After bearing the brunt of Khan’s wrath and then searching for Spock, the Enterprise crew must now face the music and begin the voyage home for their inevitable court martial. Unlike the last two films, however, Star Trek IV: The Voyage Home is very much a comedy, and this week we’re going to see how that affects the normally unflappable Vonda McIntyre’s approach to movie novelizations. So let’s make like the Enterprise and slingshot ourselves backwards through time to 1986, a world of heavy pollution, hard currency, and double dumbasses…
This week, dear readers, we arrive, at last, at what is unarguably the apotheosis of original-recipe Star Trek: the second film, The Wrath of Khan. To quote Hugh Laurie at the end of Blackadder Goes Forth, “This is, as they say, it.” It is as thrilling as The Motion Picture is boring. It is an ingenious work of deconstruction, the first to upend many deeply entrenched series tropes that were (to that point) taken for granted. Its greatness does not depend to any extent on your opinion of Star Trek, which is the only work under the TOS banner I would make that claim about other than possibly “City on the Edge of Forever”. It is the ne plus ultra of Trek movies, and it is highly unlikely that any that currently exist nor any that may be made in the future will ever surpass it.
There are some episodes of Star Trek where Kirk rekindles a relationship with an old flame. There are other episodes where the crew meets a once-respected hero or mentor figure, only to realize that person has gone completely cuckoo for Cocoa Puffs. And there are still other episodes where they’re burdened with a civilian who snoops around and asks too many questions and throws their weight around and is totally overwhelming and annoying and in the way all the time.