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False Profits Stardate: 50074.3 Original Airdate: October 2 1996

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Writing for Star Trek Voyager: Behind the Scenes of “False Profits” with Special Archival Footage

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TrekCore’s Voyager week continues with a trip back to 1996’s “ False Profits “, with a special inside look from episode writer George Brozak ! Read below as we discuss early concepts for the episode and delaying tactics, then explore some production material and concept art… complete with special archival footage from the filming of the episode!

George Brozak: The “False Profits” Interview

Interviewed by Kyle C. Haight

TrekCore: How did you first get involved with Star Trek , back when you first submitted to The Next Generation ?

George Brozak: At that time, The Next Generation was the only television show in Hollywood that had an open “spec script” submission process. I don’t know of another show on television, then or now, that was so forward-thinking. Paramount devised a legal document that you signed and returned with your script; but the caveat was you had to write a full script . You couldn’t just send in a narrative, and you couldn’t just send in a few sentences as you would in a story “pitch” session. The script had to be complete with character dialogue, scene headers, and everything else you would see in a production script. After all, it was your “calling card” of sorts, to show the writing staff what you could do.

And to their credit, if a freelance writer took the time to submit a script, The Next Generation would read it. At the time, I remember the producers and writers stating that they employed “readers”. I don’t know if they were WGA (Writers Guild of America) trainees or interns; but they obviously were well-trained and read the piles and piles of submissions. They would then pass a synopsis report on to the producers.

I remember more than once Ron Moore and others on the writing staff telling me that they also read their fair share of those scripts. Ron has this story that I think he still tells (and I apologize to the writer in advance) of a freelancer who submitted a script called “Tangerine”, and sent it with a carton of tangerines to ensure it would be noticed. So, take it for what it’s worth. I suppose they enjoyed the tangerines, if not the script itself.

And that was the process. You were in the slush pile, you know, and you had to hope that somebody liked what you wrote, what they read, and that they would take it to the next level. It was an incredible opportunity for many of us, and we owe sincere appreciation to Michael Piller for starting and championing the process, and seeing it through the various incarnations of Star Trek . That’s how I got in the door to be able to pitch what would eventually become a part of “ Birthright ” (and later, “False Profits” and “ Broken Link “).

TrekCore: And they kept that all the way to the end of Voyager, correct?

George Brozak: I believe so; but to be honest, I’m not entirely sure. Once my spec script was brought to the attention of the producers, I no longer submitted through that process. From that point, whenever I had amassed several ideas, I called in and set-up a “pitch session”. For writers, a pitch session is where you tell your ideas, usually in a few sentences, to a producer or member of the writing staff. My very first pitch session was with Jeri Taylor, Ron Moore, and the newly-hired René Echevarria. NO pressure!

TrekCore: Tell us about how you decided to bring back the Ferengi from The Next Generation – Arridor and Kol , from “ The Price ” – for Voyager’s “False Profits”.

George Brozak: Well, it was a no-brainer for me. I remembered right away that “The Price” had trapped Kol and Arridor at the collapsed end of the Barzan wormhole. Suddenly, one of the most difficult questions — why were two Ferengi in the Delta Quadrant? — was already answered. I didn’t have to contrive a “tech” way to get them there. But the next question was even tougher: Why do we care? What dilemma could the Ferengi present our crew? This is where I had to convince the powers-that-be there was an interesting story to be told. Because just saying “they were there” wasn’t good enough.

Originally, I had conceived Kol and Arridor as much more malevolent, setting themselves up in a “ Man Who Would Be King ” rule. But unlike the Founders, who conquered quietly and insidiously from within, the Ferengi were really going to be ruthless, brutal taskmasters.

In hindsight, I was trying to change the character of the characters. The writing staff and the producers, who knew much more than me, didn’t see it that way. They felt the Ferengi were at their best when they were blinded by greed. That in turn led them down a devious path, and provided the Trek universe with a comedic outlet. And that’s the tact that they took.

Jeri Taylor called the episode a “wild and crazy romp”. In fact, that was her handwritten note when she sent me a videotape of the final cut episode. I think that change was a better way to go. The Ferengi were already known for being scoundrels. It would have been hard to take them seriously, I think, seeing them like Egyptian whip-masters to the pyramid builders.

This also gave us the chance to put Ethan Phillips in even more makeup, as he transformed from Talaxian to Ferengi. Those of us who watched show knew that Ethan had played a Ferengi on The Next Generation, so for the fans, it was kind of an in-joke to see him back in the Ferengi garb.

Now, did Neelix know the Rules of Acquisition ? Was he the worst possible person on Voyager to convince Kol and Arridor that he was a high-ranking official of the Ferengi government? Absolutely. He knew nothing about Ferenginar, or of the Ferengi culture. After all, he was from a different quadrant. I just thought it was a lot of fun to have him in the disguise, like a younger version of the Grand Nagus that we saw on Deep Space Nine. Of course, the Rules of Acquisition weren’t in book form yet!

TrekCore: What are your feelings about the ending of “False Profits”? It seemed like Voyager wasted a lot of time when the Barzan wormhole is right in front of them… but they had to wait seven minutes for it, something like that; a lot of time-wasting.

Being the story-writer, not the teleplay-writer, how do you feel about that? Was there ever any real consideration of getting Voyager home at that point?

George Brozak: Again, that’s easy. No. They were never going to get home until the show ended. I think that was pretty clear. If they had gotten home, wouldn’t we just have more of The N ex t Generation , just on the Voyager sets? I loved Picard and his crew as much as any fan; but I think setting Voyager in a completely new and unexplored territory was key to its DNA. I don’t think the notion of getting them home before the final show of the final season was ever mentioned.

But they always had “carrots”, didn’t they? Always small, fleeting glimmers of hope. “False Profits” had the carrot of, “Here’s a wormhole, we can get home!” In “ Eye of the Needle “, we meet a Romulan — another familiar face from the Alpha Quadrant. The wormhole that brought him to the Delta Quadrant can get Voyager home; but then we learn he’s from the past! So here’s yet another carrot and they’ve got another chance to go home. Maybe it’ll work this time. The longing that Harry Kim had was really key throughout the show; he wanted to be home more than anybody, it seemed.

That innate desire, and Janeway’s feeling of responsibility to get her crew home had a special meaning to the fans. Hopefully, there would be a way back. Hopefully, something was going to work. But again, once we got home, the show would be over. And I think the producers dealt with that in an ingenious way: another carrot. The crew is finally able to establish communication “back home”. We can talk to family and friends. We can tell Starfleet what we’ve learned, and what’s coming. We can even share holograms.

In terms of “False Profits”, my original intent was always for the Ferengi to get home. As is their nature, the Ferengi would sell their grandmother if she made them a profit. And without question, they were going to outwit Voyager , and turn our trust and goodwill to their advantage. They would get to the Alpha Quadrant, not us. And that irony makes the pill harder to swallow. I had this great scene in my mind that moments after emerging from the Alpha Quadrant side of the wormhole, their ship would suddenly be grappled by tractor beam… and on their view screen would appear the image of a Federation starship, and a Starfleet captain asking them to explain themselves!

But Michael Piller didn’t agree with my idea. He thought the greater irony was for the wormhole to whip the Ferengi around, somewhere deeper — somewhere much less profitable . Of course, he was the boss, so that’s how the show ended. I don’t know that it was ever established where they are now; but I know that it was not where they wanted to be.

So, did I think that Voyager took far too long to enter the wormhole? Of course! But even though I knew they weren’t going to go home, we just had to dangle that carrot for them.

Speaking of the producers, I would like to mention the producer that I simply adore to this day: Jeri Taylor. What a wonderful, wonderful woman. She was so compassionate and understanding — so welcoming. She made me feel good about being in the Hart Building, evan as a freelancer. She tried to involve me as much as possible in the process, and invited me to the set to watch filming of the episode. We watched “dailies” in her office the next day. It was an incredible time in my life. To this day, Jeri tells people that I taught her “how to email.” I’m sure she’s giving me too much credit; but it’s still funny to me. Here’s a brilliant producer writing about the voyages of Picard and crew — about amazing, new tech issues onboard the Enterprise — and she wasn’t sure how to email at the time. [Laughs] To be fair, society was just starting to embrace online services at the time — and Jeri was a very fast learner.

I’m so thankful for those email lessons. Jeri and I have maintained a wonderful friendship since those amazing days of Trek , and to this day, we communicate weekly. Jeri and her husband David are enjoying their retirement immensely. Most recently, she bought a new iPad Mini, and just loves it! We sometimes talk about the glory days of Star Trek , and I keep her posted about what her cast and crew members are doing today. I was able to spend several days with Jeri last summer, and that friendship has been, to me, one of the greatest fringe benefits of my joyride with Star Trek .

Again, in hindsight, I wish I had taken the time and opportunity to thank Michael Piller. Those of us who started as freelance writers — including all the wonderful talent he hired to the writing staff (Ron Moore, Brannon Braga, Naren Shankar, René Echevarria… the list goes on) owe a debt of appreciation to Michael. I’m so sorry I didn’t tell him that before he passed away. It’s one of my deepest regrets; but I think of him often.

I also never thanked Ira Behr properly. He saw something in my pitch for “Broken Link”, and wrote a wonderful teleplay for the season cliffhanger. And finally, my heartfelt appreciation to the keeper of the flame, Rick Berman. Because of the hierarchy of Trek at the time, sadly, I never had the opportunity to speak to Rick. His office was not in the Hart Building, and so he didn’t attend pitch sessions. And obviously, he was busier than anyone dealing with the myriad of details it took to create an episode of Star Trek. I wish I had stopped by his office in the Cooper Building, just to say thank you. He deserves more admiration than I can adequately convey.

In addition to passing along his photos and production documents with us, George also generously shared his tapes of saved “ dailies ” recordings – containing some wonderful raw, unedited footage from the filming of “False Profits”! Using this extremely rare piece of Trek history, TrekCore is pleased to present this never-before-seen behind-the-scenes footage from the set, which includes a few hilarious outtakes from Ethan Phillips, Robert Duncan McNeill, and Robert Beltran!

Our sincere thanks go to George Brozak for sharing this incredibly rare video with us, and for allowing us to share his story with all of you. Stay with TrekCore as our Voyager week continues!

Behind The Scenes
visual effects
Voyager Season 3

Battle at the Binary Stars

The vulcan hello, the impossible box.

False Profits

The Ferengi are known throughout the galaxy as shrewd and cunning businessmen, but in this episode of Star Trek Voyager, the crew find out that the Ferengi are not always as smart and savvy as they seem. When Voyager encounters two Ferengi ships that have been stranded in the Delta Quadrant, the crew decides to offer their help in exchange for some much-needed dilithium.

The Ferengi, Arridor and Kol, are more than happy to accept the offer and they join the crew of Voyager on their journey. Initially, the two Ferengi seem to be nothing more than a nuisance, but they soon prove to be more than meets the eye. Arridor and Kol are in fact in pursuit of the mythical “Atrilians”, a species of aliens who are purported to possess a large amount of a rare and valuable mineral called “Atrilium”.

The Ferengi believe that the Atrilians are a myth, but they are willing to take the risk in order to make a large profit. However, they soon discover that the Atrilians are very real. The Ferengi, in their haste, have stumbled into a much larger, more dangerous situation than they anticipated.

The Atrilians are a species of advanced aliens who possess advanced technology that is far more sophisticated than anything the Ferengi have ever seen. The Atrilians warily allow the Ferengi to mine their planet for the Atrilium, and the Ferengi are eager to take advantage of the opportunity.

Unfortunately, the Ferengi soon discover that the Atrilians are not the only ones interested in the Atrilium. A group of aliens called the Kazon also have their eye on the mineral and they are willing to go to any lengths to acquire it. To make matters worse, the Atrilians are not willing to let the Ferengi leave with the Atrilium, as they view them as a threat to their security.

The crew of Voyager must now come to the rescue of the Ferengi in order to protect them from the force of the Kazon. When the Ferengi discover that the Kazon are planning to attack the Atrilians, they are shocked and horrified. In a desperate attempt to save their own lives, the Ferengi offer to help Voyager in their mission.

With the help of the Ferengi, Voyager is able to successfully defend the Atrilians and the Atrilium from the Kazon. However, in their haste to escape, the Ferengi have made a critical mistake – they have stolen some of the Atrilium for themselves.

Now, the Ferengi are in danger of being arrested by the Atrilians and Voyager must come to their rescue. With the help of a clever plan, Voyager is able to escape the Atrilians and keep the Ferengi from being arrested. However, the crew of Voyager soon learns that the Ferengi’s false profits will come with a price – the Kazon are now in pursuit of Voyager and the Ferengi.

The crew of Voyager must now team up with the Ferengi in order to defeat the Kazon and keep the Atrilium from falling into the wrong hands. With a plan that involves both bravery and cunning, the crew of Voyager and the Ferengi are able to successfully outwit the Kazon and keep the Atrilium safe.

In the end, the Ferengi have to face the consequences of their false profits and accept that they have to pay the price for their greed. In the aftermath of their adventure, the Ferengi and the crew of Voyager learn an important lesson: that real profits can only be made by doing the right thing.

Equinox (part 2), persistence of vision.

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Star Trek: Voyager – False Profits (Review)

This February and March (and a little bit of April), we’re taking a look at the 1995 to 1996 season of Star Trek , including Star Trek: Deep Space Nine and Star Trek: Voyager . Check back daily for the latest review.

If ever there was an argument against the importance of continuity, False Profits would appear to be it.

The Price was not a good episode of Star Trek: The Next Generation . In fact, it was quite a bad episode of television. There is a credible argument to be made that The Price was the worst episode of the third season of The Next Generation . Another contender is Ménage à Troi , another third season episode of The Next Generation that coincidentally (or not) happens to feature the Ferengi. By all accounts, The Price is an episode of television that should be forgotten about, consigned to reference books and ill-considered classic television marathons.

“Now, I know fans don’t like the Ferengi episodes, but this is too much!”

Unfortunately, continuity intervenes. The climax of The Price ends with two Ferengi stranded in the Delta Quadrant after the Barzan wormhole collapses. In most stories, that would be the last time that those two characters appeared; they had served their dramatic purpose, demonstrating that the Barzan wormhole was effectively useless. However, once it became clear that Star Trek: Voyager was heading to the Delta Quadrant, that ending became a plot thread. It became a piece of continuity that could be employed by the production team, a storytelling opportunity.

That explains how False Profits came to be, a terrible sequel to a terrible episode that seems to exist purely to satisfy some dangling continuity.

Proxy war…

To be clear, continuity is not a bad thing by any measure. Character continuity is often the stuff of great drama, with an audience invested in a particular situation because they are engaged with the character. Slowly building characterisation across multiple stories invites an audience to get comfortable with a central character, who allows for greater storytelling opportunities and possibilities. The same is true of themes, with intertextuality allowing creators to build upon what came before to make storytelling more effective and efficient.

More than that, continuity from scene-to-scene (or episode-to-episode) helps with suspension of disbelief and audience investment. If a show unfolds in a strange environment like a space ship or space station, knowing the rules and relationships (and even the details of the sets or the characters) allows the audience to buy into novel settings and unique surroundings. Maintaining consistency (in both storytelling and production) between installments or scenes smooths the audience’s engagement with a show.

You can’t get good staff these days…

Star Trek: Deep Space Nine has gotten quite skilled at handling this sort of continuity, allowing threads to build across multiple episodes and developing characters through running gags or background details. It could legitimately be argued that background characters like Rom and Damar get as much development over the course of Deep Space Nine as any member of Voyager ‘s regular cast, in no small part because the writers maintain a continuity to their characterisation across multiple small sequences across the show’s run.

This background continuity is then rippled through into the politics of entire species and empires, to the point that Deep Space Nine is able to stitch together a fascinating portrayal of Klingon and Cardassian politics and history through small references seeded in conversations and background details between episodes. This is a small-scale continuity, one that used past details as a springboard for future storytelling. This would lead the show to embrace serialised storytelling with large multi-episode epics, expanding the storytelling tableau of the Star Trek franchise.

“This hard drive has the only copy of the episode’s script? Go for it!”

However, while continuity can be used to expand a story and to open up possibilities, there is also a model of storytelling where the narrative is constrained by continuity. The reality of storytelling means that very few authors can begin a multi-season (or multi-generation) story knowing where it is going to go. As such, there are inevitably contradictions along the way. Convenience trumps long-term planning, so a piece of off-hand exposition winds up boxing in stories to be told down the line.

Star Trek: Enterprise is full of these sorts of contradictions and inconsistencies, with a significant portion of the show’s critics taking aim at its departure from existing continuity; everything from the look and feel of the show resembling Star Trek: First Contact more than anything from the classic series to the fact that Klingons have forehead ridges to the clash between the depiction of the Vulcans and fandom’s idealised concept of them. Even the design of the ship came under fire, for looking too much like an Akira-class ship or not appearing on Picard’s wall.

Prophets are down.

Some of these are legitimate storytelling concerns, to be fair. There is a criticism to be made that having Archer embark on his mission with replicators and transporters undercuts the whole appeal of doing a Star Trek prequel by taking away the “rough and ready” of it. However, the simple fact is that a lot of the continuity issues with Enterprise arise from the simple fact that the earlier shows had never been written with the intention of shoe-horning in a prequel, just like the first season of Star Trek was not built to support a franchise.

Enterprise is perhaps the most obvious example, but it is far from the only inconsistency in the Star Trek canon. Deep Space Nine initially suggested that Sisko’s father had passed away, in episodes like The Alternate . However, Homefront revealed that Joseph Sisko was alive and (reasonably) well. Similarly, revelations about Bashir in Doctor Bashir, I Presume are difficult to fit with elements of his back story presented in episodes like Melora or Distant Voices . These issues can all be reconciled, but they do require some contorting and lateral thinking.

Cutting their losses…

As the Star Trek franchise entered its thirtieth anniversary season, it had built up no shortage of continuity. It was easy to see how the demands of thirty years of history across four (or five) television shows and a string of movies might serve to hem in a franchise. Michael Piller talked about that freedom when pitching Voyager , as quoted in Steven Edward Poe’s A Vision of the Future :

Because Roddenberry, in his original concept, was faced with the very same challenge that we’re faced with: We don’t know what we’re going to face there… the true unknown. He didn’t know who the aliens were. He didn’t know anything about Klingons. He didn’t know anything about Romulans. He didn’t know anything Ferengi. He didn’t know anything about any of these things when he started. All he knew about was a bunch of guys on a spaceship. When he turned these guys loose in space he had no idea what he was going to find. That in a sense is what a writer does every time he sits down at the typewriter. Face the blank page. You don’t know what you’re going to find there.

It is a romantic idea, the sense that Voyager is fundamentally about exploring a universe that is exotic and unknown in a way that the Star Trek universe hasn’t been in quite a while. In theory, it is a great premise. However, Voyager undercut that premise in a number of key ways. Most obviously, Kirk and his crew adventured outward in pursuit of the unknown. Janeway and her crew treat the unknown as an obstacle blocking their return to the familiar.

Not a patch on the original.

In more literal and practical terms, the first two seasons of Voyager were saturated with the very elements that the production team had sought to avoid; the show was trapped by the continuity that it sought to escape. A Romulan appeared in Eye of the Needle . A Cardassian weapon haunted Torres in Dreadnought . Janeway came face-to-face with Q in Death Wish . Harry Kim even got to return home in Non Sequitor while Reginald Barclay made a guest appearance in Projections . For a show about braving the unknown, Voyager passed through a lot of familiars.

Although held back until the start of the third season, False Profits was produced as part of the second season production block. In a way, it is the culmination of that continuity build-up across the second season. It is an episode that exists purely because of a haphazard plotting decision made long before anybody had even conceived of the show that would become Voyager . It is an episode that would not exist if the Barzan wormhole had opened in extremes of the Alpha or Beta Quadrant, let alone the Gamma Quadrant.

Sage advice…

However, because The Price happened to inadvertently specify the Delta Quadrant and because Voyager flung its ensemble into the deepest reaches of the Delta Quadrant, False Profits became an inevitability. It does not matter that the idea is fundamentally terrible. It does not matter that the Ferengi have been a troubled species that have never really worked outside Deep Space Nine ; even then, the Ferengi certainly don’t work anywhere near all the time. There was no reason that this story should have been told.

More than that, there was no reason why this story had to be told. The Milky Way Galaxy is approximately one hundred thousand light years in diameter; more than that, it is a three-dimensional construct that is tens of thousands of light year thick . Even treating the galaxy as a two-dimensional disc, the Milky Way has an area of 7,850,000,000. That means that Voyager’s journey takes it through less than 0.000009% of the Milky Way. Even allowing for the Ferengi’s arrival in the same quadrant, the odds of finding them is quite literally astronomical.

“Wow. Space IS big.”

The writing staff on Voyager could simply have opted not to tell this story. However, there is a sense that they had to. There had been talk on the fan boards since early 1995 , shortly after the broadcast of Caretaker . Ever since it was revealed that Voyager would be set primarily in the Delta Quadrant, the ending to The Price had come an elaborate Chekov’s Gun hanging about the mantle piece to threaten the viewers; a brick joke waiting to be played on the audience.

This is the boomerang effect of continuity, the ultimate expression of the so-called “small universe syndrome” , where nearly eight billion light years of Milky Way is not enough to displace two lost Ferengi. The best thing that can be said for False Profits is that it means that the gun has been discharged. The threat of a Ferengi episode no longer hangs over the rest of Voyager … well, Inside Man notwithstanding. It is terrible, but at least it is an exorcism of sorts. In a way, False Profits brings closure to the Piller era by wrapping up a run of “familiar alien” stories.

Kol under pressure.

Ira Steven Behr is probably the only writer in the history of the Star Trek franchise to really “get” the Ferengi. Even then, he was prone to strike out as often as to hit a homerun. False Profits arrives from a production team with minimal experience writing for the franchise’s failed-villains-turned-comic-relief. More than that, continuity would demand that Dan Shor return in the role of Doctor Arridor, even if the previously mute Kol was recast as Leslie Jordan for this second appearance.

Dan Shor is not one of the strongest performers to play a Ferengi, having initially been cast in the at a point where it seemed like The Next Generation was struggling to cast actors who could articulate through the prosthetics. Shor can make himself heard, but he lacks the sort of theatricality and presence that defines the franchise’s strongest “make-up” performers. Shor is no Armin Shimerman or Jeffrey Combs. Ethan Phillips is more convincing as Neelix playing a Ferengi than Shor or Jordan are as actual Ferengi.

The man has a point.

The most fundamental issue with False Profits is that it is a comedy episode that is not particularly funny. The Star Trek franchise has a spotty record when it comes to comedy, classics like The Trouble with Tribbles and A Piece of the Action notwithstanding. However, False Profits induces groans rather than laughter, the script going for easy punchlines that still fail to land. If the gags worked with any frequency, it would be easy to forgive the myriad of other issues with the episode.

Unfortunately, the vacuum created by the lack of solid jokes leaves the audience with room to ponder the script. As with a lot of episodes around this stretch of the run, there is a sense that Voyager is settling, both in terms of galvanising into its final form and in terms of accepting mediocrity instead of striving for exceptionalism. Much like The Swarm and Basics, Part II , the status quo exerts no small amount of gravity on False Profits . Even the characters seem resigned to the inevitability of the reset at the end of the episode.

Poxy proxy.

While the primary plot of False Profits follows Arridor and Kol on the surface of the planet, the secondary plot finds Voyager investigating the Barzan wormhole that also appeared in The Price . In theory, the Barzan wormhole would allow Voyager and its crew to return home, arriving safely in the Alpha Quadrant to be reunited with their relatives and loved ones. This is a big deal; this is a shortcut that shaves approximately sixty-eight years off their journey home and ensures that most of the crew will live to see Earth again.

This should be a big deal, but it isn’t. The Voyager crew don’t seem too excited about the prospect of getting home. There are no quiet scenes of characters wondering what will happen next, no conversations between Neelix and Kes about their future, no meditation on the EMH about what happens once the ship returns. There is barely any excitement or enthusiasm. In fact, when the plan ultimately (and inevitably) fails, there is not even a sense of crushing disappointment. It is all business as usual.

Oh, your gods.

There are lots of reasons for this. The most obvious is that Voyager simply does not feel stranded. The show does not feel removed from the Alpha Quadrant. The show has never really created a sense of homesick isolation, and so the desire to return to home is never really palpable. The journey has never seemed particularly tough, with the holodecks and replicators still running, so Voyager’s journey feels less like an odyssey and more like an extended pleasure cruise through exotic new surroundings. (Two years into the show, Voyager still looks new and shiny.)

More than that, the first two seasons of Voyager were stuffed with references and cameos from familiar Alpha Quadrant characters. Even if Deep Space Nine were not running in parallel, audiences would never have had the chance to miss the trappings of classic Star Trek . In fact, the production team dangled convenient shortcuts home (and recognisable Star Trek aliens) in front of the crew as early as Eye of the Needle , to say nothing of guest appearances from Star Trek veterans like Jonathan Frakes, Dwight Schultz and John deLancie.

A lobe off his mind…

Even allowing for all this, there is a simple reason that the whole wormhole plot thread feels so cynical. As Voyager settled into a familiar shape at the end of its second season and the start of the show, it was becoming increasingly clear that the show was governed by the status quo . There was a strong pull towards the familiar and the routine on Voyager , to the point that Janeway’s decision to split Tuvix back into Neelix and Tuvok in Tuvix reads almost as a philosophical statement about the show’s anxieties concerning change.

By this point in the run, the show’s formula was set in stone. In fact, the end of the second season seems to draw attention to the indestructible formula. The writers could kill off Harry Kim and blow up Voyager itself in Deadlock , but the show would return to business as usual next week. The Kazon could strand the cast in Basics, Part I , but the resolution to that particular cliffhanger was so inevitable that the production team could film three episodes with the crew back on Voyager to broadcast the following season before they’d even mapped out the second part of that two-parter.

What the Zek are you up to?

As such, it is obvious to any television (and Voyager ) literate viewer that the Barzan wormhole would never take the crew home. In fact, it even seems obvious to the crew themselves. The show’s lack of enthusiasm about the wormhole seems like weariness, like Charlie Brown knowing deep down that Lucy will never let him kick that football. Even Janeway and her staff have acknowledged that there is no way that the ship is getting home in less than seven seasons, and that any hope will quickly be snatched away.

There is more to it than that. False Profits barely bothers to conceal its plot contrivances. The Barzan wormhole is not a threat to the status quo , it is ultimately an agent of Voyager ‘s over-active reset button. It exists to provide an easy and convenient wrap-up to the loose ends that might be left dangling at the end of the episode. After all, what is Janeway supposed to do with the Ferengi? Phage had made it clear that Janeway was not a “long-term solution” kind of commanding officer when it came to alien criminals.

Roll up, roll up!

So the Barzan wormhole becomes something of a vacuum, hoovering up the left-over plot threads that might otherwise prevent False Profits from serving as a purely episodic adventure. The wormhole provides an easy way to get rid of the Ferengi, allowing those comedic villains to survive while also avoiding any long-term consequences for the show. Remember can pick up as though nothing has happened, because the Barzan wormhole ensures that Janeway does not have to trouble herself with two Ferengi prisoners.

(Although it is quite clear that the episode is leaning in this direction from the opening scene, owing to both the law of conservation of narrative detail and the fact that Voyager is not getting home in a late second season episode that was held back to the start of the third season, the final act still feels terribly contrived. Chakotay explains that Voayegr has confiscated Arridor’s shuttle, and then leaves the two Ferengi unattended. The two are able to overpower a security guard (off-screen) and escape the ship, which would be absurd if the episode’s ending did not demand it.)

Does it profit a man if he gains a whole alien world…?

The scripting and plotting for False Profits is lazy and awkward, following the path of least resistance to ensure that nothing unexpected happens. It is hackneyed and tired, which means that the show’s jokes aren’t even built around a functional plot. Perhaps the most interesting aspect of the narrative of False Profits is the sense that Voyager is truly committing to its mediocrity and its generic elements. The return to the status quo at the end of False Profits is so heavily contrived that it has a bizarre inevitability to it. This is the way Voyager is to be, it suggests.

It does not help matters that False Profits feels a little tone-deaf in its portrayal of the Takarians, the culture exploited by Arridor and Kol. As much as False Profits ties back to an episode of The Next Generation , the whole “crew encounter a bunch of aliens masquerading as gods before a primitive culture” plot feels like it was lifted from a classic Star Trek episode. False Profits fits rather comfortably alongside classic Star Trek episodes like Return of the Archons , Who Mourns for Adonais? or The Apple .

But wait! There’s more!

In way, this cements False Profits as a late second season episode. The tail end of the show’s second season witnessed a very strong engagement with the tone and aesthetic of classic Star Trek . The production design of The Thaw might have been lifted directly from an early episode. The plot of Tuvix was essentially an inversion of The Enemy Within . Even the strange metaphorical allegory of Innocence felt like a weird piece of speculative fiction that would have felt more at home in the context of the sixties. False Profits is part of that tradition.

However, there is something just a little bit distasteful about how False Profits treats the Takarians as dupes taken in by the advanced technology of the Ferengi. The episode seems to suggest that the Delta Quadrant is inherently primitive and backwards, with the teaser closing on the revelation that the Takarians must have had contact with the Alpha Quadrant because they have access to advanced technology. “I’m detecting evidence that these people have had contact with the Alpha Quadrant,” Tuvok states, citing “the recent use of a replicator” as evidence.

The gold standard…

In a way, False Profits is just a very explicit example of a theme that has been bubbling through the first two seasons of the show. Voyager tends to treat the Delta Quadrant as the equivalent of the third world; it is a region with very few major powers and lots of factional (and unstable) minor powers. As George A. Gonzalez contends in The Politics of Star Trek :

As an iteration of the Star Trek franchise set almost entirely outside of the Federation – read the advanced parts of the world (Western Europe, the United States, etc.) – Star Trek: Voyager can be interpreted as a commentary on the societies and politics of the underdeveloped world. Voyager portrays the violence, religiosity, and authoritarianism that putatively characterises the underdeveloped world. Consistent with neoconservative reasoning – that is, developing world politics as violent and unstable – the Kazon (a species of the Delta Quadrant) are cast as indefatigably and implacably hostile, relentlessly pursuing Voyager over the course of the first two seasons of the series.

After all, the only major powers that Voyager has encountered in the Delta Quadrant by this point in the series are the Kazon and Vidiians, both cultures trapped in a chaotic and violent spiral. The Kazon live on desert worlds and fight for water, without access to basic technology like replicators or transporters. The Vidiians are a once-great culture that have collapsed into themselves.

Beggars belief.

(It goes without saying that there are certain problematic elements to these characterisations. The Kazon are an awkward racially-charged metaphor for gang violence, a race of former slaves who have resorted to factional infighting and become a violent menace to entire sectors of space. The Vidiians are decidedly less troublesome, perhaps owing to the fact that they have been used sparingly. Nevertheless, there is something uncomfortable about using a AIDS metaphor as a major galactic power in a region of space evoking the Third World.)

These metaphors become less pronounced in the later seasons of Voyager . While the series continues to present the Delta Quadrant as underdeveloped, the later seasons of the show shift their anxieties and criticisms away from indigenous populations towards exploitative powers. The Borg are perhaps best read as globalisation incarnate. The Malon serve as a critique of capitalist exploitation of indigenous resources. Even the Hirogen could be interpreted as take on the colonial archetype of the “big game hunter.”

Cut throat business…

In a way, this shift away from the vast interstellar empires of The Next Generation and Deep Space Nine reflected changes in the outside world. The end of the Cold War had a dramatic impact on global politics, particularly the realities of the developing world. The phrase the “Third World” was originally developed to refer to states that existed outside the dichotomy of “East” and “West” , caught between the two global powers locked in an ideological conflict in the wake of the Second World War.

The term was originally defined by Alfred Sauvy in his 1952 article One Planet, Three Worlds . According to Sauvy’s model, the United States and its allies represented the “First World” while the Soviet Union and its satellites were the “Second World.” Those nonaligned nations sandwiched between the two power blocs were classified as the Third World. With the collapse of the Berlin Wall, the Second World crumbled to ashes. It made sense that the gulf between the First and Third World would only broaden.

He’s all ears…

While the end of the Cold War brought peace and prosperity to the United States and its developed allies, it removed vital support from developing countries. Many of those countries were relatively young, having only emerged after the Second World War. Many were also poor, their legacies often tied to colonial exploitation and abuse. The end of the Cold War removed supporting structures, as Fred Halliday argues in The Third World and the End of the Cold War :

In the economic sphere the end of the Cold War initially raised the prospect of a significant redirection of financial and trade flows away from the Third World towards the newly emerging post-communist world, both because of the strategic threat which crisis in these countries may pose to the ‘West’, ie the developed, OECD countries and because, stripped of their communist carapace, these states re-emerge as what they were prior to the establishment of communism, namely semi-peripheral states, in competition with others, such as in Latin America, for trade and investment; the ‘second’, communist, world is disappearing, with the result that the countries formerly in it are being transferred to the ‘semi-peripheral’ branch of the Third Worlds. As was graphically put by an international banker at a debt rescheduling discussion in Paris in 1991, addressing his Soviet counterpart: ‘I cannot understand it. A few months ago you were putting men into space. Now you are talking like the Sudan.’

Without the justification of an “evil empire” standing in opposition and with the passing of a deficit reduction law , political expedience demanded that the United States dramatically cut its aid to these developing nations during the nineties . By 1996 and into 1997, USAID was dramatically scaled down; twenty-four missions were closed and staff numbers were cut .

A Kol day in hell…

At the same time, it seemed like the bulk of the United States’ foreign policy involved controlled intervention in smaller countries; Iraq, Haiti, Somalia, Serbia. Without government support, Third World debt became a major issue. Jubilee 2000 campaigned for over a hundred billion dollars in debt relief for thirty-five developing nations . The spread of democracy to these developing and former communist nations was a priority for the United States administration. “The world’s greatest democracy will lead a whole world of democracies,” promised President Bill Clinton.

This change in the geopolitical landscape had been occurring since the end of the Second World War, but the collapse of the Union of Soviet Socialist Republics helped to draw attention to the new global reality. Voyager arrived during what might be described as the “unipolar moment” , the point at which the United States was the sole superpower. Russia had collapsed into itself, and there was no sense of another superpower that might challenge the United States. Rival empires were so passé.

You ned your purse to pay for the verse.

There is a very conservative and reactionary streak running through Voyager when it comes to this recurring metaphor of a crew of explorers lost in the deep space equivalent of the developing world. While Deep Space Nine suggests that our heroes have a moral obligation to help those less fortunate than themselves, with Sisko and his crew helping to rebuild Bajor following its horrific colonial exploitation at the hands of the Cardassians, Voyager is a lot more dogmatic in its refusal to use its advanced technology to help desperate and impoverished societies.

Initially, this is framed as a debate around the Prime Directive, the guiding principle that Starfleet should not share its technology with “less advanced” civilisations. However, it quickly becomes clear that this is not the case. Janeway is ready and willing to compromise in other situations. In The Swarm , Janeway casually shoots down Tuvok’s observation that “encroaching on the territory of an alien species is prohibited by Starfleet regulations.” In The Omega Directive , Janeway casts aside that non-interference directive to forcibly disarm an alien species.

The (worm)hole in things…

Even within the context of False Profits , Janeway is ready to violate (or at least bend) the Prime Directive to suit her own moral compass. When Tuvok points out that the Prime Directive would not “allow [Voyager] to interfere with the internal affairs of this society, as much as [they] may disapprove of what the Ferengi are doing. ” Janeway justifies her intervention not by reference to the exploitation of the Takarian people, but by acknowledging that the Federation bears some direct responsibility for putting the Ferengi there.

Across the run of Voyager , it is repeatedly suggested that Voyager’s needs and internal morality are more important than any larger sense of social or moral justice. This leads to a number of tone-deaf creative decisions, suggesting that Janeway is perfectly willing to compromise on her core principles as long as that compromise suits her needs. In Alliances , for example, Janeway decides that she is perfectly willing to share her technology and amenities with aliens, provided they are (predominantly white) former slavers rather than (racially coded) former slaves.

The price is right…

Indeed, Voyager repeatedly justifies Janeway’s reluctance to intervene in Delta Quadrant crises by painting the indigenous populations as savage and barbaric. The Kazon are presented as a stock “primitive” race, violent and duplicitous. At the same time, the show seems to unintentionally render the Kazon sympathetic; they are so ineffective as antagonists that their plight is almost moving. (The horror of their attempts to cultivate transporter and replicator technology in State of Flux only makes them more pitiable.)

This suggests a reactionary and conservative subtext to Voyager , the show’s central philosophy rejecting a humanitarian obligation to help those less privileged and those in need. Ironically, for all the criticism that Deep Space Nine receives for abandoning Star Trek principles with the Dominion War, Sisko and his crew hold true to the humanist ideals of the franchise. Compare Sisko’s insistence on violating the Prime Directive to help the prisoners in Battle Lines to Janeway’s indifference to the suffering of anyone except her crew in The Chute .

It’ll be a chaise long time before we see them again.

(The inherent conservatism of Voyager bubbles through the show in a number of ways. Voyager is extremely fond of order and structure. While the crew integrate into a Starfleet command structure immediately, many of the show’s recurring antagonists are portrayed as chaotic and anarchistic. Even the Borg seem on the cusp of collapse throughout the show’s run. Arguably, the series’ rigid formula and adherrance to the status quo reflects this tendency on a meta-textual level.)

Although Janeway does intervene in False Profits , she does so in a way that emphasises the primitive nature of the Takarian people. If Janeway is willing to bend the Prime Directive to remove the Ferengi, why not bend it further to address the Takarians as equals? After all, Picard eventually decided that this was the best course of action in another deity-driven crisis during Who Watches the Watchers? Arridor argues that removing the Ferengi theocratic dictatorship would lead to untold horrors, a thought so troubling to Janeway that she folds immediately.

Good god…

Even in terms of basic plotting, this feels horribly contrived. Why would Janeway return Arridor immediately? Why not keep him for a few minutes or hours to formulate a plan? Why not just send Neelix down disguised as a Ferengi to tell the Takarian people directly that the sages have been returned home? Why run the risk of giving Arridor a choice in the matter? Indeed, even after returning Arridor and Kol, why not have Neelix drug them and disable the dampener and then make the announcement himself? It all feels forced.

Even allowing for Arridor’s argument, it seems like Janeway’s decision to play into the Takarian spiritual beliefs is ultimately more patronising and damaging in the long-term. Rather than treating the Takarians as mature adults who can distinguish the difference between “alien” and “god” , Janeway instead decides to stage-manage the abduction of the Ferengi so that it plays out beat-for-beat from the Takarian holy texts. It is a rather humiliating experience for the Takarians, with Janeway subjecting their religious beliefs to the same mockery the Ferengi did.

Starry, starry night…

To be fair, False Profits acknowledges as much. The episode’s closing scene suggests that Janeway has not so much deposed the Ferengi in the Takarian religious tradition as replaced them. As the crowd watches Voyager leave orbit, one excitable native declares, “Look. The Holy Ones are going home!” According to False Profits , Voyager is not just a hyper-advanced ship traveling through an underdeveloped part of the galaxy, they are literally gods. In the context of the show’s Third World metaphor, this is problematic.

That said, it does mark the beginning of a recurring trend that runs through the rest of the show’s run, in which Janeway and her crew are repeatedly and consistently mythologised as they journey through the Delta Quadrant. The remaining five seasons hit upon the idea repeatedly, suggesting that Voyager has become a story with a reach even beyond those directly encountered by the crew. This is most obvious in episodes that barely feature the crew, like Distant Origin or Living Witness , but it is also a theme of episodes like Muse and Live Fast and Prosper .

He’s kinda a big deal.

False Profits introduces this idea, with the Takarians elevating the Voyager crew to the status of gods. It makes sense that this theme should emerge in a script written by Joe Menosky, given the writer’s recurring interest in the themes of storytelling and mythmaking as demonstrated with scripts like Darmok , Dramatis Personae and Masks . It seems unlikely to be a coincidence that Voyager should invest so heavily in this theme at around the time that Menosky officially joined the staff as a producer.

Even allowing for the fact that this myth-making is one of Menosky’s favourite themes, it does not gel comfortably with the recurring motif as Voyager as a ship drifting through a more primitive (and occasionally even backwards) region of space. False Profits is a spectacular misfire, bringing together many of the show (and the franchise’s) worst tendencies to the fore.

You might be interested in our other reviews from the third season of Star Trek: Voyager :

Basics, Part II
False Profits
Sacred Ground
Future’s End, Part I
Future’s End, Part II
The Q and the Grey
Blood Fever
Favourite Son
Before and After
Distant Origin
Worst Case Scenario
Scorpion, Part I

20 Responses

Neat review. Somehow I think I’ve always managed to miss this episode.

I admit I hadn’t really considered the Delta Quadrant as a chaotic backwater to be that troublesome before, maybe because the Star Trek universe in the 1990s seemed much more strongly inspired by the earlier decades than the one it was created it – Deep Space Nine in particular seemed set in the 1930s and 40s with the steady build towards war with a seemingly unstoppable Fascist juggernaut, a situation not really recognisable in Clintonian American. I suppose it’s the relative weakness of the Federation in Deep Space Nine and some episodes of The Next Generation that makes it hard to see a hyperpower – they are surrounded by other powers that are nearly as powerful as they are (and in two cases – the Borg and the Dominion – are MORE powerful.)

Voyager is of course rather detatched from this but I suppose it weakens the Third Worldism for me.

Lucky you, missing this episode. It is… not a good one.

To be fair, the third worldism only really dawned on me while watching this episode, when Tuvok’s like “they have replicators! they must have contact with the Alpha Quadrant!” And I kinda worked backwards from there. The Kazon were a fairly obvious example, and then you have the Vidians and their AIDS metaphor. It was honestly the first time that I’d thought about Voyager in those terms, and it just seemed to fit. So I did some digging and found that I wasn’t alone in making the connection.

Which is, I suppose, the pleasure of an extended rewatch. You can still find new things.

I didn’t an interesting review could be written about this episode, but you managed to do so. Congratulations! I have a feeling that this episode was written for the sole purpose of getting Ethan Phillips back into Ferengi makeup. This is supported by the fact that he has the best moments in the episode. I do have to wonder how many fans were hoping for Neelix and the other Ferengis would actually be burned alive during the climax.

Ypu had to be the hardest of the hardcore to recognize him, at least before IMDb and wikia were invented.

TV guide used to be pretty good at pointing out trivia like that. I still have the trek anniversary issue they put out…with a sneak preview of enterprise and nemesis.

Even then, I knew they would be shite.

Darren asked elsewhere why the production team kept coming back to ferengis. Deep space nine had their own reasons, mostly stealth parody and political satire. Voyager and Enterprise are lazy. They see ferengis as broad cartoon characters and are afraid of what the audience might do if they inject a little levity in other, more portentous species.

Thanks William. Yeah, it’s… not a good episode.

Philips really is the episode’s best Ferengi. Which isn’t a surprise, given how well he wears the make-up.

Ferengi episodes are always something to be wary of, and it doesn’t matter what Star Trek show they are. But I’ve read that Ethan Philips makes a better Ferengi than a Talaxian. Here’s an idea – what if Philips played a Ferengi hitching a ride or stowing away aboard Voyager when they got transported to the Delta Quadrant? He probably would have functioned as the show’s Dr Smith.

Yeah, Behr is the franchise’s best Ferengi writer, and his hit/miss ratio is still somewhere in the range of 50/50. I’m not sure what the Voyager writing staff would have done with a Ferengi regular.

Perhaps he would have run an establishment similar to Quark’s bar but I doubt Janeway would have made him an unofficial ambassador like she did with Neelix.

That’s a fair point. But still, it seems like Neelix always needed more “edge” than the show was willing to give him.

I really enjoyed “Where No Man Has Gone Before”. The effect used in the uncharted region of space really make it seem exciting and alien. Which is key because Picard and Data are salivating over the prospect of exploring the area but are hamstrung by their responsibilities to the ship and crew.

To think the episode in all likelihood takes place in the Delta Quadrant is… depressing.

“This suggests a reactionary and conservative subtext to Voyager, the show’s central philosophy rejecting a humanitarian obligation to help those less privileged and those in need.”

And so on to Yugoslavia and Serbia and Iraq and Afghanistan and Libya and Syria. (And Iran pretty soon.)

I actually got a much different vibe from older episodes, particularly the Prime Directive discussion in “Caretaker”. When Janeway insists that “we are involved, we are”, I still get a chill down my spine. It’s terrifying to think we have a moral imperative to liberate every corner of the world.

It’s a very delicate balance to strike. On one extreme, you have Voyager’s “let’s not get involved and mind our own business”, and on the other you have Civil War’s “we’ll do whatever we damn well please without any accountability.” It’s a tough line to walk in real life, let alone in trying to build cohesive fictional universes.

Where No One Has Gone Before provided the nucleus for Voyager. But unlike the Delta Quadrant, Galaxy M33 really seemed like somewhere truly alien. It felt like territory we had never even imagined, much less visited, akin to 2001: A Space Odyssey.

It really should have.

There’s never any doubt in our minds that Voyager will miss it’s shot to use the Barzan wormhole because if it got them home, it would mean the end of the series. But I’m afraid that comes with the territory with these sorts of TV shows where a character or characters are lost somewhere unknown and are trying to get back home. Other examples are Sliders, Quantum Leap, Lost in Space, The Time Tunnel, Red Dwarf, even the cartoon Dungeons & Dragons, etc. All of these shows dangle the possibility of a way home for our heroes only to snatch it away at the last possible second. And the worst thing that can happen is the cancellation of the series before they can even cross that finish line. At least Voyager managed to avoid that.

I liked what you said Darren about how the characters could have discussed the implications of returning to Earth. Like how the Maquis members would be treated, or what would become of Tom Paris? Wasn’t there a Star Trek novel that told that sort of story after the series had ended? They did broach that sort of thing in Hunters when Tom reflected that his life on Voyager was so much better than the life he left behind back in the Alpha Quadrant. This is an idea for an episode that never got made.

I would say that False Profits puts a comedic spin on the TNG episode Who Watches the Watchers. Remember when it was suggested that Picard goes down to Mintaka III masquerading as the god they’ve built him into and Picard just shoots that idea down? Arridor and Kol didn’t have a problem at all with that scenario. The whole idea for False Profits no doubt originated from that TNG scene.

I wanted to call this episode Sage Advice but it occurred to you first Darren. And watching False Profits made me think of that line from Caretaker, “Didn’t they warn you about the Ferengi at the Academy?”

Yeah, there’s something to be said for the relative security of Voyager, that the production team could be assured seven seasons. (Of course, the production team starting on Enterprise also thought they had seven seasons, so security is a transient thing.) It is a shame that the writers never took advantage of that opportunity. Bring Voyager home two-thirds of the way through the seventh season, and then do a few wrap-up stories on Earth, maybe with a looming Borg threat to anchor these smaller stories and provide a high-stakes finale. Hell, getting the crew home half-way through the final episode would still have been an improvement.

Thanks for a very good review of an absolutely terrible hour of television. I especially enjoyed your astute observation that “Most obviously, Kirk and his crew adventured outward in pursuit of the unknown. Janeway and her crew treat the unknown as an obstacle blocking their return to the familiar.”

Thanks Doug. That kinda becomes a recurring theme in the reviews from here on out. I probably hammer it a little bit too much. But I think it’s the key to understanding why Voyager simply doesn’t work.

Very good points all along, Darren. One thing I appreciate about these reviews is how the less impressive episodes of the show prove as useful as the better ones for your writing. This article touches on something that’s been irking me lately, so my apologies in advance for the length of the comment.

In recent years, it seems a great deal of discussion of similar series and franchises, as well as discussion of Star Trek itself, has fallen prey to what you describe here as “a model of storytelling where the narrative is constrained by continuity”, in the form of disproportionate fan obsession with “canon” and “lore”.

I know “canon” and “lore” are far from new as terms, but among today’s fans, they seem to reflect dimmed and constraining counterparts to (respectively) “continuity” and “story”, and all too effective ways to deflect discussion into dead ends. “Continuity” provides opportunities for a story within a larger work; “canon” seems to demand each story be chained down within an area fans know all too well, to keep it from escaping to somewhere uncomfortably novel or deep. “Stories” can be discussed in terms of a fictional world or the context of our own, in terms of their history as creations and real-world continuity; “lore” serves as a taxonomic catalog of “in-universe” pseudo-facts, itself dead and hollow, because it’s disallowed contact with its source in the real world.

Again, I don’t think either “canon” or “lore”absolutely have to translate into such dire definitions (and for most of their lives they haven’t, as demonstrated by how often they’ve been used by people perfectly capable of thinking outside of them.) But I feel like more and more fan discussion of these series, guided by podcasts, social media arguments and million-view YouTube channels, has deemed the quixotic pursuit of placing stories perfectly within “canon” or “lore” as a prerequisite for the discussion’s validity, as necessary for discussing them at all. It’s tiresome and… muzzling…? when I don’t really care to digress into nitpicking over the “canon” pseudoscience of ship measurements or semi-magical technologies in Star Trek during a discussion of its wider themes. Or into Just-So, “in-universe”, “lore” stories about how the Klingons changed their culture from the ‘60s to the ‘80s, when we’d otherwise be discussing, say, the influence of Ron Moore’s writers’ memo, or Kruge as a character and performance in the real-world project of Star Trek III. The overgrowth of these terms, “canon” and “lore”, perfectly reasonable in their proper place, seems mold-like to me, not completely ruinous but more than a little stomach-turning.

I wonder how much this has to do with the commercial, marketing-department-guided embrace of the fan idea of the “universe” of a series or franchise. It seems in the best interest of a company, always willing to revise and expand “canon” or “lore” to vacuum up every potential customer, to replace the idea of a fictional “world” (honest in its incompleteness; only exists where and when it serves its stories) with that of a “universe”: in this sense, the notion that every story happens in a cosmos that will eventually ‘reveal’ itself as being as complete and reliable as the physics of our own, if we all just keep “supporting” the product line, allowing the owners to address any problems with “canon” or gaps in “lore”. And again, that’s not what “universe” used to mean to fans, but it almost seems taken for granted nowadays, to the point where I feel leery about fans even using the term at all anymore, lest we end up with even more “False Profits” in a pop culture already overflowing with them.

Yep, it’s also the elevation of these pop cultural objects to religious texts, and that leads to a weird zealotry among fandoms where it’s almost religious. People aren’t “new to the show” and finding their own way, they are “new to the fandom” and eager to be told the right opinions to have – which episodes do we like, which to we hate, which characters do we ship, which to we loathe. It’s really weird, because a lot of this stuff is demonstrably wrong. For example, Kirk was a bookish nerd in the early seasons of Star Trek , but that doesn’t fit the cultural memory of him as a derring-do action hero.

I’m curious whether any of the writers on this episode considered Rudyard Kipling’s ‘The Man Who Would Be King’ as an inspiration, or its film adaptation by John Huston. The story shares more than a few noticeable beats – notably the outsiders with advanced technology claiming to be gods to an ostensibly primitive society, only to eventually be overthrown by their erstwhile subjects, who after all understand their own religion better than the interlopers do. The Ferengi dispensing justice seem to have a certain congruity with Sean Connery’s Dravot arbitrating disputes in the film adaptation as well.

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False Profits

Voyager discovers a pair of Ferengi who control the economy of a primitive world; nearby is an unstable wormhole that leads back home.

In this episode of the podcast, Wes and Clay discuss “False Profits”. Plus! The guys chat about gravity-defying anatomy, learning how to be a Ferengi, and embarrassing decisions.

Post author By Wes
Post date 02/07/2023

Subscribe: Apple Podcasts | Spotify | RSS | More

Memory Alpha tells us that everyone loves the Ferengi. And while you should definitely believe everything you read on the internet, this has us slightly suspicious. Star Trek’s resident goblins make their first appearance in Voyager as a couple of “False Profits” who tie into a previous TNG episode . What could go wrong?

The Wikipedia plot summary for “False Profits”:

USS Voyager detects an unstable wormhole whose exit point is traced to the Alpha Quadrant . This would be a shortcut home for Voyager ; the only problem is that the Delta Quadrant side moves around erratically. While Harry Kim and B’Elanna Torres work on a way to stabilize the wormhole, Tuvok investigates a nearby planet called Takar with a Bronze Age civilization. He is surprised to discover evidence of replicator technology there.

Chakotay and Paris beam down to investigate. They discover two Ferengi posing as demigods who were foretold in the planet’s mythology. Years ago, as told in the Star Trek: The Next Generation episode “ The Price “, they had come through the wormhole, and since it was unstable, had been unable to go back. Instead they had decided to exploit the replicator technology to make themselves rich. [2] When the Ferengi are beamed aboard Voyager, they refuse to go back through the wormhole and point out the harm to the natives’ religion if they simply disappeared. Janeway is forced to return them to the planet.

Neelix, disguised as a Ferengi, travels back to the planet. He pretends to be a representative (the “Grand Proxy”) of the Ferengi ruler, the Grand Nagus, and demands the two return to the Alpha Quadrant so he may confiscate their riches. His ruse is uncovered and the Ferengi attempt to kill him. Neelix barely survives the assault and is left among the natives. However, the Voyager crew has learned the end of the native mythology – Neelix announces himself as the “Holy Pilgrim”, a character prophesied to return the sages to their home. He coordinates with Voyager to create signs of his authenticity, which incites the natives to attempt to burn him and the Ferengi at the stake, citing a passage prophesying that they will return home on “wings of fire”. Neelix and the Ferengi are beamed away at the last moment and the natives are convinced their prophecy has come true.

The Voyager crew succeed in stabilizing the wormhole, but the Ferengi manage to steal back their shuttlecraft, which Voyager had confiscated. Their attempts to escape back to Takar end with them being sucked into the wormhole and destabilizing it after being sent to the Alpha Quadrant. Voyager is left behind and they resume course to the Alpha Quadrant at warp 6.

8 Alpha Quadrant Things Star Trek: Voyager Found In Delta Quadrant

Star Trek: Voyager finds familiar things from the Alpha Quadrant in the Delta Quadrant, sparking important questions and connections.
Encounter with Ferengi negotiators leads Voyager crew to stop their interference in a pre-warp civilization for profits.
Janeway and crew discover humans abducted by aliens in the 1930s living in the Delta Quadrant, including Amelia Earhart.

For a show with the conceit of being so far from home, Star Trek: Voyager found a surprising number of things in the Delta Quadrant that originated in the Alpha Quadrant, including several from Earth itself. The USS Voyager, commanded by Captain Kathryn Janeway (Kate Mulgrew), and Commander Chakotay's (Robert Beltran) Maquis raider Val Jean were both brought to the Delta Quadrant in 2371 by the Caretaker (Basil Langton). After Janeway destroyed the Caretaker's array to save the Ocampa , Voyager and the Val Jean were left without a ticket back to the Alpha Quadrant, and banded together to make the long journey.

Finding something familiar in an otherwise totally alien corner of the galaxy brought a sense of familiarity to the USS Voyager crew and viewers at home alike, but the presence of something from the Alpha Quadrant in the Delta Quadrant inevitably raised important questions , like how familiar people and objects traveled 70,000 light years from home in the first place, and whether the find could lead Captain Kathryn Janeway towards a quicker path home to Earth.

Star Trek: Voyagers 20 Best Episodes Ranked

A pair of ferengi negotiators, arridor and kol, star trek: voyager season 3, episode 5 "false profits".

The USS Voyager encounters a pair of Ferengi negotiators, Arridor (Dan Shor) and Kol (Leslie Jordan), who claim to be the prophesied Great Sages of the Takarians, a society with Bronze Age level technology. The Ferengi have no Prime Directive to deter them from interfering with the Takarians' development , so they're performing "miracles" with a standard replicator to reap the monetary benefits of the Takarians' worship. Voyager's crew know the Ferengi reputation well enough to know they're no Sages, so they must figure out how to put a stop to Arridor and Kol's grift.

"False Profits" serves as a Star Trek sequel episode to Star Trek: The Next Generation season 3, episode 8 "The Price", as Voyager catches up with Arridor and Kol (formerly played by J. R. Quinonez) seven years after their Delta Quadrant arrival. The Ferengi took a test flight through the supposedly stable wormhole near Barzan II, which was supposed to emerge in the Gamma Quadrant, but instead stranded the Ferengi in the Delta Quadrant, where they made the best of their situation as only Ferengi can.

Star Trek: Voyager Season 3, Episode 23 "Distant Origin"

"Distant Origin" opens on Forra Gegen (Henry Woronicz), a scientist who discovers that his people, the Voth, share certain genetic similarities with the humans aboard the USS Voyager. While this confirms Gegen's theory that the Voth are the descendants of a species brought to their homeworld millions of years ago , religious leader Minister Odala (Concetta Tomei) refuses to accept the truth. Even with Commander Chakotay present as a living specimen of humanity, Odala pushes Gegen to recant, because Gegen's theory goes against the Voth Doctrine that keeps Odala in power.

After meeting Gegen's assistant, Tova Veer (Christopher Liam Moore), Janeway and the Doctor use the holodeck as a research guide to extrapolate how hadrosaurs might look in the 24th century if they'd been able to evolve into a humanoid form with comparable intelligence. The result resembles Veer, so Janeway and the Doctor conclude, like Gegen, that the Voth evolved from hadrosaurs into a highly advanced species on Earth , then fled to the Delta Quadrant in spacefaring vessels instead of being wiped out with the other dinosaurs.

The Friendship One Probe

Star trek: voyager season 7, episode 21 "friendship one".

By Star Trek: Voyager season 7 , the USS Voyager is in regular contact with Starfleet Command, and Starfleet gives Voyager a mission to retrieve a 21st-century Earth probe, Friendship One . The probe proves difficult to find, but once discovered on an alien planet suffering devastating climate collapse, the implications of Friendship One's launch become clear. Besides the irreversible damage to the planet's climate, the inhabitants are all suffering from radiation sickness, and bear understandable hostility towards Earth, because the aliens believe humans orchestrated their destruction with the Friendship One probe.

The United Earth Space Probe Agency was one of the early names for the organization the USS Enterprise belongs to in the Star Trek: The Original Series episode, "Charlie X".

Friendship One was launched in 2067 by the United Earth Space Probe Agency with the intention of making friends with whomever found it, as the name implies. Although Friendship One, the 400-year-old Earth probe, traveled for centuries carrying messages of peace, musical recordings, and ways to translate languages, the people who discovered Friendship One in the Delta Quadrant took a greater interest in the antimatter it used to travel across space. Without the proper knowledge of its use, antimatter proved devastating to the planet and its people, resulting in death and disease for generations.

Dreadnought, a Cardassian Missile

Star trek: voyager season 2, episode 17 "dreadnought".

The USS Voyager discovers a dangerously powerful, self-guided Cardassian missile in the Delta Quadrant, which Lt. B'Elanna Torres (Roxann Dawson) recognizes as one nicknamed "Dreadnought" . When B'Elanna was with the Maquis, Torres had actually reprogrammed the missile herself, with the intention of turning the Cardassians' own weapon against them. Without a Cardassian target in sight, the artificially intelligent Cardassian Dreadnought targets a heavily-populated Class-M planet , Rakosa V. B'Elanna determines she must be the one to keep Dreadnought from hurting anyone else, and boards the missile to convince it to stand down.

While no concrete reason is given for exactly how the Dreadnought wound up in the Delta Quadrant, its last known location in the Alpha Quadrant was the Badlands, the same rough patch of space where Voyager and the Val Jean, Chakotay's Maquis raider, fatefully met. Because of this, Torres theorizes that Dreadnought arrived in the Delta Quadrant the same way that Voyager and the Val Jean did , courtesy of the Caretaker.

Star Trek: Voyagers BElanna Is More Klingon Than TNGs Worf Ever Was

A klingon d-7 class cruiser, complete with klingons, star trek: voyager, season 7, episode 14 "prophecy".

The USS Voyager certainly never expected to find a Klingon ship in the Delta Quadrant, but more surprising is the fact that the crew of the Klingon D-7 Class Cruiser believes their savior, the prophesied kuvah'magh, is aboard Voyager . Janeway assures the Klingon captain, Kohlar (Wren T. Brown), that the Federation and Klingon Empire have been allies for the past 80 years, and offers Voyager's own half-Klingon, Lt. B'Elanna Torres, as proof their societies are working together now. The kuvah'magh is Torres' unborn daughter, who does save the Klingons, but not the way they expected.

Centuries ago, Kohlar's great-grandfather set off on a quest to find the kuvah'magh, and the Klingon D-7 Cruiser became a generation ship that is now crewed by the descendants of its original crew . The quest begun by Kohlar's great-grandfather brought Kohlar and his crew to the Delta Quadrant after four generations of searching. Whether B'Elanna's child is actually the kuvah'magh or not, Kohlar desperately wants the baby to be their savior, so that his people may finally rest.

Amelia Earhart

Star trek: voyager season 2, episode 1 "the 37s".

The discovery of a 1936 Ford truck, seemingly disconnected from any parent vehicle, leads the USS Voyager to a nearby Class-L planet, where they find eight humans who have been in cryo-stasis since they were abducted by aliens in the 1930s. Among them are one of Janeway's personal heroes, legendary American aviator Amelia Earhart (Sharon Lawrence) , who disappeared without a trace while attempting to fly around the world, and Earhart's navigator, Fred Noonan (David Graf). Earhart and the other preserved humans are known by the planet's inhabitants as "The 37s", and revered as sacred.

Originally thought to be aliens, the natives of the unnamed planet are the descendants of humans. A species called the Briori abducted the natives' ancestors, along with Earhart and the other 37s, from Earth centuries earlier , and took them to the Delta Quadrant. Once held as slaves, the humans who weren't in stasis revolted to free themselves from the Briori, and developed a thriving, Earth-like civilization in the Delta Quadrant. Voyager's crew consider staying with the humans in their little slice of home, while Janeway also offers a ride back to Earth to anyone who wants it, including Amelia Earhart.

The USS Equinox

Star trek: voyager season 5, episode 26 & season 6, episode 1 "equinox".

The crew of the USS Voyager believe they're the only Starfleet vessel in the Delta Quadrant until they find the USS Equinox, five years into their journey home. Captain Rudolph Ransom (John Savage) and the Equinox crew have had a harder time in the Delta Quadrant than Voyager, with more damage, fewer starting resources, and fewer opportunities to make friends along the way. Ransom's survival tactics include sacrificing innocent nucleogenic life forms for a more efficient form of fuel, which Janeway finds hard to stomach, and decides that Ransom needs to be held accountable for defying Federation ideals, regardless of how badly the Equinox is damaged.

Although Seven of Nine (Jeri Ryan) suggests that the Equinox might be in the Delta Quadrant on a rescue mission to find Voyager, the USS Equinox's specs don't fit the profile of a starship that would be assigned to a long-range mission. The explanation of how the Equinox arrived in the Delta Quadrant in the first place seems fairly simple, because Captain Ransom tells Janeway that the Equinox was also abducted by the Caretaker , just like Voyager, but the Equinox has only been in the Delta Quadrant for 2 years, and Janeway destroyed the Caretaker's array 5 years earlier.

Seven of Nine

Debuts in star trek: voyager season 4, episode 1 "scorpion, part 2".

When Captain Kathryn Janeway allies with the Borg in order to secure safe passage across Borg space, Janeway refuses the cursory assimilation that the Borg want to use to communicate with Janeway and Voyager's crew, and instead requests a speaker for the Borg, citing the existence of Locutus (Patrick Stewart) as precedent. Seven of Nine , Tertiary Adjunct of Unimatrix 01, is selected as the Borg drone to act as liaison between the Collective and Voyager, likely because Seven of Nine had once been a member of Species 5168, like most of Voyager's crew -- in other words, human.

Voyager season 5, episodes 15 & 16, "Dark Frontier" provides even more detail of the Hansens' fateful journey.

After Seven's link with the Collective is severed, more information about Seven's human origin comes to light. In Voyager season 4, episode 6 "The Raven", when Voyager nears the Hansens' ship, the USS Raven, memories of Seven's early life surface, revealing that Seven had been six-year-old human Annika Hansen , the daughter of Magnus Hansen (Kirk Baily) and Erin Hansen (Laura Stepp), Federation scientists who were studying the Borg when they were assimilated. Voyager season 5, episodes 15 & 16, "Dark Frontier" provides even more detail of the Hansens' fateful journey, showing the Raven arriving in the Delta Quadrant by following a Borg Cube through a transwarp conduit.

10 Ways USS Voyager Changed In Star Treks Delta Quadrant

Star Trek: Voyager links back to the greater Star Trek universe with people and starships from the Alpha Quadrant. Connections to the familiar were especially important early on, because Voyager 's place in the Star Trek franchise was established and aided by the legitimacy these finds offered. Later, when the USS Voyager used the Hirogen communications array to communicate with Starfleet Command, links back to the Alpha Quadrant were plentiful again, not only to prove that the USS Voyager was closer to home, but to help Star Trek: Voyager maintain connections to Star Trek and carry the franchise in its final years.

Star Trek: Voyager is available to stream on Paramount+.

Star Trek: Voyager

Cast Jennifer Lien, Garrett Wang, Tim Russ, Robert Duncan McNeill, Roxann Dawson, Robert Beltran, Kate Mulgrew, Jeri Ryan, Ethan Phillips, Robert Picardo

Release Date May 23, 1995

Genres Sci-Fi, Adventure

Network UPN

Streaming Service(s) Paramount+

Franchise(s) Star Trek

Writers Michael Piller, Rick Berman

Showrunner Kenneth Biller, Jeri Taylor, Michael Piller, Brannon Braga

Rating TV-PG

8 Alpha Quadrant Things Star Trek: Voyager Found In Delta Quadrant

Web Channels
Star Trek: Voyager

False Profits

Stardate: 50074.3 Voyager discovers a pair of Ferengi masquerading as demigods to profit from a planetary culture still in its Bronze Age. They arrived through the Barzan Wormhole, which leads back to the Alpha Quadrant; however, its Delta Quadrant end is highly unstable and always moving. The crew must find a way to end this exploitation while trying to use the same wormhole to return home.

Leslie Jordan

Rob LaBelle

Michael Ensign

Alan Altshuld

John Walter Davis

Cast appearances.

Kate Mulgrew

Robert Beltran

Roxann Dawson

Jennifer Lien

Robert Duncan McNeill

Ethan Phillips

Robert Picardo

Garrett Wang

Episode discussion.

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Kimm Collinsworth

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Kimm Collinsworth ( born 30 December 1969 ; age 54) is a model and actress who appeared as a Takarian woman in the Star Trek: Voyager third season episode " False Profits ". As an extra, she received no on-screen credit for her appearance.

Collinsworth was born in and works primarily as a model. She appeared as a regular extra on several episodes of Baywatch , but received only credit for the 1997 episode Next Generation , in which she played Kimm, a lifeguard and for which Greg Barnett served as stunt coordinator.

As a model she was featured on several benchwarmer cards.

External links [ ]

Kimm Collinsworth at the Internet Movie Database
Kimm Collinsworth at TVRage.com
Kimm Collinsworth at Baywatch.com

Star Trek Voyager: False Profits

3 comments:

Summer is here, so Voyager (and West Wing) reviews are back! The aim is to get them out once a week, but I have a really heavy workload this summer, so please forgive me if I fall behind a bit.

Hooray! Welcome back!

We love comments! We moderate because of spam and trolls, but don't let that stop you! It’s never too late to comment on an old show, but please don’t spoil future episodes for newbies.

Star Trek: Voyager (TV Series)

False profits (1996).

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12 star trek female villains ranked, worst to best.

Star Trek has a long list of female villains that have faced off against Kirk, Picard, Janeway, and Sisko, but who's the best at being the worst?

The best Star Trek female villains include complex characters like the Intendant and the Female Changeling.
The Female Romulan Commander and Alixus offer early examples of intriguing female villains in Star Trek.
While some female villains like the Borg Queen excel, others like Seska from Voyager fall short of their potential.

While the canon of iconic Star Trek antagonists can often feel like an exclusive boy's club, many of the franchise's best villains have been complex female characters. For nearly 60 years, many of the best known villains in Star Trek movies and TV shows have been male, from Khan Noonien Singh (Ricardo Montalban) to Shinzon (Tom Hardy). Looking back, it feels quite regressive, and speaks to a wider issue with how women were written in early Star Trek .

For example, the notorious Star Trek: The Original Series finale "Turnabout Intruder" features Dr. Janice Lester (Sandra Smith), who was presented as a hysterical woman scorned, rather than a multi-layered and complex villain. However, even in those early days, there were one or two memorable female villains that could hold their own against Captain James T. Kirk (William Shatner). While Star Trek 's movie villains have been predominantly male, the TV shows of the 1990s and 2020s introduced some truly iconic recurring female villains to the franchise .

Every Major Star Trek Villain Species, Ranked

12 alixus (gail strickland), star trek: ds9, season 2, episode 15, "paradise".

The impact of Alixus (Gail Strickland) is relatively minor. However, Alixus is an incredibly compelling Star Trek: Deep Space Nine villain who deserves to sit alongside some franchise greats. In DS9 season 2, episode 15, "Paradise", Commander Benjamin Sisko (Avery Brooks) and Chief Miles O'Brien (Colm Meaney) are stranded on a planet that has abandoned technology in favor of a more simple life. Alixus is the leader of this traditionalist community, but Sisko and O'Brien soon unearth the darkness at its core. Alixus was a Federation scientist who had theorized that a return to nature would be better for humanity in the long run.

Gail Strickland had previously appeared with Avery Brooks in Spenser: For Hire .

To prove her point, she sabotaged the colony ship, the SS Santa Maria, forcing it to crash-land on a remote planet. Alixus installed a duonetic field generator that prevented all technology from operating, forcing the colonists to live by her new vision. To prove her thesis, she resorted to cruel punishments and stood by and let her colonists die from easily curable ailments. Gail Strickland plays Alixys with such nuance, transforming "Paradise" from a filler episode into an underrated Star Trek: Deep Space Nine classic . Her electric scenes with Sisko foreshadow the DS9 captain's later conflicts with other zealots.

Star Trek: Deep Space Nine

*Availability in US

Not available

Star Trek: Deep Space Nine, also known as DS9, is the fourth series in the long-running Sci-Fi franchise, Star Trek. DS9 was created by Rick Berman and Michael Piller, and stars Avery Brooks, René Auberjonois, Terry Farrell, and Cirroc Lofton. This particular series follows a group of individuals in a space station near a planet called Bajor.

11 Seska (Martha Hackett)

Star trek: voyager, seasons 1 to 3.

Star Trek: Voyager 's Seska (Martha Hackett) was a fantastic idea for a character, but very poorly executed. Introduced as one of the secondary Maquis crew members of the Valjean, it quickly became clear that Seska was hiding something. Not only did Seska want Commander Chakotay (Robert Beltran) to lead a mutiny against Captain Kathryn Janeway (Kate Mulgrew), she was also a Cardassian spy in disguise. These two elements combined ended up confusing Seska's character in Voyager , as an outnumbered Cardassian would surely have set their sights on an alliance with Janeway, not the Maquis .

Martha Hackett previously played the Romulan Sub-commander T'Rul in Star Trek: Deep Space Nine 's season 3 premiere "The Search, Parts I & II".

Eventually, Seska left the USS Voyager, to make an alliance with the Kazon in an attempt to capture the ship. The motivations for Seska's plan to capture Voyager were seemingly rooted in her disappointment at being scorned by her former lover, Chakotay. Disappointingly, one of Star Trek: Voyager 's most interesting villains was reduced to the level of Captain Kirk's evil ex-girlfriend, Janice Lester . The most successful plot by Seska was only discovered after she'd died, when a holodeck simulation of a Maquis mutiny turned into a deadly trap in Voyager season 3, episode 25, "Worst Case Scenario".

Star Trek: Voyager

The fifth entry in the Star Trek franchise, Star Trek: Voyager, is a sci-fi series that sees the crew of the USS Voyager on a long journey back to their home after finding themselves stranded at the far ends of the Milky Way Galaxy. Led by Captain Kathryn Janeway, the series follows the crew as they embark through truly uncharted areas of space, with new species, friends, foes, and mysteries to solve as they wrestle with the politics of a crew in a situation they've never faced before.

10 Asencia, The Vindicator (Jameela Jamil)

Star trek: prodigy season 1.

Janeway's ship was once again infiltrated by an enemy alien in Star Trek: Prodigy season 1. Masquerading as a Trill ensign, Asencia helped track the USS Protostar, in the hopes of activating its deadly Living Construct weapon and destroying Starfleet. Asencia's true identity was discovered after Janeway and the USS Dauntless rescued the Diviner (John Noble). Hoping that the two Vau N'AKat could work together, Asencia was shocked when the Diviner chose his daughter Gwyndala (Ella Purnell) over their plan to destroy Starfleet. In the Prodigy season 1 finale, Asencia successfully activated the Living Construct and returned to her own time .

Asencia's story will presumably continue in Star Trek: Prodigy season 2 , as Admiral Janeway heads into the alternate future to rescue Captain Chakotay and his crew from the Vau N'Akat. It's therefore hard to rank Asencia higher until her story plays out in full. However, judging by the ruthlessness and cunning that Asencia displayed in Prodigy season 1, it's clear that Janeway and the crew of the USS Voyager-A will have their work cut out for them.

Star Trek: Prodigy

Star Trek: Prodigy is the first TV series in the Star Trek franchise marketed toward children, and one of the few animated series in the franchise. The story follows a group of young aliens who find a stolen Starfleet ship and use it to escape from the Tars Lamora prison colony where they are all held captive. Working together with the help of a holographic Captain Kathryn Janeway (Kate Mulgrew), the new crew of the USS Protostar must find their way back to the Alpha Quadrant to warn the Federation of the deadly threat that is pursuing them.

9 Female Romulan Commander (Joanne Linville)

Star trek: the original series, season 3, episode 4, "the enterprise incident".

In Star Trek: The Original Series , season 2, episode 4, "The Enterprise Incident", Captain Kirk is tasked with stealing a Romulan cloaking device . Part of the plan requires Lt. Commander Spock (Leonard Nimoy) to seduce an unnamed Female Romulan Commander (Joanna Linville), who is attracted to the Vulcan. However, unlike Seska in Star Trek: Voyager , the Female Romulan Commander's ambitions lie far beyond romantic interests. She believes that capturing the USS Enterprise for the Romulan Star Empire will be a boon for her career progression, and wants Spock to serve alongside her.

Years after the events of "The Enterprise Incident", the Federation was banned from developing cloaking technology thanks to the Treaty of Algeron.

Having seemingly turned on Kirk and even killed him in a fight, Spock keeps the Female Romulan Commander interested while Kirk infiltrates the ship. However, the Commander saw through the ruse and beamed aboard the Enterprise to try and take it by force, or have it destroyed. The plan to steal the USS Enterprise is foiled, and the Female Romulan Commander is left embarrassed by falling for Kirk and Spock's fight and losing the cloaking device to the Federation. Interestingly, Spock doesn't throw the Female Romulan Commander into the brig, and instead takes her to standard quarters, implying his seduction wasn't all pretend.

Star Trek: The Original Series

Star Trek: The Original Series follows the exploits of the crew of the USS Enterprise. On a five-year mission to explore uncharted space, Captain James T. Kirk (William Shatner) must trust his crew - Spock (Leonard Nimoy), Dr. Leonard "Bones" McCoy (Forest DeKelley), Montgomery "Scotty" Scott (James Doohan), Uhura (Nichelle Nichols), Chekov (Walter Koenig) and Sulu (George Takei) - with his life. Facing previously undiscovered life forms and civilizations and representing humanity among the stars on behalf of Starfleet and the United Federation of Planets, the Enterprise regularly comes up against impossible odds and diplomatic dilemmas.

8 Lursa and B'Etor Duras (Barbara March and Gwynyth Walsh)

Star trek: tng, ds9 and star trek generations.

The House of Duras were sworn enemies of Worf, Son of Mogh (Michael Dorn) in Star Trek: The Next Generation and Star Trek: Deep Space Nine . After Worf killed the House's patriarch in TNG season 4, episode 7, "Reunion", Duras' sisters Lursa (Barbara March) and B'Etor (Gwynyth Walsh) were left seeking vengeance. The House of Duras tried to instigate a Klingon Civil War, and even provided a Bajoran terrorist with the explosives needed to destroy the wormhole in DS9 season 1. Following the aborted Klingon Civil War, the Duras sisters effectively became guns for hire, placing them in the orbit of Dr. Tolian Soren (Malcolm McDowell) in Star Trek Generations .

Star Trek Generations was a disappointing end for the Duras Sisters, as they never really got a final confrontation with Worf . Sidelined as Soran's muscle, the sisters and their Klingon crew did manage to destroy the USS Enterprise-D, but their own ship was destroyed soon after. Weirdly, Generations never lingered on what a big deal this would have been for Worf, given how the House of Duras had been behind many of his issues with the Klingon Empire. This dissatisfying ending means that the Duras Sisters can't make it into the top tier of female Star Trek villains.

Star Trek: The Next Generation

Star Trek: The Next Generation is the third installment in the sci-fi franchise and follows the adventures of Captain Jean-Luc Picard and the crew members of the USS Enterprise. Set around one hundred years after the original series, Picard and his crew travel through the galaxy in largely self-contained episodes exploring the crew dynamics and their own political discourse. The series also had several overarching plots that would develop over the course of the isolated episodes, with four films released in tandem with the series to further some of these story elements.

7 Sela (Denise Crosby)

Star trek: the next generation, "redemption" and "unification".

Sela was the Romulan daughter of Tasha Yar (Denise Crosby), who spent years working for the intelligence services. Sela's first notable operations against the Federation were brainwashing Lt. Geordi La Forge (LeVar Burton) to assassinate Klingon governor Vagh (Edward Wiley) in the Star Trek: The Next Generation episode "The Mind's Eye". Sela tried again to destabilize relations between the Klingon Empire and the Federation when she supported the Duras Sisters' attempt to take control of the Klingon Empire. Sela's plans were foiled by Captain Picard and a Starfleet armada that prevented Romulan reinforcements from entering Klingon space .

Denise Crosby conceived the character of Sela as a means to return to Star Trek: The Next Generation after enjoying the experience of making "Yesterday's Enterprise".

Sela became the mastermind behind an attempted Romulan invasion of Vulcan, by manipulating Ambassador Spock's reunification mission. Using a holographic duplicate of Spock, Sela hoped to convince the Federation that an incoming fleet of Vulcan ships contained a Romulan peace envoy, and not an invasion force. Picard, Data, and Spock foiled Sela's plan, and she was incapacitated with a Vulcan nerve pinch, never to be heard from again. It was an ignominious end for Star Trek: The Next Generation 's best Romulan villain.

Spock’s Star Trek TOS Romance Explains His TNG Vulcan & Romulan Dream

6 valeris (kim cattrall), star trek vi: the undiscovered country.

Lt. Valeris (Kim Cattrall) is a great Star Trek villain because there's a genuine emotional impact on the crew of the USS Enterprise-A. It may have been better if Saavik betrayed Spock in Star Trek VI: The Undiscovered Country , but the weight of Valeris' betrayal is still impactful. Valeris' cold Vulcan logic dictated that peace with the Klingons was illogical , which is why she joined the Khitomer Conspiracy. Spock's protégé helped to frame Captain Kirk and Dr. McCoy (DeForest Kelley) for political assassination, and deliberately hindered the investigation.

While Gene Roddenberry objected to her inclusion, Saavik was actually written out of Star Trek VI: The Undiscovered Country because Kirstie Alley declined to return to the role.

Valeris' coldness makes her quite a compelling Star Trek villain, as she genuinely believes her many crimes are based on logic. It's a fascinating insight into how interpretations of logic can differ from Vulcan to Vulcan, as proved by Spock and Valeris' clash in Star Trek VI: The Undiscovered Country . Interrogated by Kirk and forced to endure a controversial mind meld with Spock, Valeris finally revealed the identities of the conspirators, and was taken to the Khitomer Conference to publicly unmask the conspiracy.

5 Vadic (Amanda Plummer)

Star trek: picard season 3.

Vadic was one of the most unpredictable foes ever faced by Admiral Jean-Luc Picard. A Changeling tasked with delivering Jack Crusher (Ed Speleers) to the Borg Queen (Alice Krige), Vadic took some big swings to achieve her goals in Star Trek: Picard season 3. Vadic's awesome ship, the Shrike, almost destroyed the USS Titan-A and its crew during their multiple skirmishes in the course of Picard season 3 . Vadic even found time to kidnap Counselor Deanna Troi (Marina Sirtis) in an attempt to secure the assistance of Captain William T Riker (Jonathan Frakes).

Amanda Plummer is the daughter of Christopher Plummer, who played the villainous General Chang in Star Trek VI: The Undiscovered Country .

It's a testament to Amanda Plummer's unique portrayal of a Star Trek villain that it wasn't immediately clear that Vadic was a Changeling . The scenes in "Dominion" in which Vadic described the brutal treatment of Changeling prisoners during the Dominion War were beautifully performed by Plummer, adding depth to Star Trek: Picard season 3's villain . It even elicited a degree of sympathy, but Vadic soon lost that when she began executing members of the USS Titan-A's crew. Eventually, she was blown out into space by Jack Crasher, where, ironically, her Changeling body solidified then exploded into pieces.

Star Trek: Picard

After starring in Star Trek: The Next Generation for seven seasons and various other Star Trek projects, Patrick Stewart is back as Jean-Luc Picard. Star Trek: Picard focuses on a retired Picard who is living on his family vineyard as he struggles to cope with the death of Data and the destruction of Romulus. But before too long, Picard is pulled back into the action. The series also brings back fan-favorite characters from the Star Trek franchise, such as Seven of Nine (Jeri Ryan), Geordi La Forge (LeVar Burton), Worf (Michael Dorn), and William Riker (Jonathan Frakes).

4 The Intendant (Nana Visitor)

Star trek: deep space nine (various).

The Intendant, the Mirror Universe variant of Major Kira Nerys (Nana Visitor) is one of Star Trek: Deep Space Nine 's most memorable villains. DS9 brought back the Mirror Universe in a big way, and the Intendant played a key role in each return visit. Kira's dark opposite was effectively the Gul Dukat of the Mirror Universe's Terok Nor, ruling the station with intimidation, manipulation, and violence. She was assisted in her tyrannical role of the station by Elim Garak (Andrew Robinson), who opposed some of the Intendant's more holistic methods .

Star Trek: Deep Space Nine producer Michael Piller had been rejecting Mirror Universe episodes since his days on Star Trek: The Next Generation . However, he and Ira Steven Behr finally figured out that the most interesting story to tell would be the aftermath of the fall of the Terran Empire, as seen in DS9 's Mirror Universe episodes.

The Intendant eventually lost control over the Terran rebels, thanks to various Mirror Universe incursions by Kira and Captain Sisko . This led to her losing her position, and being imprisoned aboard Regent Worf's flagship in Star Trek: Deep Space Nine season 7. Hoping to win favor with Worf, the Intendant orchestrated a plot to have the flagship fitted with a stolen cloaking device. However, the cloak was sabotaged, leaving the flagship open to attack from the Terran rebels, striking another blow against the Klingon-Cardassian Alliance, and giving the former Intendant a chance to escape with her life.

3 Kai Winn (Louise Fletcher)

Kai Winn (Louise Fletcher) was one of Star Trek: Deep Space Nine 's most fascinating characters. First introduced in the DS9 season 1 finale, Vedek Winn was a religious zealot who objected to Sisko's closeness to the Bajoran Prophets. This jealousy of Sisko eventually poisoned the calculating religious leader even further, pushing her to more and more extreme lengths to bring herself closer to her gods. Played by Oscar winning actress Louise Fletcher , Kai Winn's descent into hell across seven seasons of DS9 was compulsive viewing.

Louise Fletcher and Michelle Yeoh are the only two Star Trek stars to win the Academy Award for Best Actress.

While Kai Winn had a redemption of sorts in Star Trek: Deep Space Nine 's finale, it was still rooted in the cowardice and pettiness of her character. When she realized that the Pah wraiths wanted Gul Dukat as their emissary and not her, she decided to put her faith back in Sisko. While that saved Bajor from destruction, it's hard to ignore that Kai Winn's motivations were once again rooted in Bajor's higher beings ignoring her.

2 The Female Changeling (Salome Jens)

The Female Changeling (Salome Jens) was Star Trek: Deep Space Nine 's most interesting female villain . The spokesperson for the Dominion Founders, she was a master manipulator, and a steely villain with little regard for the "solids". The Female Changeling's attempts to manipulate Constable Odo (René Auberjonois) were compelling viewing, and ultimately solidified the Constable's loyalty to his friends aboard DS9. Seen as a god by the Vorta, the Female Changeling also appeared to delight in manipulating Weyoun (Jeffrey Combs) by playing him off against the Breen in the latter stages of DS9 's Dominion War .

Salome Jens also played the First Humanoid, now referred to as a Progenitor, in the Star Trek: The Next Generation episode, "The Chase", which Star Trek: Discovery season 5 is a sequel to.

Salome Jens' performance as the Female Changeling was utterly compelling, delivering her lines with an icy sense of superiority befitting a species that set themselves up as gods. When the Dominion War ended in the Star Trek: Deep Space Nine finale, the Female Changeling was taken into custody for her multiple war crimes. However, despite Odo's attempts to educate his people to move past the Female Changeling's ideology, those like Vadic still wanted to destroy the Solids following the Dominion War.

1 The Borg Queen (Alice Krige)

Star trek: first contact, voyager, picard.

Introduced in Star Trek: First Contact , the Borg Queen (Alice Krige) is the greatest female villain that the franchise has produced . Unlike her drones, Star Trek 's Borg Queen had a personality, and used that to seduce others into joining the Collective. Lt. Commander Data (Brent Spiner) seemingly fell under the Borg Queen's spell in First Contact , but was merely distracting her so he could avert the Collective's plan to sabotage the Phoenix's first warp flight. The Borg Queen's consciousness was stored elsewhere, able to be downloaded into a new body, which is why other actress have played the role originated by Krige.

Each Borg Queen performer has brought something new to the character, the most notable being Annie Wersching and Alison Pill's partnership in Star Trek: Picard season 2 . Their co-dependent relationship revealed new information about the Borg Queen that humanized her somewhat. Through her connection to the Queen, Dr. Agnes Jurati (Alison Pill) discovered that the Borg long for connection, and the Queen is ultimately lonely. Rather than being a retcon, this was a callback to the Queen's previous relationships with Data and Picard, confirming that they were the only matches for Star Trek 's most enduring female villain.

Star Trek: First Contact is available to stream on Max.

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False Profits (1996)
"Star Trek: Voyager" False Profits (TV Episode 1996)
False Profits (1996)
False Profits (1996)
False Profits (1996)
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"Star Trek: Voyager" False Profits (TV Episode 1996)
False Profits: Directed by Cliff Bole. With Kate Mulgrew, Robert Beltran, Roxann Dawson, Jennifer Lien. Voyager comes across a pair of Alpha Quadrant Ferengis who have set themselves up as gods on a primitive planet. Voyager wants to end their reign and use the nearby wormhole to return home.
"Star Trek: Voyager" False Profits (TV Episode 1996)
"Star Trek: Voyager" False Profits (TV Episode 1996) cast and crew credits, including actors, actresses, directors, writers and more. Menu. ... Oscars SXSW Film Festival Women's History Month STARmeter Awards Awards Central Festival Central All Events. Celebs. Born Today Most Popular Celebs Celebrity News.
False Profits (episode)
There are some great comedic moments, but all in all, 'False Profits' seems more in keeping with Star Trek: Voyager's first two seasons, and does not match the bold work done in the rest of season three to date." (Star Trek Monthly issue 24, p. 59) The book Delta Quadrant (p. 143) gives this installment a rating of 8 out of 10.
False Profits
"False Profits" is the 47th episode of Star Trek: Voyager, the fifth episode of the third season. This is a science fiction television episode of the Star Trek franchise, that aired on UPN on October 2, 1996. The episode functions as a sequel to the Star Trek: The Next Generation episode "The Price" (1989). Voyager is making its way back home, after being flung to the other side of the galaxy.
Christine Artecona
Takarian female. Christine Artecona (also known as Christine Artecona-Cornell since 1996) ( born 29 November 1969; age 54) is a model and actress who played a Takarian female in the Star Trek: Voyager third season episode " False Profits ". She received no credit for her appearance and was identified by the name tag of her costume which was ...
The Voyager Transcripts
Star Trek Voyager episode transcripts. False Profits Stardate: 50074.3 Original Airdate: October 2 1996. Captain's log, stardate 50074.3. We have detected evidence that a wormhole recently appeared and then disappeared in a nearby solar system. ... then the temple door opens and young women in spangly bikinis and thin veils walk out and stand ...
Star Trek: Voyager: Season 3
Stardate: 50074.3. A pair of Ferengi is found masquerading as Gods to a culture still in its Bronze Age. It is discovered that they had arrived through the Barzan Wormhole, which leads back to the Alpha Quadrant, however, its Delta Quadrant end is highly unstable and always moving.
Writing for Star Trek Voyager: Behind the Scenes of "False Profits
TrekCore's Voyager week continues with a trip back to 1996's "False Profits", with a special inside look from episode writer George Brozak!! Read below as we discuss early concepts for the episode and delaying tactics, then explore some production material and concept art… complete with special archival footage from the filming of the episode!
"Star Trek: Voyager" False Profits (TV Episode 1996)
"Star Trek: Voyager" False Profits (TV Episode 1996) Christine Artecona-Cornell as Takarian Female. Menu. Movies. Release Calendar Top 250 Movies Most Popular Movies Browse Movies by Genre Top Box Office Showtimes & Tickets Movie News India Movie Spotlight. TV Shows.
False Profits
The Ferengi are known throughout the galaxy as shrewd and cunning businessmen, but in this episode of Star Trek Voyager, the crew find out that the Ferengi are not always as smart and savvy as they seem. ... However, the crew of Voyager soon learns that the Ferengi's false profits will come with a price - the Kazon are now in pursuit of ...
Star Trek: Voyager
Ira Steven Behr is probably the only writer in the history of the Star Trek franchise to really "get" the Ferengi. Even then, he was prone to strike out as often as to hit a homerun. False Profits arrives from a production team with minimal experience writing for the franchise's failed-villains-turned-comic-relief.
"False Profits"
In-depth critical reviews of Star Trek and some other sci-fi series. Includes all episodes of Star Trek: The Original Series, The Animated Series, The Next Generation, Deep Space Nine, Voyager, Enterprise, Discovery, Picard, Lower Decks, Prodigy, and Strange New Worlds. Also, Star Wars, the new Battlestar Galactica, and The Orville.
Star Trek: Voyager/False Profits
False Profits: Season 3, Episode 5 Airdate: October 2, 1996 Production Number: 40840-144 Written by: Joe Menosky: Directed by: Cliff Bole: Stream: ← 3x04 The Swarm: 3x06 → Remember: Star Trek: Voyager — Season Three
False Profits
The Delta Flyers is a weekly Star Trek: Voyager rewatch and recap podcast hosted by Garrett Wang and Robert Duncan McNeill. Each week Garrett and Robert will rewatch an episode of Voyager starting at the very beginning. This week's episode is False Profits. Garrett and Robbie recap and discuss the episode, and share their insight as series ...
False Profits
False Profits. Voyager discovers a pair of Ferengi who control the economy of a primitive world; nearby is an unstable wormhole that leads back home. In this episode of the podcast, Wes and Clay discuss "False Profits". Plus! The guys chat about gravity-defying anatomy, learning how to be a Ferengi, and embarrassing decisions. By Wes. 02/07 ...
8 Alpha Quadrant Things Star Trek: Voyager Found In Delta Quadrant
"False Profits" serves as a Star Trek sequel episode to Star Trek: The Next Generation season 3, episode 8 "The Price", as Voyager catches up with Arridor and Kol (formerly played by J. R ...
False Profits
"False Profits" is the 47th episode of Star Trek: Voyager, the fifth episode of the third season. This is a science fiction television episode of the Star Trek franchise, that aired on UPN on October 2, 1996. The episode functions as a sequel to the Star Trek: The Next Generation episode "The Price" (1989). Voyager is making its way back home, after being flung to the other side of the galaxy ...
False Profits
Stardate: 50074.3 Voyager discovers a pair of Ferengi masquerading as demigods to profit from a planetary culture still in its Bronze Age. They arrived through the Barzan Wormhole, which leads back to the Alpha Quadrant; however, its Delta Quadrant end is highly unstable and always moving. The crew must find a way to end this exploitation while trying to use the same wormhole to return home.
Kimm Collinsworth
Kimm Collinsworth (born 30 December 1969; age 54) is a model and actress who appeared as a Takarian woman in the Star Trek: Voyager third season episode "False Profits". As an extra, she received no on-screen credit for her appearance. Collinsworth was born in and works primarily as a model. She appeared as a regular extra on several episodes of Baywatch, but received only credit for the 1997 ...
Doux Reviews: Star Trek Voyager: False Profits
- Shuttlecraft count: The Ferengi mess up the wormhole with their own ship, so Voyager's shuttles are unaffected. - The Ferengi's hareem looks like something straight out a Carry On movie, though I suppose we should just be grateful the women are wearing any clothes at all, considering the Ferengi's laws about the importance of female nudity.
Watch Star Trek: Voyager Season 3 Episode 5: False Profits
Help. S3 E5 46M TV-PG. Voyager discovers a pair of Ferengi, who arrived in the Delta Quadrant via the Barzan Wormhole, masquerading as gods to a primitive culture. The crew must find a way to put an end to this exploitation, while trying to use the same wormhole to get them home.
"Star Trek: Voyager" False Profits (TV Episode 1996)
Star Trek franchise has lots of incongruent moments and episodes, with plot holes and character inconsistencies. I suppose it's inevitable staffing so many writers and being tasked to create 45 minutes of compelling storylines 26 times per season. The Voyager series had plenty of raising the eyebrow moments through the first 2+ seasons -- "Oh ...
False Profits: the most frustrating episode of Voyager
Well, other than Janeway banging Q. Opportunity 1: Forget the Ferengi and use Harry and B'Elanna's plan to use the Barzan Wormhole to get back. Opportunity 2: Janeway says it's the Enterprise's fault the Ferengi got marooned there in the first place. Ok, so beam the Ferengi directly into the brig and screw the religious beliefs of the people on ...
12 Star Trek Female Villains Ranked, Worst To Best
While the canon of iconic Star Trek antagonists can often feel like an exclusive boy's club, many of the franchise's best villains have been complex female characters. For nearly 60 years, many of the best known villains in Star Trek movies and TV shows have been male, from Khan Noonien Singh (Ricardo Montalban) to Shinzon (Tom Hardy). Looking back, it feels quite regressive, and speaks to a ...

Writing for Star Trek Voyager: Behind the Scenes of “False Profits” with Special Archival Footage

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