and confirm, "you see there, Spock knows all."



Star Trek (1966-1969) has sometimes been derided for a lack of character development for its ensemble cast, but that certainly doesn't hold true for the triumvirate of Spock, Kirk and McCoy. If ever characters were given multi-dimensional care in performance it would be those characters. Mr. Spock was a big part of Star Trek's success and the character was indeed one aspect of the series that made instant fans fall in love with the show. Leonard Nimoy was the reason Spock was so unforgettable. Under that cool, clam exterior was a half-human, half-Vulcan bubbling with conflict and emotion underneath it all. Nimoy conveyed in a meaningful way to everyone what it meant to be alien and to be accepted for his unique qualities despite being different.



I know Nimoy once penned I Am Not Spock (1975) in an effort to differentiate himself, the person and actor, from the beloved character, but with some soul searching and acceptance and some time away working on projects like the wonderful In Search Of (1977-1982) Nimoy returned with I Am Spock (1995). It speaks volumes for all of us who simply couldn't separate the character from the man. Even Nimoy realized resistance was futile and embraced it. Of course Nimoy was much more than Spock, but he was also Spock and gave everything of himself to that character and we connected with him more profoundly in just three short years than we do many characters that remain on television for far longer. Spock was special and Leonard Nimoy made him special. There was something about the message and the sincerity of those beliefs that transcended short term memory. This is why the character prospers. This is why Nimoy will be missed. He will forever live long and prosper in our hearts and minds. Leonard Nimoy was 83.




A science fiction selection of Film and Television highlights:

Apart from narrating the introduction to the Omni Theatre shows at the Mugar Omni Theatre in the Boston Museum Of Science where he talked about growing up just a few blocks from the museum - I always loved hearing him in those intros - these are some of Nimoy's career TV and Film highlights.

Them! (1954)
The Twilight Zone: A Quality Of Mercy (1961)
The Outer Limits (1964)
Star Trek (1966-1969)
Mission: Impossible (1969-1971)
Star Trek: The Animated Series (1973-1974)
In Search Of... (1976-1982)
Invasion Of The Body Snatchers (1978)
Star Trek The Motion Picture (1979)
Star Trek II: The Wrath Of Khan (1982)
Star Trek III: The Search For Spock (1984; director)
Star Trek IV: The Voyage Home (1986; director)
Star Trek V: The Final Frontier (1989)
Star Trek VI: The Undiscovered Country (1991)
Star Trek: The Next Generation: Unification (1991)
Star Trek (2009)
Fringe (2009-2012)
Star Trek: Into Darkness (2013)

My look at Leonard Nimoy's I Am Spock autobiography here back in 2008.
It offers a nice synopsis of the man's fascinating, to borrow a word, life. Gosh, we'd all like to live forever.

Star Trek: TNG S1 Ep20: Heart Of Glory

"Why do you mock me? Why do you wish to anger me?"

 

-Worf-

Star Trek: The Next Generation (1987-1994) is arguably a slog through Season One. Though I have stayed on task looking at each individual episode, at one point, following Season One, Episode 9, The Battle, I had considered ending the agony by jumping ahead to Star Trek: The Next Generation, Season One, Episode 20, Heart Of Glory. Hopefully for fans of this series interested in tagging along on my Season One journey the decision to remain faithful to my episode by episode coverage was worth it.



My coverage of the series, particularly on those first eleven episodes, has not been overly kind or glowing. They were certainly less than stellar, and to that point to make parallels to Star Trek: The Original Series (1966-1969) would be generally laughable. Of course, that all changed for me over the course of Season Two and Season Three, as it did for many, ranking ST:TNG among the top five best science fiction series ever created. Until now though, ST:TNG would hardly register on anyone's radar.

My son, The Boy Wonder, no doubt speaking from the ignorance of anything but heavy exposure to ST:TOS and out of loyalty, appropriate for this episode, noted ST:TNG to have its shortcomings. "It's not Star Trek without Spock." Oh, but it is. I've tried to convince him, but alas he has taken flight from his interest with this series for video games.



In fact, the characters are always the draw for the best series and ST:TNG is no exception. Heart Of Glory, as you know, centers on the character of Klingon Worf. And to my absolute and surprise, when I experienced Heart Of Glory, it was the Worf character, the performance by Michael Dorn, the strong direction by Rob Bowman (The X-Files) grounded in a tight script by Maurice Hurley, Herbert Wright and D.C. Fontana that snapped me from my ST:TNG malaise. Also, little did I know this was anything but a fluke, but rather the start of a real affection for this Worf character.  I had never been particularly fond of Klingons and yet the writers and performers indeed won me over. I was turning Klingon. Do you remember the song Turning Japanese (1980) by The Vapors? Same idea.



Prior to Heart Of Glory, on the series in general, the first season is populated with deficiencies. Sometimes poor dialogue, weak story ideas and a lack of direction concerning character would have a tendency to take their toll. Season One is awkward and incomparable to the first for ST:TOS, but it's not without its moments and perhaps those points kept its chances afloat. Heart Of Glory is one of those major highlights.

Despite the strength of Heart Of Glory and a few standouts, Season One of ST:TNG unconvincingly offered little evidence to suggest that it might one day rival ST:TOS. It's rather remarkable what ST:TOS achieved in a single year given the obstacles a television series must overcome.



When I originally penned the bulk of this post it was before the series arrived on Blu-Ray in all of its glorious color and vibrancy. There is a good deal of grain to the episode here, but the high definition is notable. The format cannot repair the substance of certain episodes that teeter on the brink of boredom but it does re-invigorate the series as a visual experience. For Heart Of Glory it's a revelation taking the infant series to another level.

I've had my quibbles with the series to date. There was real separation from the classic ST:TOS and adjustments had to be made. The crew was going where "no one has gone before." Gone were the females as objects of pure desire. Gone was the rough and tumble Captain James T. Kirk supplanted by the more cerebral and pensive Captain Jean Luc-Picard. Though, there were moments, like the ones in Heart Of Glory, where I started to really like this Captain. My affection was growing for him in Coming Of Age (Ep19) and others as well.  It wasn't love yet, but Patrick Stewart was fashioning his role in a way that was uniquely his own. I was beginning to really like this fellow.



The cast, though a little uncomfortable in the first season, was really beginning to win me over. Though, for me, Denise Crosby as Lt. Tasha Yar was the odds on favorite to be removed. And fortunately that wasn't far away.

But much of what I liked about ST:TNG clearly came together for the story called Heart Of Glory. This was an episode worth writing about. Bowman's effort captures a sense of atmosphere, tension and intrigue with some of the best character drama of the first season.

The story emphasizes a real sense of scale with a massive production set called The Batris where Number One, Data and Geordi La Forge beam over from the Enterprise-D and into some terrific suspense and atmosphere before stumbling upon and rescuing three Klingons just moments before the vessel explodes.



The Klingons speak of the Federation officers as infidels quickly aligning their beliefs within a relevant contemporary political context.

Worf, a Klingon and Federation Officer, is like a US soldier who also happens to be Muslim. The context of the story here and the Klingon focus deliver a perfect analogy and a genuinely compelling little tale of conflicted loyalty and trust.

Worf's loyalties to the Federation are tested as his Klingon brothers by blood make every effort to manipulate him to their love for the glory of war.



There are many in Star Trek fandom who love to dress like Klingons and speak Klingon and engage in Klingon rituals. And interestingly I was beginning to understand their love for Klingon mythology. That world never really spoke to me a youngster, but ironically the Klingon-centric Heart Of Glory was the first story to really get the old ST:TOS juices flowing. It was the kind of excitement I had for watching the classics. And this story was delivering something fresh without aping those originals and transforming them into the likes of those earlier ST:TNG efforts of Season One.

Much of the credit goes to the story and, as I mentioned earlier, Dorn's performance. As the Star Trek: The Next Generation Companion Book noted, Michael Dorn "had presence." Dorn helped evolve his character into an important player on ST:TNG eventually leading to his key involvement for several seasons of Star Trek: Deep Space Nine (1993-1999). That's an impressive development from the bowels of obscurity, to a recurring role, to unexpectedly become an important cog in the franchise wheel. In fact, it is written that "Worf, the lone Klingon in Starfleet, almost suffered from Gene Roddenberry's insistence that 'no old races' - that is, alien races that appeared in the original Trek- be featured at first in order to distinguish TNG from its predecessor." Fortunately, in this instance, Roddenberry lost that battle. No one is an island.



Bob Justman (1926-2008), associate producer and supervising producer on ST: TOS and ST:TNG, "was among those lobbying for a 'Klingon marine,' a concept the Great Bird finally agreed would show in the most obvious way the difference between this generation and the last - detente and even alliance with the Klingon Empire." It was all part of the new thinking and a move toward eradicating racism. Nevertheless, there would still be plenty of enemies and isms to mine. And speaking of races, tough to get around those Ferengi, at least in ST:TNG.

As the companion book notes, Worf is "absent througout the evolving first-season bible," but his impact beginning right here with Heart Of Glory is indeed significant.

The Enterprise-D receives word from Starfleet of a battle in The Neutral Zone. Number One suggests saucer separation for safety but the option is discarded. Readouts indicate the potential for Romulans - the first mention of them this Season. Some of these threads would materialize further in S1, Ep26, The Neutral Zone further bolstering a series establishing itself.



La Forge has activated a visual acuity transmitter connected to his visor to transmit what he sees on the Talarian freighter back to the bridge. The visuals are beamed over to the bridge main screen and Picard calls the images "extraordinary." The scope of the sequence is another first for the series. To reiterate, the set piece for the sequence is one of the most impressive from Season One. There is a real sense of a failing, damaged vessel. It is large in scope and much more sophisticated that a simple colorized matte backdrop. The music and sound effects also give a unique vibe to the remote islolation of the ship.  All of this combined with Geordi vision sets the tone for a great episode.

There's a rather humorous moment when La Forge spots the metal fatigue in the ship's structure. An inquiry into how long before the hull ruptures results in a response of "It's impossible to to be exact - I'd say five minutes."  Five minutes is more or less a pretty accurate read from impossible. Only La Forge can go from impossible to five minutes in a breath. And where is a Data data analysis when you need it? Lapses in some story logic regarding radiation and safety are forgivable. You're in a forgiving mood when it comes to the strength of this story's intrigue and sense of adventure.



The Away team and Klingons beam away to safety in a nick of time. One minor annoyance. When the team beams over they begin moving before fully materializing. It always annoyed me to see life forms move in the Transporter Room after being beamed aboard before they were fully materialized. I much preferred when they remained still until the materialization was completed.

Heart Of Glory would be the first true character study regarding the question of allegiances for Worf and one of the more fascinating character depictions in Season One. The rescued Klingons include Captain Korris of the Klingon Defense Force and Lt. Konmel. Kunivas dies on the operating table. Picard and company make for an interesting exchange as Picard and Worf pick apart the art of Klingon deception.



The character interaction and script is so strong Heart Of Glory delivers scene after scene of engaging drama.



In Sick Bay, Kunivas dies and the Klingons (including Worf) look skyward and howl in the traditional Klingon rite of passing dubbed the Klingon Death Ritual - the first time presented in the Star Trek television mythology. The howl notifies the dead "beware a Klingon warrior is about to arrive." It is unsettling to see Worf unite through his common cultural bond with these deceitful Klingons clearly of questionable character. A discomfort enters the viewer's mind as a result of Worf's cultural outreach. Worf is like family and our concern grows.




Feelings of concern are amplified as Korris attempts to cultivate sympathy by referring to them as "Brothers, lost among infidels." The art of persuasion is powerful, but this bonding, especially between brothers forged by blood, almost works as a kind of inverted Stockholm Syndrome only these guests/prisoners essentially exert influence or a form of empathy on their host captor - Worf. Korris shows nothing but disdain for Starfleet. Heart Of Glory works not only as a great character study, but as a study on Klingon lore.



The previous sequence speaks to the character and the quality of Worf's heart, but his Klingon brothers continue their efforts to manipulate him through their blood connection. Will Worf sway? There's an element to the story that once again probes the depths of nature versus nurture - the influence of our established homes versus our genetic make-up. In a sense, these Klingons are like children separated at birth. One has been exposed to the act of kindness repeatedly, while the others led an entirely different existence. You know what they say about kindness? Never mistake it. This is at the core of Worf and the struggle within his very own heart of glory.

As much as Spock shared both a human mother and Vulcan father, and lived an internal struggle within between the influence of two worlds, Worf, too, has two competing aspects affecting his very fiber - Klingon and humanity. These are always fascinating existential questions on Star Trek. And as much as Data is perceived as ST:TNG's answer to Spock, much can be said of Worf's own comparable journey. Elements of this wonderful character study would continue throughout the series and it all begins here. Worf is the product of a disciplined race, a true warrior, tempered by the influence of humans within a melting pot of professionalism. We are asked to consider that which is more powerful in our lives - that of the influence of nature or that of nurture. Worf shall answer that question here in Heart Of Glory securing the importance of his character to the others on this new series.



Konmel admits to Worf the truth of their presence on that Talarian cargo ship. Worf discovers the two Klingons destroyed one of their own Klingon vessels. The Klingons speak of the corruption of the Klingon empire and the birthright of all Klingons to battle and that the peace with the Federation is nothing more than an illusion. A colleague of mine would agree with that assessment.  He once held the Klingons in the esteemed position of ultimate enemy status until it was usurped by the driving forces of the Borg. It is the peace that makes them soft or as Korris pleads, it makes his "heart wither and die." Like radical fundamentalists, Worf sees his fellow Klingon brothers twisting and contorting their belief system to suit their own warring desires.

On the bridge, Picard understandably shares his experience with Riker and Data regarding Worf's behavior at the Klingon Death Ritual. Questions of trust are in play.  Could Worf possibly fall prey to natural cultural impulses?  Picard shows concern for Worf and the influence of his people on him and how he will handle that connection. Picard says it was "like looking at a man that I had never known." Picard makes an important point about how little we sometimes really know regarding those close to us and the influence of one's primal nature.



Worf offers the Klingons a tour of the Enterprise-D and they dream of glorious battles. "Perhaps your dreams of glory no longer fit the time," says Worf suggesting a more evolved Worf. The Klingons frown upon "civilized men" and Worf's personal beliefs are challenged by them with each exchange.

On the bridge, a Klingon cruiser arrives in their airspace. The Captain of the Klingon cruiser asks of the survivors of the destroyed Klingon cruiser T'Acog, destroyed by Korris and Konmel. Picard informs the Klingon captain of the fate of the Klingons.  He is shocked to discover the escapees are alive. He demands they be turned over. Picard justifiably attempts to get as much information as possible about what has transpired. After all, he is dealing with Klingons and the art of deceit is not a new concept. But issues of rendition, harboring, political asylum, refugee status, extradition and a host of other political scenarios fall into question depending on the information available.



Tasha Yar is sent to secure the criminals. Worf is asked to step aside. The Klingons plea for his aid as a blood brother pushing the conflicted nature within Worf. There is an almost child-like innocence to Worf, as Klingons go, as a result of his sheltered, farm-reared existence on Gault and the "kindness" he has received in his life.

Worf returns to the bridge and is notfied by Picard of the Klingons' wish to recover the two prisoners. Worf knows they will be executed. He looks to Picard for other options as a result of his nurtured existence by humans and as an officer in Starfleet. This further illustrates how different Worf is as a result of his upbringing.The performances are strong throughout.



Worf requests permission to speak with the Klingon Captain who has demanded the prisoners. Worf exhibits the human act of compassion once again highlighting this is a new era in Star Trek. Worf understands they must be punished, but also understands the natural inclination by Klingons to yearn and burn for past Klingon glories. Worf feels it to his bone and core and like Spock must seek control of primal urges. Worf pleads that the Klingons have a chance to die in battle with honor. The Klingon captain denies the option.



Elsewhere, the Klingon prisoners plot their escape. Utilizing components from their belts and boots. A makeshift weapon is created. The breakout happens and two security die along with Konmel. Korris is on the run. He makes way to Main Engineering. Korris demands to speak with Worf, his "countrymen." Worf and Picard go to him.

What is clear is that Korris is essentially a traditional, throwback Klingon and makes ovations to Worf to join him. Worf demands that he put down the phaser. Worf makes the only case he knows and proves he is truly enlightened.



Korris angrily growls, "I don't care what you look like, you are NO Klingon!" Worf replies, "perhaps not." Ultimately killing Korris Worf does indeed respect the traditional Klingon desire to die with honor in battle and even gives him the Klingon Death Ritual. It is a sobering moment, but offers a glimpse, as does much of the episode as to the character at the heart of Lt. Worf.



Picard reports the Klingons have been killed to the Klingon Captain. He inquires of Worf how they died. Worf replies, "they died well." Picard offers to return the bodies, but they are to be discarded as refuse. Worf is offered a place among the Klingons should his Federation service conclude. Worf indicates he will stay with the Enterprise-D. This is a fine, closing moment and harkens back to the flavor and spirit of all that was splendid with ST:TOS.

"The bridge wouldn't be the same without you."

Heart Of Glory gets the tension just right and positions the cast accordingly to create a sense of genuine excitement with a worthwhile tale to be told. It's honestly the first time I felt the series had a consistent pulse. At its core, the tale asks us the question of change, progress and the ability to evolve into something greater than primitive religion, culture or hostile mores. There are compelling social and political questions in play throughout Heart Of Glory not to be missed and still relevant today. Some episodes have tapped into what makes Star Trek work so beautifully, but Heart Of Glory gets it right start to finish.



One of the great thematic threads of Heart Of Glory is to what degree Worf's heart is a heart of loyalty to his new Starfleet family. Which side will he fall if asked to choose? We all need to make a choice and often times must choose sides. Life forces these choices when two opposing forces meet head on and face to face. Sitting it out isn't an option and certainly not for a Klingon with a heart of glory.

Battlestar Galactica (2004-2009) begged thematic questions of divided loyalty between Cylons and humans. Aeryn Sun was also faced with similar themes early on regarding her loyalties to the Peacekeepers race or her newfound makeshift family in Farscape (1999-2003). The Tok'ra were by no means Goa'uld in Stargate SG-1 (1997-2007). Humans were faces with differentiating between the two. And questions of trust are abound in all of these wonderful series.



Heart Of Glory is another splendid example of this theme in action and succeeds by infusing ST:TNG with the spirt of the classic series. This Klingon-centric story would establish Worf and offer a glimpse into the fragile Klingon - United Federation Of Planets alliance. Heart Of Glory would plant the seeds of the ongoing Worf/Klingon saga, the story of Khitomer and the Romulan betrayal detailed further in Worf-centric stories like the brilliant Sins Of The Father (S3, Ep17). Implications regarding Worf's family would follow in Family (S4, Ep2) and Homeward (S7, Ep13). This is the kind of foreshadowing and serialization that would make the new series such a success and influence genre television for years. Most of all, like the irreplaceable original series, Heart Of Glory places emphasis on character over effects, Worf stands out as a real highlight by capturing one of the real character highlights of the first season. While it may still be a little rough around the edges it lays the groundwork for better things to come especially for Worf. This one definitely has heart.

Heart Of Glory: B/B+.
Director: Rob Bowman.
Writer: Maurice Hurley, Herbert Wright, D.C. Fontana.