jono on star trek

Star Trek: The Next Generation : "Suddenly Human"/"Remember Me"

"Suddenly Human"

Or  The One Where Picard Gets A Roommate Who Majors In Stabbing

I'm all for Picard-centric storylines, and "Suddenly Human" makes good use of the character's on-going issues with children, but it's odd that Worf wasn't more involved with the plot. Jono, the human boy adopted by a Talarian starship captain after the Talarians kill the boy's parents, isn't exactly in the same situation as the Klingon, but it's close enough that I'm surprised Troi didn't try and force the two to bond through their shared experiences. Troi is a big one for forcing that sort of behavior on people. I think she just gets bored wandering around the ship in her absurdly low-cut uniform, so when a crisis occurs that requires her expertise, she just goes full puppet-master and starts pulling the strings for her own amusement. Perhaps Worf had displeased her; perhaps his gruff, straightforward manner was unresponsive to her psychological meddling. Whatever the reason (and yes, there is a reasonable plot explanation for this), when Jono needs someone to lean on in his time of crisis, Troi turns to Picard. Who gets all sputtery.

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If you ever want definitive proof that  TNG  has gone from being a weak show with strong elements, to just being strong overall, well, you could watch any one of at least half a dozen classics we've gone through in the past few weeks. "Human" isn't quite the same level as, say, "Yesterday's Enterprise," but it is very, very good, and one of the reasons it's so impressive is that it takes a subject that could've been mishandled in any number of ways and manages to stick the landing perfectly. The  Enterprise  finds a damaged ship with five people on board. Four of them are Talarian men; the fifth is a human. Our heroes soon determine that the human has surviving family back on Earth, and they decide it's their job to bring Jono back to his "real" family. Also, they don't really trust the Talarians, and Beverly finds the boy has been injured in such a way that leads everyone to assume child abuse.

Imagine how this would've been handled earlier in the show's run. Contemplate that for a moment on the Tree of Woe. It definitely would've been child abuse, that's for sure, and Picard would've gotten closer to the young man, ultimately convincing him to betray his adopted culture for the inherently superior human one, right before Picard would give a speech about how great humanity is and how a person's heritage would eventually shine through. Something like that, anyway. There would've been no question that Jono belonged back on Earth, however long he'd spent with his new "dad," and that dad would've almost certainly been a villain. Maybe it wouldn't have been that bad, but I can't imagine it being much good, because in the early going,  TNG  lacked the courage of its convictions. It wanted to see the crew of the  Enterprise  triumphant, not chastened, and in order for "Human" to work, Picard and the others … well, they have to be  wrong .

There's a great scene two-thirds of the way through the episode which is mostly great because of what follows immediately after it. Picard brings the gradually thawing Jono to Ten-Forward, where they meet Riker, Wesley, and Data. Wesley is enjoying a banana split, and he offers it to Jono, with a typically dorky Wesley comment. Jono fails to master the complicated art of consuming soft fruit and frozen milk, and splatters a large portion of the dessert on Wesley. Riker starts laughing, and Wesley, and then Picard, and Jono, relieved, join in. Later, at the bar, Picard and Riker talk about how far Jono has come since his rescue, the implication being that he'll be fitted into a Starfleet uniform himself soon enough.

Next scene (or thereabouts): Jono wakes up in the middle of the night from troubled sleep, sneaks into Picard's room, and stabs him in the chest.

It's not a nightmare, it's not a fantasy sequence, and while we don't see the knife connect, we do see the results; this isn't a commercial break fake-out, where we come back and find that Jono has merely gutted a mattress. Good old Jono, who keens to mourn, plays a good game of space racquetball, and is occasionally troubled by horrible, mind-wrenching memories of his past, attacks Picard, who has been nothing but kind to him. It's a shocking moment in an episode that had generally seemed to be playing the safe game: Jono's "rehabilitation" from the Talarian experience was going apace, and while yes, his adoptive father, Endar, was threatening to start a war if his son wasn't returned to him, that was the sort of plot complication that could easily be worked around. Hell, "Human" even provides a possible solution: Jono is at the age of decision, which means that it's time for him to start calling his own shots, which means that, were he to tell Endar and the others to take a hike, a hike would be taken by them, post haste.

That's not what happens, though, and the assault on Picard is one of the reasons that Picard ultimately realizes he's been approaching the problem in the wrong way. Up until this, "Human" wasn't a bad episode. Picard's efforts to connect with the boy, Troi's insistence that he do so despite Picard's clear reluctance, Jono's odd behavior—they're all beats we've seen on the show before, but given how solid the ensemble is clicking by now, it was entertaining enough. Endar's appearance, and his non-creeapazoid status, starts amping up the ambiguity, but it isn't till Picard's final speech that the episode turns from an enjoyable but somewhat rote exercise in social reintegration into something much more satisfying. After an hour in which every human character on the show is determined to force Jono to do what they think is right, Picard finally acknowledges that Jono is old enough to make his own choices, and clearly, he's made his choice, at least for now.

Today's two-fer is going to be a little shorter than usual, as it's my vacation week, and I've got some serious Thanksgiving to get up to. Thankfully, neither of these episodes really requires a whole lot of unpacking. "Human" is by far the superior of the two, though. It's always a good sign when a show is willing to let its leads be occasionally wrong.  TNG  is not an anti-hero drama like  The Sopranos  or  The Shield . Picard and the rest of his team are unquestionably decent and brave and true. But without the occasional lapses into arrogance or anger or cultural blindness their heroism is cheapened into something tinny and without cost. Picard learns the right lesson here and sends Jono back home. Their final parting, with Jono embracing the captain with the same gesture he used to embrace his father earlier (and even removing a glove before he does it) is beautifully done, right down to the slightly haunted look on Picard's face. But that moment wouldn't be worth as much if it hadn't taken a gaping chest wound to achieve it.

Stray Observations:

• Chad Allen plays Jono. He was one of Jane Seymour's kids on  Dr. Quinn, Medicine Woman.  I have nothing to add to that.
• It's could be a cheat that Jono is unable to kill a defenseless, sleeping Picard, but I'll give it a pass.
• "You're probably not aware of this, but I've never been particularly comfortable around children."
• Space racquetball: lame or lamest?

"Remember Me"

Or  The One Where Beverly Keeps Losing Track Of … Er … Where Was I?

A story always needs to be a few steps ahead of its audience. That doesn't necessarily mean the characters have to be; some of the best stories ever told featured protagonists with, at best, a dim understanding of their circumstances. But the consciousness behind the tale needs to be aware of both what the audience knows directly and what they've almost certainly been able to piece together on their own. As audiences become increasingly savvy to the tricks of the genre trade, their comprehension becomes harder to judge. It's crucial, though. If you assume the audience understands more than they actually do, you risk alienating them and losing their emotional investment. If you underestimate them, though, you run the risk of boring them to tears.

It's the latter which gave me problems during "Remember Me," which features Beverly Crusher trying to solve the mystery of the rapidly disappearing  Enterprise  crew. The episode has its merits. The introduction of the central mystery is done with an admirable casualness, and the idea of people vanishing so entirely that every record of their existence vanishes with them is one of those collective nightmare style concepts that always has some potency, no matter how poorly handled. And while the execution leaves a little to be desired, it's nice to see The Traveler return, last having been seen in "Where No One Has Gone Before," aka, one of the first episodes of the show that wasn't terrible. We haven't had a traditional crazy-sci-fi-shit-happens ep in a little while, and I'm always a sucker for those. Unfortunately, there isn't enough story here to really carry a full hour, at least not as presented here, and because of that, we spend too much time waiting for Beverly and the show to catch up with us.

It's fun to have a Beverly episode again, though, isn't it? And we know it's a Beverly episode right away, because her log sets the scene. The  Enterprise  is at a Starbase, and Beverly is welcoming an old friend on board, her mentor Dr. Quaice. The doctor's wife died recently, and he's decided he needs a change of scenery; he also reminds Beverly the importance of staying connected to the people we love, which is important because otherwise when it came time to create a magical new universe she might've made up something involve leotards. Quaice's Pep-Talk of Imminent Doom also inspires the good doctor to go visit Wesley in Engineering. Things are surprisingly tense; Geordi is actually snappish, which is not a quality you usually see in him. Wesley's doing some crazy warp bubble magic thing, and while Beverly watches, there's a flash of purple light. Wesley doesn't understand what it means, and by the time he thinks to look, Beverly is gone.

Now, it's very possible that one could watch this scene and not immediately realize the light caused Beverly to disappear. I'll be honest, I didn't catch it. Soon after, we see her paying a visit to Dr. Quaice's quarters, only to find he (and his belongings) have vanished. There's no indication there's anything wrong with the ship or that Beverly herself is in danger (beyond the general sense that people disappearing isn't really good for anyone's health), and that's the best way to play this kind of twist; don't draw attention to it at all. I'm sure there are some clever folks who realized what was happening, but that's to be expected. There's always going to be someone who can see through a plot twist. That doesn't mean you shouldn't ever try to surprise anyone else.

The problem comes when, after Quaice fails to show himself and Data can find no record of the doctor in the computer, Picard takes Beverly to Engineering, and Wesley explains how he was working on this warp bubble, but they hadn't been able to stabilize it. Beverly theorizes that Quaice may have been trapped in the bubble, but no one suggests that it might have been Beverly herself that was trapped. This is because everyone else in the bubble apart from Beverly is a construct she created, and if she doesn't know something, they won't know it. Since Beverly is a doctor, I suppose it's only natural that she would assume that she would assume everyone else was sick and she was fine or something like that.

However, most everyone else watching at home will have figured out that Beverly is the source of the disturbance, and that furthermore, this isn't the "real"  Enterprise . So we spend the next fifteen minutes watching as the problem escalates, hoping that she'll ask the most obvious question, and getting increasingly uninterested when she doesn't. At least, that's how my experience went. Having the ship's crew disappear is a lot less creepy when you're fairly sure none of them were really around at all (I mean, beyond the standard sense of them being fictional constructs), and the fact that the disappearances never vary turns it into a waiting game. Sooner or later, she'll realize what's going on, and then the next phase of the plot can kick in. Until then, we're stuck with second verse, same as the first.

What's odd is that when the episode does finally change its game-plan and let us in on the secret we already know, that doesn't fix the problem. Or rather, it fixes one problem but creates new ones to replace it. Beverly keeps seeing this strange light, and she believes it's dangerous, when in fact, it's a connection between the warp reality and the actual reality. Wesley and Geordi are struggling to  re-create their experiment to bring her home and failing. It's only when the Traveler himself puts in an appearance that they manage to create a link that lasts long enough to work, and even that's a near thing.

It should be suspenseful, and there's drama in the idea of Beverly fighting against the one thing that could save her. In cutting away from Beverly, though, the ep loses one of its main points of interest: her increased isolation, and her horror at not knowing what's happening. It's strange, because showing us the real ship is basically putting us on the same page as the show, which is what I wanted, and yet I mostly just found myself wishing we could focus on Beverly again. It doesn't help that the Traveler is really not that great of a character; his nonsensical Zen platitudes sounded refreshingly simple in season one, but here, they just play like a sad  Star Wars  rip-off, and the less said about Wesley's gifts with the Force, the better.

"Remember" isn't terrible. Gates McFadden really gives it her all, and I liked her big monologue on the bridge near the end as she tries to logic her way out of her problem. The image of the ship disappearing around her is terrific, as is the way Wesley vanishes. Turn a corner, and he's gone. Because of a certain level of stalling and because it brought in some old plotting best left forgotten, the episode fails to live up to its concept. It's passable entertainment, but, if you'll pardon the pun, ultimately forgettable.

• Okay, so I guess this week's review wasn't  that  short. Happy Thanksgiving, everyone!
• Next week, we look at "Legacy" and "Reunion."

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Recap / Star Trek: The Next Generation S4E4 "Suddenly Human"

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Original air date: October 15, 1990

The Enterprise responds to a distress signal from a damaged Talarian ship. They are nervous to lend aid because the Talarians are a ruthless and militaristic people who relatively recently went to war with the Federation. Picard decides to risk it, and the away team finds a number of wounded Talarians as well as a human teen boy.

The human boy, Jono, turns out to have been raised by the Talarians as one of their own from an early age, to the point that he does not recognize himself as human. He treats the human crew of the Enterprise with derision until Picard arrives, and Jono's rigid upbringing forces him to respect the authority of a captain. Still, Jono insists that he be returned to his own Talarian captain as soon as possible.

Crusher discovers that Jono has received critical injuries in the past few years and suspects that the Talarians have been abusing him. She strongly urges Picard to keep Jono out of the hands of his abusers, even if his values have been twisted to accept them as his family. Picard also learns that Jono's closest human relative is a highly respected admiral from a long line of great Federation officers. He is torn between ripping Jono from his adopted family and "saving" him from them.

When the Talarians arrive to pick up their lost crewmen, the captain, Endar, reveals that he has adopted Jono as his son. He also explains that Jono's injuries were not abuse but a simple accident from when the boy tried a daring stunt to impress him. When Picard delays returning Jono along with the other Talarians, Endar states that he will go to war if his son is not returned soon.

Picard takes Jono under his wing and tries to get him acquainted with his human heritage, hoping that if Jono chooses to remain with the Federation, Endar will respect the decision and not attack. They play sports, eat ice cream, socialize with the crew and watch a video from his human grandmother. Conflicted, the boy closes out the day by stabbing Picard in his bed, nearly killing him. When confronted about his deed, Jono states that he would rather die than allow who he is to be torn away from him.

Tropes in this episode include:

• Abusive Parents : What Doctor Crusher and the rest of the crew believe Endar is. It turns out that Jono received his injuries trying to fit in with his peers.
• Actually Pretty Funny : When Wesley gets covered in ice cream, even he can't help but laugh.
• Artistic License – Military : Worf explains that he takes orders from Dr. Crusher because she is his "superior officer". Except she isn't , merely a higher-ranking one. As Chief of Security, Worf should answer directly to Picard, Riker and whoever is in command of the Enterprise at the moment. Crusher has some limited authority over every person on the ship (including the captain), but only relating to medical matters. Her "order" to Worf should be understood as a strongly-worded suggestion.
• Blue-and-Orange Morality : Captain Endar raised Jono as his own son since according to Talarian tradition, he is allowed to claim the son of a slain enemy after he lost his own son in a Starfleet attack.
• Boomerang Bigot : Jono/Jeremiah looks down on non-Talarians, despite himself being human by blood.
• Even Evil Has Loved Ones : Whilst he led attacks that wiped out Federation colonies and - to human eyes - abducted a child, Endar shows obvious love and affection for Jono. Their face-to-face interaction, whilst formal, is undoubtedly emotionally charged and Endar's relief when Jono is finally returned is palpable.
• Even Evil Has Standards : Despite being an unapologetic member of a warlike and misogynistic race that forbids even so much as skin contact with other species, Endar is taken aback when Picard accuses him of abusing his adopted son, and then explains how those injuries really happened.
• Fantastic Racism : Talarians really don't like aliens, to the point that they insist on wearing gloves on board the Enterprise in order to avoid coming into physical contact with them (although Jono removes his at the end when saying goodbye to Picard, demonstrating the respect he has developed for him). However, this appears to be strictly cultural rather than racial, as Jono himself is evidently accepted fully as one of them and seems to have faced no prejudice due to his human birth — which means that, to an extent, the Talarians are actually more tolerant than the Vulcans .
• Future Music : Jono spends a great deal of his time sulking in his quarters playing an incredibly screechy kind of Talarian heavy metal known as Alba Ra .
• Happily Adopted : Jono and his adoptive father Endar clearly love each other as much as if they were one another's flesh and blood. It takes the Enterprise crew most of the episode to accept this.
• Interspecies Adoption : Endar adopted Jono.
• It's All About Me : Jono's human grandmother, a Starfleet admiral, seems only concerned with having him "carry on the family line."
• Kill the Parent, Raise the Child : The episode involves a human boy who was raised by members of a culture who had previously fought a war against the Federation in which his parents were killed. Adopting young war orphans is apparently a common practice in that culture and is viewed as a moral obligation.
• No Woman's Land : The Talarians' society is mentioned to be a strict patriarchy, where a woman can never outrank a man.
• Only Sane Man : Once again, Worf is the one to state the most bluntly practical and least idealistic viewpoint on the situation. He questions the wisdom of going to war with the Talarians over a single boy.
• Outliving One's Offspring : Connaught Rossa has outlived both of her sons.
• Parental Abandonment : Jono's parents were killed in the Talarian attack when he was young.
• Parental Substitute : Picard attempts to become this for Jono, but Jono feels more affection for Endar, his adoptive father.
• Prefers Rocks to Pillows : Jono has to sleep in a hammock because beds "hurt his back."
• Raised by Orcs : Jono was raised by Talarians in a society with values that the Federation finds rather repugnant, but they must eventually recognize that Jono has been raised in that society so long that it is permanently engrained in his identity
• Replacement Goldfish : Jono was adopted as a replacement child for Endar, whose biological child was killed in a battle with humans.
• Suicide by Cop : Jono, torn between human and Talarian societies, tries to find a way out by stabbing Picard, believing he will be executed for it. Ultimately averted since Picard has absolutely no intention of executing him, and realizes he should have taken greater account of Jono's wishes.
• Stock Footage : Geordi LaForge only appears in a very brief scene, which is recycled from an earlier episode. The reason for this is that LeVar Burton suffered an accident shortly before filming started on the 4th season.
• Stockholm Syndrome : Dr. Crusher believes Jono has this, as she thinks his adopted family have been abusing him . By the end of the episode, though, it's clear she's wrong on both counts.
• Temporary Substitute : Geordi only appears via Stock Footage in this episode. LeVar Burton had surgery shortly before filming began on "The Best of Both Worlds, Part II" so his scenes for that episode were shot in post-production, and many of his lines were given to O'Brien. "Suddenly Human" was the first episode filmed after "The Best of Both Worlds, Part II", but was switched in order and aired after "Family" and "Brothers".
• "Well Done, Son" Guy : Jono's relationship with Endar has shades of this. Thankfully Endar is aware of his son's over-achieving nature and does indeed care for him, just appearing aloof.
• Star Trek: The Next Generation S4E3 "Brothers"
• Recap/Star Trek: The Next Generation
• Star Trek: The Next Generation S4E5 "Remember Me"

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Biography [ ]

Jono and Captain Jean-Luc Picard in 2367 .

Rossa was born in the Galen IV colony in 2353 . In 2357 , during the Galen border conflicts , Connor Rossa and Moira Rossa were killed in a Talarian attack on the colony and Jeremiah was adopted by Endar , a Talarian officer, who raised him as his own son. The USS Enterprise discovered Jeremiah in 2367 , who was now known by the Talarian name of Jono. Captain Picard attempted to help "Jono" rediscover his Human identity, although he preferred to remain with the Talarians. ( TNG episode : " Suddenly Human ")

By 2368 , Jono had reached a rank equal to ensign in the Talarian space fleet and was serving aboard the starship Minat Rii . ( TNG novel : Sins of Commission )

In 2380 Jono held the rank of captain and was in command of the Q'Maire and intercepted the USS Resolute (NCC-92317) when it entered Talarian space in search for Doctor Leah Brahms . ( ST comic : " Resurgence, Issue 1 ")

After intercepting the Resolute he invited Captain Zachary Solano and Commander Luke Sutherland on board the Q'Maire and gave them a tour of the ship but they were interrupted by Commandant Hektar who ordered them arrested and then ordered him to destroy the Federation vessel.( ST comic : " Resurgence, Issue 2 ")

Despite being a loyal member of the Talarian Militia he was not willing to see the Federation ship destroyed and when he intercepted a distress call sent by the ship he hid from his superior officer the fact that he had managed to block it, making him believe that a Federation task force was coming in their defence. He later helped the crew get rid of the Talarian officers occupying the ship.( ST comic : " Resurgence, Issue 3 ")

First Splinter timeline [ ]

In 2382 , Captain Picard of the USS Enterprise -E met with Jono, Ambassador Endar, and Commander-in-Chief Ronzel in the Talar capital M'leint to discuss the Talarian Republic joining the Khitomer Accords . The government was happy to use Jono in negotiations to not speak to aliens directly or treat women as equals. Jono was concerned if the Federation would be able to set aside their arrogance and domination to respect the Talarian culture, and still had trouble trusting Picard and the Enterprise , believing they still looked down on the Talarians. However, the talks were interrupted multiple times by a protest movement of the planet's women, which ultimately resulted in the kidnapping of Jono and Beverly Crusher . After awaking in an unknown facility, the two came face to face with the faction of females who were behind the attacks. Jono was suspicious of the Federation and the Enterprise crew due to their previous interactions, and Beverly admitted that it was her and not Captain Picard who had mistakenly diagnosed Jono as the victim of abuse, having known little of their culture at the time. Beverly convinced Jono that he might not fully understand the situation that was leading the women to take these actions, but that was uniquely qualified to negotiate with the protestors, starting with their lead captor, Velet . Jono expressed admiration of his grandmother Admiral Connaught Rossa , and after getting insight into the plight of the female members of the species and realizing that the Tzenkethi were behind the scenes manipulating the situation, Jono and Beverly realized that Starfleet was being set up to take aggressive action. If military action was used to rescue them, the Typhon Pact could use the situation to show the Federation's hypocrisy, but they were able to convince their release and contacted the Enterprise before any strike could take place. ( ST - Typhon Pact eBook : The Struggle Within )

External link [ ]

• Jono article at Memory Alpha , the wiki for canon Star Trek .
• 1 Ferengi Rules of Acquisition
• 2 The Chase
• 3 Preserver (race)

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Jono, born Jeremiah Rossa, was the Human surrogate son of the Talarian captain Endar and grandson of Starfleet Vice Admiral Connaught Rossa. After being taken and raised by Talarians, he joined their militia.

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Chad allen: jono, photos .

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Jono (Unity)

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Jono was a human male born on planet Coruscant and subsequently trained as a Jedi at an early age. An outsider to the Jedi Order, a Starfleet officer named Lewis took the young Jono as his apprentice at age 8 in 2380 . For two years, Jono and Lewis fought side by side protecting the galaxy, and became close friends. ( Star Trek: Unity )

In 2382 , Lewis was recalled to Starfleet, and happy that Jono had been trained well, the Jedi Order made Jono a knight. At such an early age, being only ten years old, it was quite a responsibility for Jono to accept. He stayed within the Jedi Temple for many years and attempted to train many padawans, including Featchus but had some “bad experiences” with it.

In 2385 , Jono was contacted by Lewis who needed a Jedi to help him fight the renewed Borg threat. Arriving by Stargate to Unity Starbase , Jono continued his friendship with Lewis and aside from the Borg, fought the Iccobar and other threats to Federation security.

Jono is a master Jedi. He has been trained since birth and is very powerful. Lewis (his former master) is a match for him, but only very few others are.

Personality [ ]

Jono tends to keep to himself, and as such, very few people have gotten to know him. Lewis is good friends with Jono and trusts him implicitly, a trust that was temporarily shaken when Jono was partially assimilated and forced into a lightsaber fight. While some other members of Unity's crew have a bad feeling about Jono, they have begun to trust him, especially after the fight on planet Kressgon .

Star Trek: Unity incorporates crossover elements from other sci-fi genres such as Star Wars and Stargate (hence the references in this article).

• 1 USS Enterprise (NCC-1701-H) (Endurance class)
• 2 USS Enterprise (NCC-1701-G) (Excalibur class)
• 3 USS Phoenix (NCC-65420-X)

Screen Rant

The rock's forgotten star trek cameo explained.

Dwayne "The Rock" Johnson made a brief cameo in a season 6 episode of Star Trek: Voyager, a role that was one of his first forays into acting.

During his time as a professional wrestler, Dwayne "The Rock" Johnson made one of his first forays into acting with a cameo appearance on  Star Trek: Voyager . Johnson, who was born in 1972, left a career in football to pursue professional wrestling in 1996 and began working for World Wrestling Entertainment , which at the time was called the World Wrestling Federation . During his time with WWE , Johnson gained worldwide fame as "The Rock" and is still regarded as one of the greatest professional wrestlers of all time. Today, Johnson is also an acclaimed actor who has played roles in the Fast & Furious franchise,  Jumanji: Welcome to the Jungle  and its sequel, and  Moana .

Johnson had already begun branching out into acting as early as 1999; his first official role was in an episode of That 70s Show , followed quickly by his appearance on Star Trek: Voyager in 2000. Johnson guest-starred in Voyager  season 6 in an episode entitled "Tsunkatse", portraying an unnamed alien from a race called the Pendari. Johnson's character faced off against Seven of Nine after she was captured while on an away mission and forced to fight in broadcasted matches of the alien martial art that gave the episode its name. The scene where Johnson appeared was towards the beginning of the episode, and was brief, with Johnson's Pendari Champion easily winning his match against a reluctant Seven.

Related: Star Trek Theory: Seven Of Nine Was Rejected From Starfleet

Johnson's cameo on Star Trek: Voyager would have been immensely enjoyable for both Star Trek and WWF  fans at the time, and his appearance on Voyager also had an interesting reason behind it. In 2000, Voyager was airing on the United Paramount Network, having been one of UPN's flagship shows since season 1 premiered in 1995. The year before, WWF's  newest show  WWF Smackdown!  had also joined UPN, airing on Thursday nights. Johnson's appearance on Voyager was a bit of a cross-promotional venture for both shows, made easier by the fact that they were on the same network. Indeed, getting someone as famous as The Rock in "Tsunkatse" earned Voyager its highest Neilsen rating for the whole season, clocking in at 4.1 million homes.

The scene where the Pendari and Seven of Nine fight also contained a couple of important nods to Johnson's career with WWE . When the Pendari first entered the ring, he did "The People's Eyebrow", one of The Rock's signature facial gestures, for the crowd of cheering fans. Additionally, The Pendari ended the fight with Seven by executing "The Rock Bottom" which was Johnson's often used finishing move during his pro wrestling matches. These moves would have been instantly recognizable to his fans at the time, and today are enjoyable Easter eggs for anyone who continues to appreciate Johnson's career in professional wrestling.

Johnson was the first pro wrestler to appear in a Star Trek show , but interestingly enough, would not be the last. Two other WWE stars, Tommy "Tiny" Lister, Jr. and The Big Show would both go on to cameo in separate episodes of Star Trek: Enterprise , the series that came after Voyager . It is also likely that Star Trek  was one of the things that helped Johnson realize that he was interested in acting as a more full-time career since he began moving away from wrestling and on to bigger acting roles shortly after. One thing is certain: while Dwayne "The Rock" Johnson's cameo in Star Trek: Voyager might not be a well-remembered part of  Star Trek history, it will always be a memorable moment for diehard Voyager  and WWE fans.

More: Why Voyager Failed To Create Good Star Trek Villains

Jonathan Frakes Looks Back at His ‘Star Trek’ TV Directing Career, From ‘Next Generation’ to the ‘Strange New Worlds’-‘Lower Decks’ Crossover

By Adam B. Vary

Adam B. Vary

Senior Entertainment Writer

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“Woo!”

That’s Jonathan Frakes ’ reaction when he’s told he’s probably worked on more iterations of “ Star Trek ” than any other person alive.

“I’ll take it!” he says with a massive grin.

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That expertise was particularly important for his 222nd episode of “Trek,” directing last Saturday’s outrageously entertaining episode of “ Star Trek: Strange New Worlds .”

Titled “Those Old Scientists,” the episode posed a unique directorial challenge: Two characters from the animated “Lower Decks,” Ens. Brad Boimler (Jack Quaid) and Ens. Beckett Mariner (Tawny Newsome), meet the crew of the Enterprise when they travel back in time 120 years — and into live action, with Quaid and Newsome embodying their roles for the first time.

“Those Old Scientists” deftly weaves the madcap comedy from “Lower Decks” into the more grounded tone of “Strange New Worlds.” The episode mines humor out of Boimler and Mariner’s starry-eyed interactions with their heroes — like Anson Mount’s Capt. Pike, Ethan Peck’s Spock, Rebecca Romijn’s Number One, and Celia Rose Gooding’s Uhura. But Frakes never lets the episode curdle into fan worship, or spiral into silliness; instead, it becomes a poignant (and deeply funny) expression of how “Trek” has captivated multiple generations of fans for over half a century.

Frakes also had the advantage that he’d directed Mount, Peck and Romijn when they originated their roles on Season 2 of “Discovery.”

“I knew from having done ‘Discovery’ for a year with Anson that he is really sneaky funny, even though you don’t see much of that with Pike,” Frakes says. “Rebecca, she’s a singer as well as a comedian. And Ethan has a delightful sense of humor. So I secretly knew that this was going to be a playground.”

Frakes was especially thrilled when executive producers Henry Alonso Myers and Akiva Goldsman, and the episode’s writers Kathryn Lyn and Bill Wolkoff, allowed Quaid and Newsome to improvise during several of their scenes. “Which doesn’t happen a lot on ‘Star Trek,’ as you probably have heard,” Frakes says. “I mean, especially in our fucking show” — i.e. “Next Gen” — “they were so strict. It was like we were doing Shakespeare or Chekhov.”

Frakes says one of the funniest moments of the episode — when Mariner tells Boimler that she didn’t expect young Spock would be so hot — was improvised by Newsome, and eventually, that energy “had an infectious effect” on the “Strange New Worlds” cast as well.

“It was just fantastic,” he says. “Maybe this will open some eyes.”

To commemorate his “Trek” directing career, the 70-year-old filmmaker shared (in an interview conducted before the SAG-AFTRA strike) some candid memories and insights from some of the standout episodes he’s helmed over the past 33 years — and the one he regrets doing.

“The Offspring” “The Next Generation,” Season 3, Episode 16 First aired March 12, 1990

Frakes’ directorial debut is one of the best episodes ever of “Next Gen,” in which the android Lt. Cmdr. Data (Brent Spiner) attempts to create an android child he names Lal (Hallie Todd). Wrangling his fellow actors, however, proved to be a challenge.

“It happened to be a Data episode, which are always great, because Brent is a genius. The sound department gave me a bullhorn. I had a lot of support, including from my acting company. But I realized what these other directors had gone through and what assholes we were. And I had not a leg to stand on in terms of asking them to behave.”

“The Drumhead” “The Next Generation,” Season 4, Episode 21 First aired April 29, 1991

This courtroom thriller — guest starring classic Hollywood star Jean Simmons, then 62, as a Starfleet admiral obsessively investigating a possible conspiracy on the Enterprise — featured some particularly inventive camerawork. That was a rare event for “Next Gen,” which followed a far more locked down, straightforward style of cinematography that Frakes says was driven by showrunner and executive producer Rick Berman.

“I tried to stretch the envelope. Rick was very strict. He was very traditional in his cutting. I wouldn’t say I broke any boundaries. But I wasn’t told not to do it, so I did it. I was very big on connecting questions to answers. I remember moving around the room and climbing up and down and staying with people, instead it being cut, cut, cut, cut. I love when you connect what someone has said to the person who it said about or to.

“The wonderful Jean Simmons had asked to be on the show because she was a massive Trekkie. She and her friends used to watch on Thursday nights. What a great get for ‘Star Trek.’”

“Past Tense Part II” “Deep Space Nine,” Season 3, Episode 12 First aired Jan. 9, 1995

“Deep Space Nine” starred Avery Brooks as Commander Benjamin Sisko, who oversaw the crew of the titular space station, including the unscrupulous bartender Quark (Armin Shimerman) and the studious chief of operations, Chief Miles O’Brien (Colm Meaney), who had originated the character on “Next Gen.” The second half of this two-part episode is largely set in a speculative San Francisco in 2024, in which profound inequities are leading to an unstable society.

“It felt like a period episode to me — and now it’s essentially a contemporary show. We went for sort of a low and wide, gritty, lot of side light look.

“It was a very different show. I knew Armin and Colm, but all the other actors were new to me. And this was a more serious set than ‘Next Gen.’ I really loved Avery’s acting. I loved him in ‘A Man Called Hawk.’ Remember ‘Hawk’? I was a fan. Like every episode of television, you either make it or break it in prep. So if you’re prepared, and you have a plan, and you can sell that plan to your cast, at least in my experience, that’s when you have success. They trust that you know what you want to do, and they can help to execute it, everybody wins.”

“Projections” “Voyager,” Season 2, Episode 3 First aired Sept. 11, 1995

“Picardo and Dwight together? Trouble. First of all, they were two of the most clever characters, Barclay and the Doctor. But both actors are so facile and so quick. That was, again, the luck of the draw, because as I’ve said many times, you get 26 episodes in a season, they’re not all going to be home runs. That episode was a blast, and primarily because of those two actors.”

In the episode, the Doctor finds himself presented with the possibility that he’s a real person and not a hologram, but the rest of the crew of Voyager are simulations. The what-is-reality plot mirrored a similar storyline for one of Riker’s standout episodes of “Next Gen,” “Frame of Mind.”

“The lead voices of the writing staff certainly influenced that whole era, the Berman era, of ‘Star Trek.’ Shows were similar in flavor and shows were similarly produced, because of Rick. There was a tonal similarity to that that there is now with the new new ‘Trek,’ in which we are encouraged to shoot the thrill. It’s very cinematic in a way that our shows were not, necessarily.”

“These Are the Voyages…” “Enterprise,” Season 4, Episode 22 First aired May 13, 2005

“Enterprise” — a prequel series starring Scott Bakula as Capt. Jonathan Archer, who commanded the first warp-capable starship to bear the name Enterprise — was canceled in its fourth season, the first time that had happened to a “Trek” show since the original series in the 1960s. For the “Enterprise” series finale, Berman and fellow executive producer Brannon Braga wrote a framing device set during the era of “Next Gen” and featuring Riker and Marina Sirtis as Counselor Deanna Troi. It was a similar conceit to the “Strange New Worlds”/“Lower Decks” crossover, in which “Trek” characters from the 24th century look back on an earlier era of “Trek” for inspiration. But as a send-off for “Enterprise,” it proved to be awkward in the extreme.

“We didn’t quite fit. It was sold as, ‘Oh, come on and do the episode, it will be a Valentine to the fans’ — it wasn’t a Valentine to the fans. The fans didn’t want to see us. Scott Bakula was such a mensch about it, but all these other ‘Trek’ shows went seven seasons. Nobody wanted to be on a ‘Star Trek’ show that didn’t get to go to seven. And the inherent insult in having characters from another series that had done well come in to essentially close the books on his episode — it just felt so wrong to me. I mean, it was a good episode. We had a blast doing it in many ways. The more I think about it, the more I hear from fans about it in particular, it may not have been the best choice we’ve made on ‘Star Trek.’ Again, they’re not all home runs. It’s just unfortunate that that was the last episode of that show.”

“Despite Yourself” “Discovery,” Season 1, Episode 10 First aired Jan. 7, 2018

“That was my new home, ‘Discovery.’ And that first episode, getting to know Sonequa — she’s very special, on a lot of levels. She’s not only a fantastic actor, but she is a great leader and very spiritual. She was very welcoming. I was very glad to be part of that company in the beginning of the series. To a person, they said, ‘So what’s this going to be like? What are the conventions like?’ They were all being welcomed into the family in a way. Every new show has a different reaction from fans, but we’re all a big family. I mean, it sounds a little Pollyanna, but it’s really true.”

“Discovery” will end its run with its fifth season, which is set to premiere in 2024. According to Frakes, that wasn’t quite the plan.

“I directed the first half of the finale of Season 5, which turned out to be the real finale. So that was a very emotional end as well. When we did it, we didn’t know it was the end. And then [‘Discovery’ executive producer and director] Olatunde Osunsanmi had to go back up and do two or three days of new stuff to actually make the finale the finale.”

“No Win Scenario” “Picard,” Season 3, Episode 4 First aired March 9, 2023

Frakes reprised his performance as Riker in one episode of Season 1 of “Picard,” but he was still shocked when executive producer Terry Matalas invited him and the rest of the “Next Gen” cast back for the third and final season of the show. Frakes had directed several episodes in the first two seasons of “Picard,” but in Season 3, Riker is effectively a second lead alongside Picard, and in “No Win Scenario,” he’s faced with leading the crew of the U.S.S. Titan out of an impossible situation. Frakes had never directed an episode of TV that also required so much of him as an actor.

“On ‘Next Gen,’ I was assigned episodes that were Riker-light, consciously. On the third season of ‘Picard,’ when it was clear that I was going to be in all 10 episodes, the powers that be didn’t want me to direct and get distracted from playing Riker. But the director of Episodes 3 and 4 was not able to come down from Canada to do it, so I was able to step in. And I’m sure they did not plan on me having to do a big fat Riker episode, which, in a way, I think helped me as Riker.

“As a director, you’ve got a lot going on. And the less you’re thinking about the acting, often, the better the acting is. I’m married to [‘General Hospital’ star] Genie Francis, who’s a wonderful actor and a wonderful wife and a wonderful coach. I remember distinctly she said to me, ‘You don’t have to worry about playing Riker worrying about being a leader. What you do every day when you go to work [as a director] is lead a couple hundred people through the thing. So stop stressing about that.’”

“I think they can’t deny not only the fan reaction, but the fact that the numbers put the show at the Top 10 on the streaming charts. And that season of ‘Star Trek: Picard’ was arguably the among the best seasons of any ‘Star Trek’ — I think we all agree on that. I mean, ‘Star Trek’ fans are loyal. It’s not millions and millions of people, and it’s not the youngest fandom in the world. But I am an eternal optimist, and I believe in a perfect world, they will find the assets and the energy and hire Terry to put together this ‘Legacy’ show and that will, in fact, come to fruition.”

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• View history

In the 2350s , Endar fought against the Federation in the Galen border conflict . In 2357 , Endar fought Humans on Galen IV . In the aftermath of the battle, he claimed the surviving son of the dead Connor and Moira Rossa in return for the loss of his son , who was killed fighting Humans on Castal I . This was in accordance with Talarian tradition, but in contradiction with their agreements with the Federation. The boy was given the name Jono and raised as a Talarian.

In 2367 , Jono was discovered wounded in a Talarian observation craft by the USS Enterprise -D . Endar reached the Enterprise -D and demanded the return of Jono. Captain Picard accused the Talarian of abusing the boy, but Endar denied the charge, telling Picard that the boy had been injured performing Talarian rites of passage. Picard allowed Endar to see Jono, but refused to surrender him. Endar threatened war and announced that additional Talarian ships were en route. Picard decided that Jono would be better with Endar than trying to adapt to Human ways after ten years being raised as a Talarian. ( TNG : " Suddenly Human ")

• 1.1 Background information
• 1.2 Apocrypha
• 1.3 External links

Appendices [ ]

Background information [ ].

Endar was played by actor Sherman Howard .

The costume worn by Sherman Howard as Endar was sold off on the It's A Wrap! sale and auction . [1]

Apocrypha [ ]

The Star Trek: Destiny novel Mere Mortals established Endar as being the Talarian ambassador to the Federation in the 2380s .

In the third issue of Star Trek: Resurgence prequel comic, Endar was killed during the Dominion War according to Jono.

The Endar ( β ) of the mirror universe appears in the Star Trek: Deep Space Nine novel The Soul Key .

External links [ ]

• Endar at StarTrek.com
• Endar at Memory Beta , the wiki for licensed Star Trek works

Jonathan Frakes sees Star Trek: Legacy as a possible Paramount+ movie

S ection 31 starring Michelle Yeoh will be the first Star Trek streaming movie by Paramount+, and, according to Jonathan Frakes , who joined All Access Star Trek podcast to talk about the Pancreatic Cancer Action Network [ via Trekmovie ], there could be possibilities moving forward for other Star Trek series to move into film format, including the potential spin-off to Star Trek: Picard that fans have been hoping for.

“I do know that there’s a lot of positive energy around the Michelle Yeoh Section 31 movie. So that 2-hour format is now on the table for Star Trek going forward.”Jonathan Frakes

If a series isn't a possibility at this point, a two-hour Legacy movie could be a great way to get the show underway. One movie doesn't necessarily mean it will be the only movie. It all depends on the success of the movie and whether the actors would be onboard. For instance, Michelle Yeoh has already confirmed to Variety [ via Comicbook ] that if Section 31 is a success, she'd love to do a sequel.

A Legacy movie is just about guaranteed to be a success. There's no way, with this amount of demand, that it wouldn't be. So this could very well be the way to go to get the spin-off we want. No, it's not a series, but five two-hour movies is one season of a series on streaming nowadays. The only problem is that Paramount+ could possibly only do one movie every two years, and with Section 31 already slated to be its first release (and no set release date at present), a Legacy movie would be a lot further down the road.

Frakes can see things about the franchise that we can't as he's been behind the scenes on almost every series. He know what will work for Trek, and there's no doubt that, with the right producer and director, a Legacy movie would work to satisfy fans...for the time being. But all of the adventures of Captain Seven of Nine (Jeri Ryan) and her illustrious crew cannot be told in one movie. Still, this would at least put Legacy in front of fans if a series is out of the question.

This article was originally published on redshirtsalwaysdie.com as Jonathan Frakes sees Star Trek: Legacy as a possible Paramount+ movie .