Star Trek 10 Greatest Genre Episodes Ever

Genre episodes can be a fun departure from a standard episode of Star Trek

As the franchise is so rooted in sci-fi overall, veering away from that, or at least altering

the genre to fit another trope, can break up the flow of a season, something that Strange

New Worlds is taking to the bank at the moment. In that show alone we've seen a musical, a zombie infestation, a role playing D&D inspired

episode, alongside animated team ups and some good old fashioned time travel

If indeed we count time travel as a genre. Star Trek has experimented with form for decades, peppering its ongoing series with frights

laughter, and weeping. The original series had both incredible freedom and the restraints of

60s production limits to play with this. Still, it had many examples of various genres, including

some properly frightening moments. The Next Generation and Deep Space Nine also continued

this trend, though of course every iteration of Star Trek has its opportunity to break the actors

out of the techno babble of the week. Naturally, comedy is something Trek has visited on many

occasions. There is something about those tight space suits and the arched eyebrows of the Vulcans

that lends itself to farce. On the flip side, tragedy has just as many examples in Trek's

history. For this list, we're concentrating on the televised portion of Star Trek, so we will

visit the movies at another time. For now, it's a director's dream as we dive into the list of

genre highlights across the years. I'm Sean Ferrick for Trek Culture and here are the 10

greatest genre episodes ever. Number 10. Sci-fi schisms. For our first entry we had to ask ourselves

what constitutes science fiction? Further to that how could we pick the best example of it from

within Star Trek itself? First the definition from Britannica.com. Science fiction a form of

fiction that deals principally with the impact of actual or imagined science upon society or

individuals. In choosing schisms, we have used the solanogen-based lifeforms experiments upon

the crew of the Enterprise D, as well as the threat of alien abduction in general, to guide

our choice. Science fiction, as broad a term as it is, often deals with things like technological

advancements, as well as body modification, both of which are on show here. In the spirit of full

disclosure, there are many examples of science fiction as a genre in Star Trek, which is as

obvious as it is challenging to pick any one example to rise above the rest. Time travel

as we indicated in the introduction, may appear on another list as its own genre. So many of the

options for science fiction will be up for consideration there. For the episode here

there are several moments that help it stand out as an example of science fiction. Riker's missing

time, that chilling scene on the holodeck, poor Ensign Hagler's fate, and the climax in the alien's

realm all combine to tell one of the most enduring, disturbing stories in Star Trek. The Next Generation

undertook many experiments during its run, with schisms skirting the line of sci-fi and horror

carefully. For the close encounters element of this episode, it's our choice for science fiction

and we have all been in that room before, haven't we? 9. Western, A Fistful of Datas

Western, a genre of novels and short stories, motion pictures and television and radio shows

that are set in the American West, usually in the period from the 1850s to the end of the 19th century

There really was only ever one clear winner in this genre, though Star Trek has experimented with Westerns a number of times

In the original series, Spectre of the Gun offered audiences a view of the OK Chorale

while Star Trek Enterprise visited a modern frontier in Northstar. While a fistful of Datas may blend a couple of genres

looking at you comedy, it is a western at its core. You probably know the story, Worf's latest attempt at hiding from Alexander

takes him, in the guise of spending time together, to Deadwood, a lonely frontier town in which he will play the sheriff

Thanks to a computer hiccup, Data begins appearing in the most inopportune places

while director Patrick Stewart rolled the camera with glee. Considering the comedic nature of the episode

it makes every effort to capture the feel of those spaghetti westerns of yesteryear

Brent Spiner is having a ball as he swaggers through town, revolver on his hip

while Marina Sirtis embodies the lone drifter, here to help the sheriff

Even little Alexander gets something to do as the kidnapped deputy In other words it captures all of the tropes of the genre we see you piano player closing the lid before a gunfight we see you and lovingly recreates them on the holodeck It may not be the most original take on westerns but

it remains Star Trek's premier offering in that genre to date. Number 8. Romance, the city on the edge of forever. Romance, literary form usually characterized

by its treatment of chivalry that came into being in France in the mid-12th century

The City on the Edge of Forever is considered the height of romance in Star Trek

despite its sci-fi and time travel leanings, because there is simply no denying the chemistry between William Shatner and Joan Collins

Though the story ends in tragedy, that too is baked into the fibre of romance

so much so that the story itself tells you it must be so, Edith Keillor must die

From Spock's lips to our broken hearts, this was a doomed romance from the beginning

Having said that, Kirk's obligation to see history set right may break the code of chivalry

but would saving her have really given her a better life? After all, her movement led, however indirectly, to the Nazis winning the war

What sort of future would that look like? One could easily argue that the real romance of the original series was between Kirk and Spock

or even Kirk and the Enterprise. For further details see Gene Roddenberry's novelization

of the motion picture. On second thoughts, maybe don't. But in terms of pure episodic romance

it must be the tragedy of Edith Keillor, James T. Kirk, and a well-meaning Leonard McCoy

Why must romance be so often combined with pain? Harlan Ellison, who hurt you? Actually when you

read the behind the scenes of this episode, you know very much who hurt him. You know very much

number seven noir suspicions film noir a style of filmmaking characterized by such elements as

cynical heroes stark lighting effects frequent use of flashbacks intricate plots and an underlying

existentialist philosophy suspicions the sixth season episode of the next generation offered a

compelling mystery for both dr crusher and the audience the narrative structure plays with time

we are brought into the story at roughly the midpoint, while Guinan helps excise the exposition

from Crusher. Though the episode doesn't fully utilise the tropes of film noir

it's thin on the ground with dramatic lighting. Following the Doctor's mission, both via flashback

and misdirection, helps it land here. The episode also plays on the audience's assumptions

How could a Ferengi be interested in scientific research? Surely the Klingon must be the violent

one. In doing so the eventual reveal about Joe Brill lands. Crusher's desperate attempt to clear

her name, despite the hesitation from Picard and the rest of the crew, helps make her the hero the

story really needs to hit those final tropes. Having the dead man hide inside the shuttle's

closet is the cherry on top. It's an episode that keeps on giving. A particular highlight is Ogawa's

role, who is of course played by the late great Patty Yasutake. Here she is the investigator's

man on the inside so to speak. This too is a trope that benefits from years of backstory

Ogawa and Crusher have worked together for years. Even if the rest of the crew are slow to help

there's always one plucky person ready to tackle the case. Suspicions is not just a riot

but also a great example of investigative noir played in the 24th century

Number 6. Action Adventure The Way of the Warrior Action adventure is a genre of film according to Merriam-Webster

featuring characters involved in exciting and usually dangerous activities and adventures. Star Trek is no stranger to the genre. When technology began to catch up with the imagination

of the franchise's writers, larger set pieces began to appear. The original series did an

incredible amount of action with the limitations of the day, while the next generation used it

sparingly, preferring to centre much of the action around conversation. Along came Deep Space Nine

and things began to change. While action appeared in the pilot, it was the destruction of the Odyssey

and the Cardassian-Romulan invasion of the Gamma Quadrant that spurred the show into new heights

The Way of the Warrior took every trick the show's production team had learned and depicted the new

direction for the show. The Klingon's going nuts. The fourth season opener is a feast for the eyes though it has a compelling story to go with it Worf introduction is handled with care while the arrival of Avery Brooks bald head signaled a new direction for

Star Trek. It's all about the attack on the station, and Deep Space Nine didn't disappoint

A fleet of Klingon ships began its bombardment, followed by hand-to-hand combat on the promenade

ops and the habitat ring. Almost every supporting character gets something to do

including some truly hilarious moments between Garrick and Dukat. A common refrain among Star Trek fans is that the fourth year is where Deep Space Nine really took off

and with exploding Vortja-class attack cruisers and the arrival of General Martok, it's impossible to disagree with them

Number 5. War, the siege of AR-558. War, as a genre, is a little harder to pin down

According to OxfordReference.com, the war film is generally, if somewhat arbitrarily, regarded as featuring scenes of combat that are dramatically central and that determine the fate

of the film's principal characters, hence the other commonly used term. Much of Deep Space Nine and

Star Trek Discovery depict the horrors of war in their run, with both examples delivering enormous

space battles as well as ground assaults. One might consider Sacrifice of Angels for this entry

with that particular episode being a strong contender for the previous action-adventure entry

but the true greatest example of the war film is the siege of AR-558. When Star Trek confines

itself to space battles, however exciting they are, they lose that personal connection to the

characters. Yes, consoles will explode and people can and do die, but it is often a cold, detached

depiction. The Jem'Hadar assault on the Starfleet forces in the siege of AR-558 is brutal, deadly

and devastating. Though Starfleet wins the day, there is no real victory here. Nog becomes the

heart of the episode as he goes from a naive bright-eyed ensign to a badly injured shell-shocked

officer. We are introduced to characters who, in a lesser episode, may have been consolidated to

redshirt status, but here are given room to breathe and emote. When Vargas is killed, it means

something. When Kellen dies protecting Esri, it means something. This, combined with Paul

Bilarjian's haunting score, plays on the audience's discomfort and horror at what they're witnessing

It remains one of the darkest episodes in Star Trek's run for exactly that reason

Number 4. Comedy. The Trouble with Tribbles. This genre is one of the most straightforward

ones on the list. According to Britannica.com, comedy is a type of drama or other art form the

chief object of which, according to modern notions, is to amuse. The original series took itself quite

seriously, despite adding in the occasional jokes, often at Spock's expense, for some of the earlier

episodes. It was still establishing what Star Trek was, so dipping into the comedy pool too early

could have thrown the writers for a loop. By the time that The Trouble with Troubles aired

Star Trek knew exactly what it was and the episode shines because of it. The Klingons had been

established Kirk and Spock's relationship had been established audiences knew what to expect when a

rogue trader came into town starbases were often spots of bureaucracy and tedium mix all of these

and one gets the perfect outcome a funny episode that elicits laughs almost 60 years later almost

all of the principal cast appear George Takei was unavailable as he was filming the green berets

and they all get farcical parts to play uhura and Chekov introduce the tribbles to the enterprise

McCoy yzes them, Spock fawns on them, and Scotty gets into a fistfight with the Klingon

William Shatner shines as the put-upon captain who would rather do anything else than deal with

the squabbling of directors and delegates, though maybe not if it meant standing under

more of those storage units. The episode works so well that it was revisited in a tribute to

the franchise's 30th birthday. The comedy is so well done that the joke works twice

and Trials and Tribulations is just as much fun to enjoy. Number 3. Horror, Wolf in the Fold

Horror film, motion picture calculated to cause intense repugnance, fear, or dread

For the original series Dip Into Horror, author Robert Bloch of Psycho fame created a story that

has both aged well in that it still manages to elicit scares today, and badly in that some of

the logic is as far from logical as it possible to be A spectral version of Jack the Ripper is a truly terrifying idea one that has been revisited in the years since Haunting possession murder Wolf in the Fold plays with each of these tropes

helping to build the oppressive atmosphere that Scotty finds himself in almost at once

Bloch, writing in Psycho, touched on revulsion and confusion, particularly in how Norman Bates

deals with women. Unfortunately, shortcuts were taken in the script for Wolf in the Fold

which don't gel with the rest of Star Trek. McCoy's worry that Scotty was in an accident

caused by a woman, so may grow to hate all women, is nonsense, and only serves to place the finger

of suspicion on the engineer. However, the true dread of the episode works in the spooky, misty

streets, the things that go bump in the night, and the endlessly terrifying voice of John Fielder

swapping his joyous Piglet era tone for an evil ripper one. The story may be a reuse of one of

blocks earlier ideas, but in large part it works, not least because of the enduring image

of James Doen standing over a corpse, bloody knife in hand. Number 2 Heist Bada Bing Bada Bang

Star Trek Deep Space Nine appears again as we discuss heist as a genre

According to Masterclass.com, a heist movie centers on the planning and execution of a robbery

It's a simple easy example of the best heist in Star Trek and that is Bada Bing Bada Bang

from Deep Space Nine's seventh season. Not only is it a tremendously fun episode, it is also the last episode in the show's

run before the final Dominion War arc kicks off. In Vic's lounge, something is wrong

The program is glitched, gangsters have appeared and things look grim for everybody's favourite crooner

Rather than reset the program and risk permanent damage to Vic, the crew decide to play things

out within the confines of the holosuite. That is to say, they're going to rob the casino

force the gangsters out and give Vic his home back. It's a riot from start to finish with almost all

of the major players joining in. Worf may sit this one out but watching Cisco toss stacks of dollars

into the air is worth the price of admission alone. The clock is ticking as Nog tries to crack the

safe while Cassidy does her best to distract the guard outside. Bashir plays his Bond fantasy

Kira plays Footsie under the table and Odo does the neck trick to great amusement. Not even a

Even a poisoned Bobby Riley can spoil the day and the heist goes off without too much

of a hitch. High stakes at the casino or low stakes in the alpha quadrant, but Bada Bing Bada Bang

is easily the greatest heist in Star Trek, and that includes the theft of a Jem'Hadar

fighter that followed mere episodes later. Number 1 Fantasy Cupid Though Star Trek may delight in science fiction, it owes a debt to fantasy as well

is, per Britannica.com, imaginative fiction that relies on strangeness of setting, such as other

worlds or times, and of characters, such as supernatural or unnatural beings. There are

many examples in recent years of Star Trek using this genre of storytelling. Strange New Worlds

had its Elysian Kingdom, and Lower Decks was visited by the Hysperians in Where Pleasant

Fountains Lie. Both of these examples owe a debt to Q, Vash, and the Sheriff of Nottingham

Worf may not have been a merry man in Cupid, but many of us in the audience were merry watching him shatter Geordie's loot

Poor Data ended up with an arrow in his chest, but it barely dented him. To be fair, he could take a hail of bullets and reply with, greetings, so we're not that shocked

The trip to Sherwood Forest may have been an ill-advised gift from Q

but it was another example of Star Trek using comedy and now fantasy to break up the standard when it came to the series

The next generation could take giant swings when it needed to, and little John Riker may very well have done so with that staff, but when they landed, they landed well

It may not have come with an accompanying Brian Adams tune, but this tale of Robin and his band of merry men was fantastic, and one for the ages

Thank you very much, folks. Did you enjoy this list? Let us know in the comments below, and if you did, perhaps we could do something of a series of this, where we concentrate on one list per genre

Let us know if that's something you would like to see. until then thank you everyone who is subscribing we really really appreciate it every subscriber

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ferrick you have been a bunch of legends make sure that you live long and prosper until i see you

again and put some peace out into the world because that is what is needed peace thank you so much