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The Final Mission...

I thought about what other genre shows did as final episodes and looked up Batman, Lost in Space and Mission: Impossible and if I got it right only the first ended and the other two got cancelled, and the Batman finale looks like it has no real finality to it.

Batman's final episode. "Minerva, Mayhem and Millionaires" (E26, aired 3/14/68) was not a series finale in the traditional sense (e.g. The Fugitive or Dark Shadows); producer William Dozier already received the axing (cancellation) news from ABC in the fall of 1967, but the troubled production was not going out of its way to write a definitive finale. All viewers knew was that the teaser at the end of E25--

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--used the "The End" caption as acknowledgement that the next episode would be its last. This was not used at no other point in any of the other 118 episodes of the series, since--obviously--it was not the series format, nor were any of said 118 episodes a finale. Dozier was still milking the idea that his personal friends cast as villains was the way to go (when that practice began to fail the series in its second season), and moved ahead with the script for "Minerva" as intended. So, while E120 was Batman's last, it was not a true series finale, nor was any sense of finality tacked on to the script.
 
I wonder what a final episode of Star Trek would really have looked like. I keep thinking it would have just been another episode but maybe some nod right at the end that it was a finale.
That's pretty much just how 1960s TV series rolled. Gilligan's Island didn't have the castaways rescued until their reunion movie in the 70s. About the only series from that era that I can think of that made a point of resolving its central premise was The Fugitive, where Richard Kimble finally clears his name and catches his wife's killer. And apparently there was resistance to them doing that because the thinking was it would kill interest in the show in syndication.
 
That's pretty much just how 1960s TV series rolled. Gilligan's Island didn't have the castaways rescued until their reunion movie in the 70s.

Producer Sherwood Schwartz believed Gilligan's Island was getting a 4th season, where he had revealed his plan to one--have Tina Louise's Ginger character somehow find her way out of the series by being rescued (thanks to Louise wanting out of the series) and two--have the rest of the castaways rescued, so he wanted to put an official cap on the fate of his seven stranded characters.
 
That's pretty much just how 1960s TV series rolled. Gilligan's Island didn't have the castaways rescued until their reunion movie in the 70s. About the only series from that era that I can think of that made a point of resolving its central premise was The Fugitive, where Richard Kimble finally clears his name and catches his wife's killer. And apparently there was resistance to them doing that because the thinking was it would kill interest in the show in syndication.

But ending it as they had led to sky-high ratings that night. It's probably for the best that the '93 film wrapped things up similarly instead of giving us 11 Kimble sequels.
 
I am also not a fan of finales. A big, change-everything story with no reset in Act IV can mess up my headspace for the reruns. Knowing "It's Over" does nothing to keep me living in the premise.

It may surprise some to hear that ENT "These are the Voyages" was not the worst finale of all time. That honor goes to Xena: Warrior Princess. I loved the series, but the finale was wretched and all but destroyed enthusiasm for the show.

If a series is rerun worthy and people will watch it for years afterward, it doesn't need an ending.

This is a somewhat parallel observation (I think) to your point, but my favorite series finales have made clear that it's just another day in the adventure and life goes on. After all, just because the show's ending, that doesn't mean the characters are. "All Good Things" was a stellar (heh) example of this, but my favorite citation is the finale of NYPD Blue. Everyone (almost) clocked out for the day and the camera pulled back.
 
This is a somewhat parallel observation (I think) to your point, but my favorite series finales have made clear that it's just another day in the adventure and life goes on. After all, just because the show's ending, that doesn't mean the characters are. "All Good Things" was a stellar (heh) example of this, but my favorite citation is the finale of NYPD Blue. Everyone (almost) clocked out for the day and the camera pulled back.
I like finales that give you the end of an era somehow, even if life goes on. The NYPD Blue finale gave us Andy Sipowicz's first day as commander of the 15th Squad, giving us closure to his days as a detective there. The Cheers finale showed us Sam Malone realizing once again that he and Diane just aren't built for the long run, and that the true love of his life is his bar. And the last regular episode of Homicide: Life on the Street showed us Tim Bayliss leaving the Homicide Unit, just as the first episode showed him joining it. I like that sense of "This is why this story is ending here and now."

The DS9 finale "What You Leave Behind" has a definite "end of an era" feeling to it, with Sisko joining the Prophets, Odo, Worf, and O'Brien all leaving the station, and Bashir and Ezri starting a new relationship. The TNG finale comes full circle for the viewers, but not for the characters. We have a callback to Q's first appearance in "Encounter at Farpoint," and Picard opens himself up to his crew more, but the ship's mission didn't end or anything like that. The day after "All Good Things" ended was just another day in the lives of the Enterprise-D crew, with the crew presumably going on another mission and having an unseen adventure.
 
I like finales that give you the end of an era somehow, even if life goes on.

HILL STREET BLUES's ending was very much ''life goes on'', even though it ended the two-year ''era'' of Norman Buntz. By finishing off as it did, I was very accepting. ST. ELSEWHERE on the other hand milked every dramatic moment and even imitated MARY TYLER MOORE's final group hug. When ELSEWHERE ended, I was literally experiencing withdrawal symptoms for weeks, not to mention a bit of resentment at the concluding snow-globe.

I've never been bummed at a TREK show's conclusion, though IMO Deep Space Nine ended more memorably than VOYAGER's in the long run. Perhaps THE UNDISCOVERED COUNTRY bummed a bit, but that's not TV technically.
 
I also generally hate finales that split up the characters or kill some off, or otherwise end the format, unless it's a premise built on a "quest" of sorts. Voyager and The Fugitive absolutely needed finales. Babylon 5 was 100% perfect. Other shows of that type which got cancelled before the resolution lose appeal to me. Like Nowhere Man, Run for Your Life and so on.

TNG was perfect, but they only left it open because they were going into movies. Yet it was pitch perfect an ending scene as any.

Now in 1969, episodic shows didn't get finales, but sometimes a final episode can "feel" like one. Voyage to the Bottom of the Sea and 12 O'Clock High had final episodes that didn't close off the show but did feel like the end. I never really liked any of the proposed "finales" in comics, novels and fan films because they treated them as these were real people instead of a TV show. Too much foreknowledge and efforts to connect the series with the films. STC was guilty of this and I hated it because for the most part, they wanted us to feel like it was season 4 in 1969-1970 and they NEVER would have ended the show with TMP uniforms and explanations as to why Spock was purging his emotions and so on.

Had TOS been given a good final episode there would have been no deep looks back into past episodes. It would have, at most, given us the Enterprise heading back to Earth or something for "resupply" or whatever.

That's pretty much just how 1960s TV series rolled. Gilligan's Island didn't have the castaways rescued until their reunion movie in the 70s. About the only series from that era that I can think of that made a point of resolving its central premise was The Fugitive, where Richard Kimble finally clears his name and catches his wife's killer. And apparently there was resistance to them doing that because the thinking was it would kill interest in the show in syndication.

Yeah that was the prevailing wisdom because "everyone knows how it ends." But.....it wasn't a mystery. It was, other than the finale and a few references to past events, as standalone as any other show. And for a show to survive in syndication, people need to watch it more than once. Which means what? Everyone knows the end! Of every episode. That never stopped people from watching Star Trek. Or The Odd Couple.

The Prisoner had a wrap up, and a famous one. Or infamous, depending on who you ask.

Lost In Space was a funny situation in that the Robinson's and Smith didn't want to be lost, but I don't think the viewers were all that invested in them actually getting home. It was a Maguffin more than anything else. They seemed to have a pretty good time in space once they started meeting Space Hillbillies and circus performers and such. Land of the Giants and The Time Tunnel were more serious and would have benefitted from a conclusion, from a narrative standpoint, but I don't think Irwin Allen really cared. He only started thinking about a LIS reunion conclusion when his film career long dried up and his most popular show was back in the public eye.
 
My lukewarm take: part of why TOS exerts a unique hold over some folks' imaginations (like mine) all these years later is that no ending was ever shown in the series itself, allowing some small part of our brain to feel like they're still out there, boldly goin'
That is a fun thought.
The day after "All Good Things" ended was just another day in the lives of the Enterprise-D crew, with the crew presumably going on another mission and having an unseen adventure.
As I mentioned before, when I first saw TNG it was re-runs, and the local station placed "Gambit" and "Thine Own Self" after "All Good Things." Watching it that way actually makes a thought-provoking finale: Picard confronts Q and gets closer to the crew and the become a family, then Picard suddenly is thought dead and has a fight with Riker, but when that is resolved Data goes missing and when he returns, it is a bit unlcear how much he remembers, maybe even how much of the last 7 years her remembers. That really smooths the transition to Generations, making it almost as if there are 2 more TNG movies (those being "All Good Things" and "Gambit.")
It would have, at most, given us the Enterprise heading back to Earth or something for "resupply" or whatever.
I am thinking of the "asteroid resupply" artwork that was created for Phase II. Just a quit line of dialogue or two that the "Five Year Mission" is over and a new one is to begin.

Actually, if one includes the animated series into the five-year mission, the last episode, "The Counter-Clock Incident" works as a finale, with the older captain and a look at a "second life"

Or "BEM," which has the highest stardate has a interesting, ending.
 
I came up with a series finale some years ago and have posted it here but frankly I'm too lazy to go searching for it so I'll just re-post it here.

Some folks liked it and some didn't. If you're one of the latter don't click on it.

Past Sins


It is the last day of the 5YM. The Enterprise has been ordered home and the whole crew is looking forward to several months’ worth of accumulated leave time. At the same time they're pondering where their careers will go now that this mission is over. Most of the senior officers have been offered teaching assignments, to better prepare the next generation of Starfleet officers for what they'll be facing out there.


Spock has been offered a position at the Vulcan Science Academy, with McCoy and Scotty being offered senior positions at Starfleet's schools of Medicine and Engineering respectively; Kirk, still being young for his rank, fully expects to serve another tour of duty as a starship commander preferably aboard the Enterprise, but there are rumors that Starfleet may have something else in mind.


The junior officers are all expecting promotions and new assignments elsewhere, for them the happiness is mixed with sadness at the inevitable parting of the ways. Sulu is being considered for an Executive Officer's slot aboard the Lafayette, Kirk has nominated Uhura for Command School, Chekov has put in a request for Security and Intelligence training and Chapel is considering leaving nursing behind and becoming an MD.


Only a day out from Earth, the Enterprise encounters the First Federation starship Fesarius. The vessel seems to be a derelict drifting in space with most of her nodes dark. Kirk leads a boarding party and finds Balok in his quarters near death. He tells the tale of how the Fesarius encountered an alien vessel adrift, he sent young Mr. Bailey to render aid but somehow he was overcome and instead led the aliens back to the Fesarius intent upon capturing the massive vessel. Balok managed to keep them from acquiring the main ship by sabotaging his own vessel but they were able to seize the small pilot vessel instead. Balok jury rigged the engines and headed for Earth but the repairs failed and he has been drifting for several days. When asked why he headed for Earth Balok explains that Bailey had announced that he intended to teach Starfleet a lesson for abandoning him. Bailey had been growing more dissatisfied with his posting to the Fesarius for some months and contact with the aliens seems to have somehow brought his resent out in full force. After saying this, Balok dies.


Kirk and the boarding party return to the Enterprise. Uhura reports that she’s picking up a series of distress calls from ships and installations the renegade pilot vessel has attacked which Spock analyzes to figure out a pattern to Bailey’s actions. He determines that Bailey is most likely to strike next at Alpha Centuari with a 87.936 percent probability of following it up with a strike at Earth itself. Captain Kirk contacts Starfleet with their conclusions and is ordered to Alpha Centauri at maximum warp, the Earth Sector Patrol Group will meet him there. Kirk, however, has a gut feeling that Bailey has tapped into the communication and will therefore head straight to Earth. Rather than risk alerting Bailey, Kirk ignores his orders and directs the Enterprise to Earth at warp 7.


Kirk’s guess is right, Bailey and the pilot vessel have just begun attacking Earth installations when the Enterprise arrives. The starship attacks but the pilot vessel is every bit as tough as Balok had stated years earlier. Between the Enterprise’s superb crew and his greater tactical skill, Kirk manages to avoid crippling damage but it is clear that the pilot vessel is more than a match for the Enterprise. Kirk tries to talk Bailey into giving up this senseless quest for revenge, but Bailey goes on and on about how Earth will suffer as he has. During his tirade, Spock notices something strange in a corner of the pilot vessel’s bridge. Enhancing the image he finds it to be one of the flying parasites thought to have been eradicated on Deneva. Obviously Bailey was infected when he went aboard the derelict alien vessel, the creature must have discovered Bailey’s dissatisfaction with his assignment and expanded upon it until Bailey had become a willing tool in the creature’s quest for revenge.


With this information in his hands Kirk formulates a plan. The Enterprise launches a full scale attack intent on collapsing the pilot vessel’s deflectors. In spite of the Enterprise taking severe damage he perseveres and manages to burn through the shields. At this point Scotty beams a dozen high-powered ultraviolet lamps aboard the pilot vessel killing most of the creatures. Lieutenant Commander Giotto and his security teams follow up with hand-held lamps and finish the job. Back in his right mind Bailey is appalled at the death and destruction that he has caused and breaks down in tears.


The badly battered Enterprise enters Spacedock where a hero’s reception awaits them. Starfleet decides that the ship is too badly damaged to go through merely a routine refit. Instead she will be the test vessel for a major upgrade program. They tap Scotty to oversee the program. Captain Kirk is offered a promotion to Admiral and a position on the commanding admiral’s staff, he says he’ll consider it and make his decision when he comes back from leave. Spock decides to return to Vulcan, for a time at least. McCoy has yet to accept his teaching position but figures he probably will. The three friends share a drink together in a small lounge overlooking the Enterprise. McCoy asks if they’ll ever be serving together again. Kirk remarks that it’s a small galaxy. Spock states that while this may be true in cosmic terms, in real terms the galaxy is… McCoy interrupts him asking if he has to be so literal all the time? Spock raises an eyebrow at him as Kirk looks on smiling then says – Yes, Bones, I’m sure we’ll be together again, there’s a whole lot more galaxy waiting to be explored. Then the camera pans over to the Enterprise as a new slower-paced voice over of the opening monologue plays - Space, the final frontier. These were the voyages of the starship Enterprise. Her five-year mission: to explore strange new worlds, to seek out new life and new civilizations. To boldly go where no man had gone before, then fade to black and roll credits.​
 
As we all know, there was no finale to TOS in live action, no end of the five year mission. Though there are numerous ends created by novels, comics, video games and fan films.

Which are some of everyone's favorites? I know of a few, I'm hoping to learn about more.

My personal favorite is DC Comics Annual #2 (first run), "The Final Mission". Complete with Klingons, a return to Talos IV and having Will Decker along for the ride. By Mike Barr and Dan Jurgens.
The part at the end when Kirk is the last person on the bridge and he removes the little Enterprise MSD/pressure display by the turbolift as a keepsake is my favorite scene. It's part of my headcanon.
 
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