A HALF-HOUR SCI-FI ADVENTURE/COMEDY FOR TELEVISION & OTHER SCREENS Vision by Gene Roddenberry Organized by Daniel Ernest Malo WGA, East #1253382, 2013 Star Trek should return to television .02 A comedic series with Captain April & Yeoman Colt .03 Starring Stephen Fry and Felicia Day .04 A treatment for a show similar to Benson or Parks and Recreation .05 Taking place in 2244, near the launch of the Enterprise .06 As our leads reconcile and restore the franchise continuity .07 Exploring the universe of throwaway lines and exposition .08 And tertiary characters important to the future .10 Taking place in “The Triangle” .11 In similar aesthetic to The Original Series .12 Casting from contemporary popular culture .13 April’s course (stories to be encountered) .14 Block shot for economy .17 Made in Detroit .18 STAR TREK Why Star Trek Should Return to TV Sadie Gennis, TV Guide. May 19, 2013 “Star Trek once excelled as a form of social commentary, and…I can't think of a better time for it to return to its philosophical roots…As fans of the original series know, Star Trek was never about the battles; it was much more idealistic than that. If Star Trek were to return to TV, it could once again explore the social ideas of peace, progress and tolerance. Yes, the crew encountered great adventures and epic fights, but it was when these incidents were balanced with a moral question (What does it mean to be human? When do the ends cease to justify the means? What makes a utopia?)… That Star Trek truly shined.” The series treatment herein is for a comedic Star Trek series exploring these themes, set at the launch of the Constitution class vessels and the historic USS Enterprise. The story focus is of that of the Enterprise’s first Captain, Robert April, from the perspective of Yeoman Colt as his bookkeeper assistant, who encounter A-list guests of the week. It will occasionally tell stories that don’t feature our stars (‘unit series’) and it is not an ‘ensemble drama’ like past Trek depictions. Additionally, this presentation reconciles the continuity/alternate timeline dilemmas created in the current movie series, and morphs into a series featuring that cast; in their canon, established roles (over seven years). The intention is to air on television, via syndication, for Fall, 2014, in advance of Star Trek’s 50th anniversary. THANK YOU for your time and attention— MOST SINCERELY, DANIEL ERNEST MALO By Captain APRIL, as recorded by Yeoman COLT …just prior to the era depicted in The Original Series and current movies (starting in 2244). It occurs in the continuity of established ‘canon’ prior to the 2009 film. It covers the franchise’s ‘established history’ from 2244-2264 via ‘throwaway lines’ and lore from comics, books, video games, and other media. It will reconcile the ‘alternate timeline’ presented in the current films as the underlying arc of the first and second terms. Our characters are paramount to the rise of Kirk and Spock in this continuity. It will then begin to ‘introduce’ the current movie cast in the third term, in their appropriate ages and positions in ‘prime time’ as featured guests. Our show will evolve to the year 2264, and present the possibility of ‘reliving’ The Original Series, with as many as of the current movie cast as possible. It is a comedic, science fiction, action adventure show for the small screen …told in ‘half-hour’ stories over three acts. The primary narrative is of the first missions of the Enterprise by Captain Robert April, as observed by his bookkeeper assistant, Yeoman Colt. There will also be ‘unit’ stories which don’t feature our two leads, but are necessary to the storyline. Episodes will focus on the Enterprise, April, Colt, and their interaction with ‘A-lister’s’ as featured guests, and other recognizable names in abundant cameo. The ‘bridge crew’ will be utilized more sparingly in our adventure, but be far from ‘cardboard’ characters, as a source of much of the intelligent comedy. The proposed format is ‘half-hour sitcom’ (minus the laugh tracks) Two episodes can air in one broadcast if the hour format is required. The series will be stand-alone episodic, but carry series-wide arcs. Filming shall be ‘block shot’ to accommodate talent and cost considerations. It should be broadcast via syndication and made available for online purchase via new media distribution services. Produced in Detroit by an ‘in-house’ creative team …but will also utilize multiple guest production teams. The general aesthetic will be close to that of The Original Series, utilizing similar sounds, designs and special effects techniques (screen projection or puppetry, for example). A companion, animated series is also proposed, as part of an overall media presentation that includes ‘shorts’ and other material to fill in the narrative. Star Trek should film at Michigan Motion Picture Studios, which has the production space necessary for our special effects and ‘planetary’ sets in addition to having adjacent available campus space. Other benefits include proximity to a variety of potential locations and an abundant nearby talent pool. The state also offers a tax incentive for production. Full casting and crew considerations have been made and are available upon request Suggestions to play our lead characters are Stephen Fry as APRIL, and Felicia Day as COLT, both of whom should co-produce. Proposed guests and leads have been chosen for their brand of humor, and the story dialogue (in-jokes and subliminally used historical utterances) tailored in most cases to their personality and performance type. Covered in detail in the following series treatment: STAR TREK A HALF-HOUR SCI-FI ADVENTURE/COMEDY FOR TELEVISION & OTHER SCREENS Vision by Gene Roddenberry Organized by Daniel Ernest Malo Similar to Benson or Parks and Recreation ‘in space’. It adopts a format similar to these shows, transforming the franchise into a mainstream television series. It will incorporate the audiences of the Science Fiction niche and that of the casual television viewer. It is nearly a ‘workplace comedy’ yet demonstrates the best aspects of the precursor Star Trek series in look and novelty. It will adhere to established franchise continuity while “exploring an anthology-like range of exciting human experiences.” Much of it looks like Star Trek: The Original Series, as that is the approximate setting; but at its point in future history, the series will carry, in some instances, an appearance and feel similar to Farscape or Firefly, with both gritty and exotic places and storylines that find humor in the situation. It incorporates the action element associated with the Science Fiction genre, with epic instance of special effects and occasional space battles; borrowing the pacing and camera work of a series such as Battlestar Galactica. Star Trek includes not only the exploration of space, but the esoteric, mental, and metaphysical. It will explore themes similar to Total Recall 2070, of corporate conspiracies, while displaying the fullness of our characters in a synchronistic manner, like Wonderfalls. Each scene will ‘reveal’ more about the Star Trek universe and this series shall be a concise, well-timed adventure that captures the viewer. Gene Roddenberry, Star Trek is… (1964) “Our stories deal with life, quite similar to that of earth. There will be differences, ranging from the subtle to the boldly dramatic, out of which comes much of our color and excitement…It tends to keep even the most imaginative stories within the general audience’s frame of reference.” It begins with a rescue, establishing the characters, era, and ethos Ideals – The still un-named Enterprise on its first unofficial voyage, encounters the SS ROSENBERG near the Romulan Neutral Zone, picks up curious passengers, and finds out that they were named heroes back on Earth with a fantastic cover-narrative of the operation, all before they found the lost ship. Imperatives – APRIL and company report to Spacedock to debrief their superiors and reconcile the two conflicting stories of the Rosenberg rescue “for the record” and find that the cover-up of their mission runs deep, through multiple empires, and “for the good of the Federation.” Insignia – While the ship is being evaluated at Spacedock, COLT tours the vessel for status reports and shipboard rumor, sporting the new “branded” official crew uniform and logo, to varying degrees of criticism. She also discovers more about the rescue operation while investigating the “Rosenberg hush.” (Continues later) This takes place in 2244, concurrent to the launch of CONSTITUION class ships It continues (over seven of our earth years) to the year 2264 when the famous Captain James T. Kirk ‘officially’ takes command. At this point in future history, the FEDERATION is on the edge of radical reformation. Member nations are considering leaving the arrangement and its proposed economic plans of ‘zero currency’. Colonies on the Federation frontier are suffering hard times from blight and famine (induced via hidden, subversive parties) and doubts of the Federation’s long-term survival as a collective body are casual conversation. The sentiment of a growing number is to “End the Fed.” At this time, corporations and corporate media still hold a shaping role in human society. The earth is still nearly entirely homogenously human, and many people have yet to meet and dialogue with their first ‘alien’. The desire to leave the federated arrangement is generally founded in tinges of xenophobia, prodded at by vested interests, who would like to control the stampeding transition to a more egalitarian social arrangement and distribution. It covers a renaissance of unprecedented, interplanetary sharing of concepts and ideals and a new awareness in uncovering the esoteric, and existence itself. Societies are reexamining their historical truths and myths, in some cases, via methods chemically induced. It also witnesses the dismantling and re-arranging of social power structures and the tribulations associated with it, but our characters will exhibit a strong faith that the ‘power of positive intention’ will persevere. This story will reconcile the continuity issues presented in the current movie series By fixing the timeline as the first official mission of the ENTERPRISE (over two years) Commanded by Captain Robert APRIL, and documented by his bookkeeper, COLT, these two characters will encounter the discontinuity and be tasked to restore the Star Trek universe to PRIMETIME. They will encounter familiar themes of past of franchise lore and build upon the UNIVERSE. Star Trek will ultimately morph into a series of the movie cast while those actors are still of the ages necessary to reprise their roles and portray them in their positions at their appropriate ages in the universe continuity. This cast is partially responsible for nearly a ½ billion dollar global box office take with their first feature and are familiar and popular with mainstream audiences. This series will explore plot lines of other Trek series, perhaps resolving plot holes of prior incarnations or providing exposition for narratives that deserve more exploration. Each story should establish itself firmly as part of the Star Trek universe, and be credible as an arc or standalone to fans, but enjoyable and fun to the casual viewer unburdened by Federation history lessons. This storyline was discovered by researching the history of the Kirk and the original Enterprise As presented in backstory and ‘throwaway lines’ In review, much of these stories of the licensed works of Star Trek—books, comics, and roleplaying/video games—hundreds of potential storylines present themselves. All of these interesting stories should be developed, as they are the most intriguing properties of the franchise. As well the franchise should embrace the wealth of back- and side-story via these multiple mediums as official ‘canon’ material. This includes the launch of the original 13 Constitution-class starships, potential expansion (or dissolution) of the Federation; failing colonies, and skirmishes, then war with the Klingons. Most importantly, it occasionally covers the character building childhood tribulations of the franchise hero, James T. Kirk, as experienced with our main characters, APRIL and COLT. This period in time stands out among all others and it has gone un-filmed This time includes numerous storylines; many worthy of their own feature, among them includes the crimes of THE ALBINO and coverage of the famed Captain GARTH’s fit of insanity, wherein he vaporizes his first and second officers on the bridge. Further, it uncovers the ORIGINS of television’s most beloved starship, the ENTERPRISE, and it’s most famous crew—what led to JT’s promotion at such a young age? (Actual and alternate continuity aside) The Enterprise: originally commanded by Captain Robert M. April A polymath, planetary archeologist—‘Doctor Bob Ballard, Oceanographic Institute’/’Graham Hancock megalithic ruin-researcher’ type. He is outwardly condescending but comes off endearingly to those close to him because his actions outdo his persona. He generally articulates himself in euphemism. Very empathic, he can be prone to spontaneous feats of heroism when he sees wrongdoing or victimizing. He is part architect of the Constitution program with high hopes for its success as a scientific research vessel, but with practical concern of its use as weapon. “A colorfully complex personality, he is capable of action and decision which can verge on the heroic – and at the same time lives a continual battle with self-doubt and the loneliness of command.” He worries about the proliferation of the Constitution ships under a military pretense, wishing that the fleet focus on exploration and defense of the Federation sphere of influence. He is an expat Briton, Mars enthusiast who lives in Detroit. Prior to his work designing these new ships, he commanded the USS Tiberius, where Yeoman Colt came into his employ. Yeoman J. Mia Colt Is a twenty-something, historian by trade who serves as the captain’s bookkeeper and personal assistant. She turned down a commission and other opportune postings to work with April on his PRESERVERS ruin research. Hailing from Portland, near the Pacific, she has bright red hair, comes across shy at first, but is uncommonly brilliant in niche subjects. She left her fiancé to serve with April on the Tiberius and hasn’t dated since, but hasn’t tried well enough. She has spent much of the past couple years between postings on Earth, watching classical television. STAR TREK, starring Stephen Fry & Felicia Day as APRIL & COLT Mr. Stephen Fry is widely known to American and international audiences for his comedic, genre, and mainstream work; additionally, he best bears the likeness necessary to portray Captain APRIL, a middle-aged British expat. Mr. Fry is also familiar to the documentary viewing audience, participating for interview on many futuristic themes that will be covered in our stories. Because of his dynamic screen background and comedic delivery, he best suits this role. Felicia Day appears on the cusp of being a breakout actor/producer. Known most for her web based serials; she has amassed a large audience for her off-network productions via social media and online content distribution. She fits the likeness of our character COLT, with her bright red hair and range of ability. As a bonus, the bulk of her caree has been in the realms of Science Fiction and Fantasy. She is a familiar face to genre audiences, poised for mainstream success. Their backgrounds suggest that they should also co-produce the series. Unlike past Star Trek’s, this series is not an ‘ensemble drama’ Rather, it is the focus of our two main characters, their stories and how they fit into the franchise. Importantly, it shares with us their dual dynamic, as well as their perceptions of their encounters; with crew, family, superiors or subordinates; in painful and political situations, as well as the stressful and positive. There are a number of ‘frequent characters’, foremost the Enterprise itself and its bridge crew, utilized functionally in our character’s dilemmas, which occur mostly with our weekly featured guests. However, every role has a purpose in the lives of our two central characters and is important to the telling of the story—and delivery of much of the humor. These secondary and tertiary are listed: (Sarah) POOLE - Doctor/Vet of the Enterprise, longtime friend and object of April’s affections. (George) KIRK - Father of JT and Samuel Kirk, and friend of April’s from the Tiberius. SIMON - “Older” bridge commander who keeps the young crew in line; a ‘cat lady’. BARRY - Bridge crew; young blond and brilliant physicist; perhaps the wittiest in the room. SANEWAY - Bridge crew; communications, barked orders by the dozen, but normally bored. FLORIDA - Bridge crew; helmsman with accidental precision and a collection of wild stories. TYLER - Bridge crew; lady’s man navigator who will be an Admiral; ‘dates in higher circles’. ALLINSKY - Bridge crew; “older” science officer, friend with April & Simon “Since the Academy.” BOYCE - A hard-drinking, loner doctor with a deep hatred of Klingons. NOGURA - The Admiral in charge of the Federation ‘Star Fleet’; friend of the Kirk family. MORROW - Spacedock commander; eventually JT KIRK’s recommendation for captaincy. RASSMUSSEN - April’s boss; a gung-ho ‘Constitutionalist’/supporter of the star ship project. (fmr. President) CHRISTENSON - Activist politician, strong-armed out of government. (President) QSAR - Newly elected ‘war hawk’, responsible for expansion and ‘recruitment’. CARTWRIGHT – Star Fleet attaché to President Qasr; of questionable character and background. The storyline requires familiar franchise faces from other Trek series T’POL and HOSHI feature in the narrative of the first two terms, in helping to reconcile the timeline, while providing continuity with the precursor Enterprise series. This mission will also require the appearances of Old and Young KIRK & SPOCK from The Original Series and current movie cast, as well as UHURA, SULU, and Yeoman RAND; it will need ARCHER, PIKE, and even JANEWAY, as well as NUMBER ONE, KES, HARRY KIM, ‘THE DOCTOR’, and other established Star Trek characters by an array of plot devices. The overall arc of the series occurs in “The Triangle” An ‘ungoverned’ region of space between the Federation, Romulans, and Klingons THE TRIANGLE is inhabited by Humans, Klingons, Orions, and other races, not bound by the law or economy of the major powers. It is a ‘frontier’ type of place bearing FAILING COLONIES amidst ‘commerce planets’ and odd paradises, as well as the deserts of Nimbus III and the ‘lawless’ ARCTURUS. In this setting, our presentation is of witty HOPE & HUMOR. The most obvious villain of the day would be the KLINGONS, who have at this time splintered their EMPIRE after their own eugenics fiasco. Differentiating physical appearances are the marker of class and caste. They are a stand-in for the Spanish, and the Inquisition, some being the most honorable warrior clerics, others, ‘LIGHTLY RIDGED’ doubling as conquistadors. Varying factions have agents posing as human, surgically altered, and this is the Federation’s most dangerous threat, outside of the aggrandized ALBINO. The Triangle is also a place of RUINS, presumed to be of the ancient, “ICONIAN,” PRESERVERS, related to the GUARDIAN/GATEWAY technologies and the non-corporeal ORGANIANS, SPHERE BUILDERS, and Q entities. This setting and storyline explores the entire cosmology of the Star Trek franchise and raises questions of our own earthly ruins. Set during the launch of the Constitution-class line of star ships “Now bigger, faster, and more equipped for science or battle, than any ship before,” these ships replaced an ageing fleet typically held together by years of patchwork refit, and manhandled by anomalous encounter. The older vessels were prone to navigational and power systems failures, as was the Constitutions’ initial design competitor, the Xenophon. This universe looks familiar to our audiences The established appearance of the franchise should be adhered (and supplemented) in order to pass inspection. While the apparatus of The Original Series is no longer “futuristic” by modern standards, its use should be played straight for the potential comedic effect, yet remind us that such technology still needs invention. It should follow the original design of the Enterprise, maybe utilizing a different lighting and color scheme, but still the same ship of Captain Kirk. Implementation of our space scenes and ship shots should not rely heavily upon digital computer graphics. If an alien isn’t playable by a human in makeup, puppets shall stand in. Our ships (models, miniature, large, and full size) shall be captured (much like our exotic planetary locations) with front and rear screen projection techniques. Other ‘old fashioned’ but impressive special effects should also be considered. Additionally, this production should take liberally from the library of special effects shots from past Star Trek series where appropriate and as homage. Our alien planets should also use exotic real locations when possible. To this end, the production of Star Trek should occur at MICHIGAN MOTION PICTURE STUDIOS in Pontiac, for its world-class facility and proximity to the variety of landscapes necessary to our stories. The region offers an abundant talent base and generous production tax-credit incentive. Also suggested is a presence in Toronto, from which to perform casting, voice acting, green-screen work, and other still photography. Star Trek should be told as a half-hour comedy (or of variable length) As a three-act, single AND multi-camera situation comedy—minus laugh-tracks or audience laughter (or perhaps, maybe, “just once” if the story is appropriate). It should be played before a studio audience when possible, to build on the brand attraction. It should run approximately 22 minutes, but capture and present more than that amount when costs are amenable for additional content via ‘long directors cuts’, ‘webisodes’, ‘shorts’, and other commercial or promotional material. As a departure from the traditional “hour long drama,” this new format is reflective of a change in viewing behavior, since the first run of television programming. These stories will be told episodically and standalone, but with seasonal and overall arcs. It is a ‘unit series’, delivering stories within its universe, on characters pivotal to the overall franchise narrative. Star Trek, at its best, is produced OFF NETWORK Broadcast via syndication, as other successful sister series have done in the past. It should be presented to the widest possible audiences, both foreign and domestic. If possible, it should be made available online, in ‘seasonal whole’ or segment via new media distribution services. Likewise, episode bundles should be shown in theater, and most appropriately, drive-ins. Star Trek should hire from the entire range of pop culture, cinema, and broadcasting The franchise should strive to accommodate the wide number of ‘A-listers’ with interest and attract the audiences of these personalities and celebrity. Star Trek should be a literal ‘star trek’ or ‘star vehicle’ It should continue to honor the Star Trek ‘family’ tradition of hiring individuals who have participated in the forming of past Trek productions, by bringing them back for another production. The series should also attempt to accommodate talent, should there be a breakthrough actor/stunt person, for example—finding them a superb action role, would be beneficial to both the show and the star. Similarly, we should showcase talent and ability with musicians, dancers, and others of talent in contemporary society. (And hire newscasters cast as newscasters). The production requires two part-time, IN HOUSE teams, but predominantly highlights GUESTS from among the best writers/directors/cinematographers of our day. It also considers the vision of ‘writer-directors’, and attempts to bring in the top talent of ‘big box office’ and ‘appointment television’. It should also showcase breakthrough, emerging filmmakers to broader audiences. Star Trek should accommodate as much talent as it can manage for: a couple takes or episodes, block shoot or ‘backdoor spinoff’ attempt. Rodenberry’s Vision (from James Van Hise, Trek 25th Anniversary Celebration, 1991.) “is as much social commentary as science fiction, and that’s one reason so many people are drawn to its magic.…it was about people—their fears, likes, and dislikes—and humanity. It has been the product of the talents of many people, it is Gene Roddenberry’s basic ideas, developed by many writers and seen through the interpretations of the actors and directors…ongoing art by committee in the truest sense of the word. More often than not, it paid off and the results continue to stand the ongoing test of time.” Producers of Star Trek should foremost consider An animated component of our characters likeness, as a companion series in the manner of Archer or Sealab 2021, to tell stories that are impossible with live action and to explore the characters and franchise universe further. This could also be considered for ‘break programming’ or to supplement television or theatrical release. Star Trek should also explore the territory of comedic ‘shorts’ and ‘webisodes’ to broaden the overall narrative and visibility of the series. Star Trek should attempt to crossover with its sister series, other Science Fiction universes, and other non-Science Fiction universes, when the physics of both universes are amenable to produce such stories; and should regularly, ‘unwittingly’, pay homage to the pop culture phenomena of our universe. It should also produce ‘backdoor’ spinoff worthy material, Trek oriented or otherwise, should such opportunities appear, for both the perpetuation and profitability of the franchise. Star Trek should capitalize on its brand popularity And make fashionable “Official” Star Trek and Enterprise logo apparel—the kind that our characters wear, say for example, a regulation thermal hoodie, cap, or duty shirt; or, all black Converse All-Stars as duty shoes, which would could be set to trend in our time. It should also highlight the ‘off duty’ outfits of the era (retro to 1950’s-ish) of contemporary fashion and costume designers. Consider: a working COMMUNICATOR on the cellular market Starting in 2244, following the Rosenberg rescue The Enterprise – At the invite of the Kirk family, Colt and April share dinner with Nogura and talk about the Rosenberg mission. The Admiral details the importance of the Constitution ships, and hints at some of the other potential, ‘non-sanctioned’ possibilities which can be performed “for the enterprise.” The Constitution – As guests aboard the USS Constitution on its maiden voyage for a cadet and dignitary cruise to the planet, Babel, our crew sizes up their sister-ship’s officers (and vice-versa), and find themselves similar, but different, due in part to the command style of their Captains. War on Peace – News of a devastating explosion on Sherman’s Planet goes viral over subspace communications. Conducted by a team of Orions mercenaries and an albino Klingon, media focus is placed on “the Albino,” who is just a lackey, but becomes self-fulfilling mythical villain. I Do Recall – April and Poole call their closest friends and family together for a spontaneous wedding ceremony on Mars, and over the course of the adventure in small talk, the wedding party discovers evidence of prehistoric ruins and ancient civilization. It Runs on Symmetry – A group vocal in their determination to end the Federation, based on isolationist concerns about galactic ecology, discuss the current state of affairs, and reveal among themselves some high-profile supporters of this line of thought. Shakedown – The Enterprise’s first sanctioned shakedown operation under the command of Commodore Rasmussen goes horribly wrong when Klingon agents posing as crew attempt to hijack the vessel; one cadet “Number One” is able to avert total catastrophe and loss of the ship. In The Dirt – Shortly after the burial ceremonies from the disastrous shakedown mission, humanity is gripped by fear in the use of tranporters following terroristic misuse. Suspicion of spies in key roles on ships and starbases is rampant. “Is your neighbor a Klingon?” Iconological – Exploring the ruins of Donatu V, an away team led by Commander Mangione finds a ‘stargate’, thought to be of the lost Preservers species, and this puts her at odds with competing responsibilities to her Captain, subordinates, and managers at Section 31. An Account, Much Abbreviated – April holds a long-distance conversation with former Federation President Christenson about the state of the union and rumors of dissolution, as well as the turmoil afflicting the border colonies and the state of the planets in the Triangle. The Battle of Donatu V – A fleet of Klingon ships engage the Federation presence in orbit of Donatu V, believing it to be the site of a great weapon to be possessed or destroyed. They bombard the archeological sites on the planet, and disable or destroy many vessels, but the battle is a draw; it becomes quoted as the ‘Pearl Harbor’ of the 23rd century. Scattered, Smothered & Covered – Months after the Battle of Donatu V, Leonard McCoy is a newly enrolled medical student, days away from the start of his training. He is attending his sister’s gymnastic tournament with his mother, other sister, and fiancé, whereupon he comes to meet Dax, who helps him to consider and revise his reasons for joining the service. The Preservers – On Earth, April and Colt attempt to understand the importance of their findings on Mars, and place them into larger context. Their research leads them into even more complicated realms of the human story, as they discover a hidden history of ancient technology and ages-old wisdom. Icon of Mars – With the help of elderly Hoshi and T’Pol, Colt documents the Martian ruins, and encounter suspicious monitoring of their activities; while on Earth, April learns about Allinsky’s transporter disappearance and wonders if it was as a result of their research findings. Bullseye – April meets with Archer, who is on his deathbed, and the frail former Captain of his namesake vessel recounts to him some of the NX-01’s ‘anomalous’ and ‘temporal’ encounters. Partly senile, he rants, tells stories of the past and makes predictions for the future. A Road to Yesterday – The Enterprise is christened to grandiose fanfare, with the launch as propaganda to support the Federation. April and Colt settle in for the journey, while curious and concerned about what awaits them on the frontier, and what will happen on Earth and Mars while they are away. Beyond That Next Star – The Enterprise is diverted, without instruction from its mission to Starbase 2 to pick up crew. Their orders bring them to a red supergiant system, near supernova, where they encounter another Captain who presents them with a message from parallel future. Return to Prime Time – April and Colt review the recordings of Ambassador Spock, Captain Pike, and Number One from a similar, but bleaker future where Vulcan has been destroyed. They resolve to carry out the suggested instructions to mitigate or resolve the future temporal mishap. To be continued… Our characters then set course for The Triangle, where the resolution of the temporal discontinuity is achieved, over adventure and humor. The Enterprise returns to Spacedock at the end of the second term with the crew having created a few anomalies themselves, in need of reconciliation. The series could then go to feature, as well as spinoff Colt; from there, according to continuity, Captain Pike enters, as subordinate to April. Star Trek then begins to re-introduce the current movie cast on the small screen.