![]() ![]() Similar concerns would come into play during the development of Enterprise, when Braga wanted to set an extended opening arc on Earth, but the network wanted something much more conventional.Īfter all, Star Trek was a surprisingly conservative franchise from a narrative perspective. Similarly, Paramount was worried about the dangers such developments would pose to syndication. They did not want the creative team to take chances that would potentially alienate viewers who had developed expectations of the franchise. UPN did not want a particularly experimental version of Star Trek. In both cases, Braga was vetoed by the network. ![]() Braga also wanted to extend Year of Hell, Part I and Year of Hell, Part II into another four-episode story and have the ship remain damaged for the rest of the fourth season. Braga wanted to expand Future’s End, Part I and Future’s End, Part II into a larger four-episode story, which would have become the franchise’s longest narrative arc at that point. However, for one reason or another, he rarely got the chance to try new things. To be entirely fair to Braga, the writer was still interested in experimentation and innovation. Working on Deep Space Nine, Moore would develop the skills and mindset that he would later use to run Battlestar Galactica, which is generally regarded as one of the best television shows of the twenty-first century. Moore ended up working on Star Trek: Deep Space Nine under the supervision of Ira Steven Behr, who was determined to push the franchise outside its comfort zone. Moore and Brannon Braga went their separate ways. Moore, Brannon Braga seemed to propose a new model of Star Trek.Īfter the end of The Next Generation, Ronald D. Braga’s scripts were generally odd, but they were also relatively unique. Cause and Effect and Frame of Mind are some of the most breathtaking episodes of Star Trek ever produced, representing a clear departure from anything that the franchise had ever done before. Braga was a young writer with a lot of ambition and a willingness to push the franchise in directions that were new and exciting. When Brannon Braga first started writing for Star Trek, he was a breath of fresh air. ![]() “It’s going to get very First Contact in here, very quickly.” ![]()
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