How the Star Trek: Enterprise opening sequence perfectly encapsulates the spirit of Star Trek

star trek enterprise titles opening sequence theme tune faith of the heart archer's theme

I hold a few dissenting opinions within fandoms – I’ve always been an ardent defender of Love & Monsters, for example, one of Doctor Who’s most despised episodes. But even then, though, while that’s a minority view, I’ve come across a fairly sizeable contingent of people who would agree with me.

Far fewer, however, would agree with me that the Star Trek: Enterprise theme tune is actually pretty good.

Star Trek: Enterprise had often been much maligned. In many ways it’s the black sheep of the Star Trek family; as the only one of the spinoff shows to be cancelled, reaching a mere four years in comparison with the then traditional seven, the poor performance of Enterprise lead to many blaming it for the absence of Star Trek on television – indeed, from the end of Enterprise to the beginning of Star Trek: Discovery, it’ll have been 12 years with no Star Trek on television.

Thankfully, though, people have begun to reappraise Enterprise, and are realising that, while it’s certainly not perfect, it also very much wasn’t the death knell for Star Trek. People are beginning to look on Enterprise and its characters with far more kindness – yet the one thing they won’t forgive remains the theme tune.

I am basically the only person who actually, genuinely, unironically likes the theme tune for Star Trek: Enterprise, so I figured I should probably have a go at justifying said belief.

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Star Trek 2004: The Reboot We Almost Saw

star trek 2009 2004 J Michael Straczynski bryce zabal paramount reboot young kirk spock mccoy bablyon 5 new series cancelled jj abrams

A fourteen-page document, which Straczynski and co-writer Bryce Zabal used to pitch their ideas to Paramount, outlines the idea for this new Star Trek. Opening by suggesting that the franchise had stagnated (perhaps a fair position to take), Straczynski and Zabal made the case that they needed to be daring with the Star Trek universe once more, and the best way to do that was to start all over again – thus setting their series up to cure all the perceived ills of Enterprise.

Particular focus is given to Kirk, Spock and McCoy – or as Straczynski and Zabal put it, “the warrior, the priest, and the doctor” – who were intended to be the grounding presence and heart of the new show, much as they had been in the original. The pitch likens these characters to icons such as Superman and Batman, or Bond and Sherlock Holmes – the point is clear, then, that Straczynski and Zabal believe wholeheartedly that new actors could take on the iconic roles and redefine them. Indeed, it’s even suggested that a public “Search for Spock” approach to casting could form part of the promotional campaign for the new series; this was intended to be a cultural event, in a manner not wholly dissimilar to how Doctor Who launched on the BBC just a year later.

Straczynski and Zabal put forth their plans for the pilot episode: a two-hour movie event which would tell the story of how Kirk and McCoy first met Spock, discovering along the way “a lost city on an uncharted world, nearly a million years old”. They would also encounter an ancient and mysterious race, who would form an important part of the series’ mythology – the reason for Kirk’s appointment to the Enterprise, and the iconic five-year mission, would be to seek out this strange new life, to learn more of their ancient civilisation, and discover the secret hidden in the stars.

A recent article about Star Trek! In 2004, there were plans for a reboot of The Original Series; in this post for Yahoo TV, I take a look at the pitch made by Babylon 5 writer J Michael Straczynski, and evaluate just whether or not it actually would have been a good idea.

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