HRHTheKING said:
"Hate" is too strong a word, but basically I felt it was a massive wasted opportunity. It was a good chance to show Starfleet principles breaking down in extreme circumstances but ended up being bland and dull. A beautiful pristine starship on a cruise every week. Undamaged with a seemingly endless supply of shuttlecraft and energy. Undeveloped characters too. Utterly pointless inclusion of the Maquis who did absolutely nothing different to typical cookie-cutter Starfleet officers. Massive overuse of the Borg. The inclusion of the gratutious "babe" (later repeated in the abysmal ENT) What was the point of even setting the show in the Delta Quadrant? It was just a weaker version of TNG.
Awful, just awful.
I agree to an extent. But keep in mind that DS9 had been Treks foray into darker, gritter material and it was met with limited success. Voyager was probably going to be more like this, but because DS9 didn't exactly set the world on fire ratings wise, it's understandable that Berman and Paramount would want to go back to something that was more successful. I.e. The Next Gen model.
The problem was that the concept of the show didn't fit in with the formula that was presented. Where logically character conflict should be prevalent, barely any existed. Where serialization was all but called for, the formula made damn sure it didn't happen. It almost felt like the show was censoring itself and depriving itself of something new and innovative.
Voyager was the attempt to get the Next Gen and probably some TOS fans back that just didn't like DS9. But by that point TV had changed and Star Trek was not the only dog in the yard. Shows like DS9, Farscape, and Babylon 5 helped pave the way for the more adult-themed, serialized shows of today like NuBSG, Lost, Buffy, and Heroes. Basicly, the The Next Gen formula was 10 years out of date and it made people realize how ahead of it's time DS9 was. Which is probably why it's so well remembered.
And honestly, I just didn't care for the writing. I thought the characters were inconistant and derivative. The formula was tired and out of date. The dialoge was by the numbers. And the stories were very uneven. Some were excellent. Most were passable but derivative and unoriginal. And the rest were just terrible, but strangely watchable for some reason. Maybe one of those "So bad it's good" type things. Who knows.