'Strange New Worlds' is the most enjoyable 'Star Trek' show since the original

DAVID BIANCULLI, HOST:

This is FRESH AIR. I'm David Bianculli, professor of television studies at Rowan University in New Jersey, in for Terry Gross. Today, Pamela Adlon, the co-creator, director, co-writer and star of the FX comedy series "Better Things." After five seasons, the series ended last month with an emotional and satisfying finale that left all its main characters in better circumstances. It also ended with a charming and eccentric farewell to viewers by having all cast members sing along to Monty Python's "Always Look On The Bright Side Of Life." In "Better Things," Adlon played Sam Fox, who, like Adlon, is raising three girls as a single mother while trying to keep her acting career alive and also helping her aging mother who lives next door. Young actresses portray her character Sam's daughters on TV, but in real life, Pamela Adlon's daughters are now 19, 22 and 25 years old.

Adlon herself has been acting since she was 9. She won an Emmy for her voice work as Bobby Hill, the son in the animated series "King Of The Hill," and appeared on seven seasons of the TV series "Californication." She had a long, collaborative relationship with Louis C.K. on his show "Louie" and his earlier show "Lucky Louie." He and Adlon co-created her series "Better Things," but she severed ties after he was accused of sexual misconduct by several women, and he admitted it was true. Terry spoke with Pamela Adlon in 2019.

Let's start with a clip from "Better Things." Adlon's character, Sam, is being examined by her doctor when she starts telling him how stressed out she is by all the mom stuff she has to take care of. And he says, oh, like errands - just let go of it. Everyone's got errands. Here is her response.

(SOUNDBITE OF TV SHOW, "BETTER THINGS")

PAMELA ADLON: (As Sam Fox) No, no. Errands are, like, groceries and going to the post office, the real mom stuff.

USMAN ALLY: (As Dr. Babu) Yeah.

ADLON: (As Sam Fox) Soccer club sign-ups and dance classes and tutors and tuition payments and parent-teacher conferences and schools and camps that I have to get them into and mean girl issues with my youngest at school and birth control with my oldest and cruelty from my middle daughter. And then there's my own mom, who is driving me nuts. And I'm pretty sure she has a mental something disorder. And my middle daughter is hitting puberty hard. And I am definitely going through menopause, yet I still get my period. And I have a beard and two mortgages. So, yeah, Dr. Babu, it's, like - it's a lot. And some mornings, I just...

ALLY: (As Dr. Babu) Oh, my God.

ADLON: (As Sam Fox) ...You know, lay in bed in my room and I stare at the ceiling and I just say, I just can't do it anymore. I just can't. I just can't. I just can't. I can't. I can't. So anyway, could you please just give me some Xanax or Ativans or Ambiens or something - anything you think that'll help me get a full night's sleep? - because that's what I really need, Birju. I need a full night of sleep.

(SOUNDBITE OF ARCHIVED NPR BROADCAST)

ADLON: (Laughter).

TERRY GROSS: Pamela Adlon, welcome to FRESH AIR, and congratulations on Season 3 of "Better Things."

ADLON: Thank you so much, Terry.

GROSS: So this season, everyone is going through a change. Like you say, you know, your oldest is going to college. The middle's in puberty. Your youngest is being bullied at school. Your character's mother seems to be in the early stages of dementia. Your character's going through menopause. Are these the personal issues you've been dealing with?

ADLON: You know, I say this about my show - that it's an exaggerated version of my life. So it's like Sam Fox is me in a cape. You know, certainly I'm in a multi-generational situation with all women in my life. My three daughters live at home. My mother lives next door. I'm what I think they call the sandwich generation. And so these issues are all happening to me to a certain extent right now. My own mother isn't going through dementia, but it's an interesting place to go. And I like people to have their own interpretation. And I think that's why people take this show so personally because everybody's going through some version of these different things.

GROSS: I think women over the years have been very uncomfortable talking about getting older, maybe because - I think a lot of women feel devalued with age, and they're no longer considered sexual. So how did you feel about putting it out there, about crossing the threshold of 50?

ADLON: I - you know, it's so exciting to me because I was - I didn't say my real age for years, you know? And...

GROSS: Why not?

ADLON: Because of the taboo of it. And, you know, when people find out, especially being an actor in the industry, it hurts. It hurts you. For a woman, you hit that 40 - you know, it affects you because it is such an agist, sexist industry, which I think is now shifting and changing. It's still not 100% yet, but it's - the irony is not lost on me that my father at - he hit 50, and basically - you know, he was a writer and producer. And the jobs kind of started drying up for him because people wanted younger people. They want young blood, and they valued youth over, you know, ability, even.

And so then I turn 50, and I have my own show. And all of a sudden, it's a whole new world for me professionally, you know, with all the different jobs that I do. And my show is a wonderful - I love my show. It's beautiful. I can tell these stories in an artful, cinematic way. It has great music, great actors. But also, my show is the story about me and how - I know that people are excited. You know, this lady's been kicking around in this business since I'm 9 years old, and she hits it big at 50.

GROSS: So what are some of the things that bother you most and some of the things you find most liberating about having turned 50 a few years ago?

ADLON: You know, only two.

GROSS: Two years ago. OK.

(LAUGHTER)

ADLON: See; it's still sensitive.

GROSS: Two years ago. Yes, I see.

ADLON: You know, it's just - I - you kind of - when you get comfortable with yourself, it's a way of feeling confident and not having to hurry up and catch up and measure up to other people. When you let go of that, the power is incredible. If you look for things that are - you know, that - if somebody's giving you a side-eye and you think they don't like you or anything like that, you look in the mirror and you're like, oh, I guess this is my neck now. OK.

GROSS: (Laughter).

ADLON: Well, let's keep going with that. Or are these jowls? Is this what you would call jowls? That's so interesting. Oh, arm cellulite - that's fun. That's fun. You know, so it's like - you know, you have the physical things, but those things don't matter because your mind is richer. Your experiences are richer. Your life is deeper. Your connections with your friends are deeper. My kids are older now, and our relationships are so much deeper than they used to be. You know, I used to try to get as far away from my kids as I could when they were younger. And now I want them around me all the time, and they want that, too.

GROSS: So in the opening of the first episode, your character's trying on clothes, and none of them fit because your character has put on a few pounds. So it seems like you've put on a few pounds - I think, in that opening scene, there's maybe a few extra pounds than they really were.

ADLON: No, that's all me, Terry.

GROSS: OK. All right.

ADLON: (Laughter).

GROSS: So was that stress eating because this has been such a difficult time with you doing so much to get the show done?

ADLON: You know what? It's very interesting because I wrapped Season 2 of my show, and I went into the editing room and, you know, just a few months went by. My body changed. My body changed. You know, I got thicker. And it's not - I don't feel bad about my body or anything. But it was shocking. And I remember being in my closet and trying on pants. I'm like, I just wore these three months ago. And things were just tighter. And it was a moment that I thought, oh, boy, I'm going to have to do this in my show.

(LAUGHTER)

ADLON: I'm going to - because it's - you know, you get into your 50s, your metabolism does funky things. And, you know, I just - I decided that it would be a very generous thing for me to do - kind of illustrate in in my show so everybody doesn't feel so alone because, you know, that happened to me. And you sit there, and you're by yourself. And, you know - and for people - women in particular - when our bodies don't measure up to what our idea is of what we're supposed to look like with our clothes off in the mirror, that's a shocking thing. You know, it's not our fault. And it's not up to us to maintain some kind of a physical image for anybody but ourselves.

GROSS: I like the fact that when your character realizes her clothes no longer fit her 'cause she's put on a few pounds, she doesn't go, like, so I'm going on a diet now. And I will lose that weight. My goal will be to fit back in these clothes. I mean, she goes about her life...

ADLON: Interesting.

GROSS: ...You know?

ADLON: Yeah.

GROSS: There's not - and also, you, as the star of the show and also the director of the show - you don't have somebody else telling you, Pamela Adlon, if you're going to continue playing this role, you have to lose some weight. No one's telling you that. It's your show.

ADLON: Yeah. Isn't that interesting? Isn't that amazing?

GROSS: That's good, right?

ADLON: Also, I mean, I didn't gain that much weight, but...

GROSS: No, I know. I know. But...

ADLON: I - no, I'm kidding. But listen. I remember being a teenage actor and being on a show. I'm not going to say the name. But I remember some girls on the show being pressured to lose weight. And it was extremely inappropriate. And it was extremely damaging, you know, to the psyche of a young girl. I mean, that was - you know, being in the '80s in '80s television, that would be the ultimate era of toxic trying to control the way women are portrayed.

GROSS: So one of the things about your character is that she doesn't hold back when something bothers her, whether it's about her children or about somebody at her children's school or a stranger in a restaurant or - you know, she doesn't have much of a filter. So...

ADLON: Yeah.

GROSS: ...She says what's on her mind. And, you know, there's a fine line between honesty and cruelty. And the girls, though - the girls are always so embarrassed by her - the daughters. Like - this isn't really a spoiler - there's a scene where the girls want to go go-karting in, like, an amusement park. And so you take them even though you don't really want to go. And the the young man who's supposed to be giving the safety talk (whispering) is talking like this, and, like...

ADLON: (Laughter) Yes.

GROSS: ...No one can hear him. And you finally say, like, you're supposed to be protecting us and telling us what to do, and we can't hear you. And your daughters are, like, so horribly embarrassed by the whole thing. Does that happen to you, where, like, you're trying to speak out...

ADLON: Yes.

GROSS: ...To speak up for reasons of, like, you have a right to have something or to expect something, and you're speaking out not just for yourself, but for other people, but your daughters are just kind of withering with embarrassment?

ADLON: Exactly. Yes. This happens quite a bit. But it's like - I mean, come on. So, you know, you're giving me the rules, and, you know, this is a life-or-death situation, and nobody can hear you. And they're not admitting it because they're zoned out anyway. And, you know, it's, like, when Frankie says it's just, like, legal disclaimers that would never hold up in court, and it would - it doesn't matter. And I'm like, it does matter. You know, Sam's saying everything matters, but, you know, it's - I think that this may be more of a single-parent kind of situation because there's no backup. She has no backup. There's nobody there saying, hey; you know, don't give your mother a hard time or something like that. It's just her. So she has no henchmen, no zone defense, nothing. She's got to be the one to make everybody squirm.

BIANCULLI: Pamela Adlon speaking to Terry Gross in 2019. More after a break. This is FRESH AIR.

(SOUNDBITE OF AWREEOH SONG, “CAN'T BRING ME DOWN”)

BIANCULLI: Let's get back to Terry's 2019 interview with Pamela Adlon. She's the star and co-creator of the FX series "Better Things," which concluded its five-season run last month. Adlon herself directed the series finale.

GROSS: Louis C.K. co-created the show with you and was a co-writer with you on the first two seasons. And you parted ways with him after several women went public saying he'd masturbated in front of them, and then he admitted it was true. After those women went public and Louis C.K. confessed to it, you thought of stopping the show because he'd been such a key part of it. Why did you think maybe you should stop, and why did you think that you were going to continue anyways?

ADLON: My personal feelings about what had happened - you know, me trying to wrap my mind around, you know, this cataclysmic event that happened and was directly affecting, how do I keep making this show, you know? I mean, he was my consigliere when I was doing it. You know, I mean, I make this show in California. He lives in New York. We were able to talk out the stories and make the show together. And so we did that for two seasons. So he gets stripped of his executive producer credit, but, you know, we are co-creators of this show, and there's his name. So I say, what do I do? Do I call it "Schmetter Schmings" (ph)? Do I call it "Mo' Better Things" or something and, like, make a new show? I just could not wrap my mind around how I could continue this professionally.

And, you know, it was a whopper. I had to take a knee for some time. The fact that women were hurt by him and that he came out and he talked about it - we were all scratching our heads. I remember, you know, talking to my daughters about it. And I remember thinking about his daughters. And it was just - you know, in general, it was a lot. So I did not know how to kind of put my feet forward, one in front of the other.

GROSS: So what did you change so that you could move forward?

ADLON: Well, I was given the go-ahead by the head of my network, who's the incredible John Landgraf. You know, there was just a certain point that he called me. And he told me some other weird, bad news about, you know, we weren't going to be considered for any award season things. And it was just - we were being affected by this thing. And...

GROSS: Because Louis was affiliated with it.

ADLON: Yeah. Yeah. And so I just said to him at a certain point - I said, I - this doesn't really make sense anymore. I don't think that I can do this show anymore. I don't think that my heart's in it. I don't know how to keep moving forward. And he said, I'm not going to force you to do anything, but I want you to do your show. I want to see your show. I want you to keep doing your show. And he said, just take time and think about it. And it was so kind, you know? They gave me the time to sit and think and get my bearings and figure out how I could do it. And then - you know, I've talked about this. My friend Phil Rosenthal, who created "Everybody Loves Raymond," really helped me - kind of pointed me in a new direction that would help me resurrect my spirit and my passion for making my show again.

GROSS: Instead of coming up with the stories with Louis, you started a writers room and hired women - exclusively women?

ADLON: No. It's interesting because the submissions I was getting were only women. And so, you know, I was getting them from my network. I was getting them from my friends. And I said, hey; you know, my writing partner for the last 10 years has been a man. Please don't send me only women. So I read people, and I ended up hiring two women and two men. And, you know - and, I mean, I'd never been in a writers room, let alone run a writers room. I still don't know if I did it the right way, but I did it the only way I knew how to do it. And Phil was a huge help. He was - he helped coach me.

BIANCULLI: Pamela Adlon speaking to Terry Gross in 2019. Her FX series "Better Things" recently concluded after five seasons. After a break, we'll continue their conversation. Also, I'll review the newest addition to the "Star Trek" universe of TV shows, and film critic Justin Chang reviews a new French film called "Happening," which is set in the 1960s but whose subject is amazingly relevant to what's happening today. I'm David Bianculli, and this is FRESH AIR.

(SOUNDBITE OF DON STIERNBERG, RUSTY HOLLOWAY AND JEFF JENKINS' "PENNIES FROM HEAVEN")

BIANCULLI: This is FRESH AIR. I'm David Bianculli, in for Terry Gross. Let's get back to Terry's 2019 interview with actor, writer and director Pamela Adlon. "Better Things," the FX series in which she starred, loosely based on her own life raising three girls with her mother living next door, ended last month with an uncharacteristically but charmingly upbeat finale.

GROSS: Your character sees images of her father sometimes, who kind of gives her advice. Sometimes it's good advice. Sometimes it's really not. And I saw a picture of your father. I can't remember if it was IMDB or someplace else, and he looks a lot like the actor playing the ghost of your father.

ADLON: Yes.

GROSS: I guess that was intentional.

ADLON: I made a my dad.

GROSS: Is that weird for you? - because he's...

ADLON: Well, it was crazy the first time. It was crazy. I mean, I had my friend Zoe Hay, who was the - you know, she was the merkin master on "Masters Of Sex."

GROSS: (Laughter).

ADLON: She created the hairpieces for Adam Kulbersh, who plays my dad. And it was unbelievable. When I did the pilot, I could not get over it. And, you know, I wear a green sweater quite a bit in my show and in - it's in the pilot. That was my dad's sweater. And so it's just - his spirit is all around because, you know, I'm doing what, you know, I watched him do. He was a writer and producer. And I looked up to him my whole life, and I went into acting because that was a natural way to get into the industry. But now this is - what I'm doing is really his legacy. So it's unbelievable to do a scene with somebody who looks exactly like your father from the '70s.

GROSS: And your father died in 1994, I think.

ADLON: That's right.

GROSS: So, like, you've really, like, revived him for the show. Yeah. And he did - he wrote a lot of episodic TV. I'm wondering what his attitude was for the shows that he wrote for, I mean, because IMDB isn't always accurate. But there were...

ADLON: Yeah.

GROSS: ...A lot of shows where it says he did, like, one episode. I don't know if that's true or if that's a mistake.

ADLON: Oh, yeah, he did. Yeah. He wrote one episode of "The Love Boat" or maybe two. He wrote an episode of "The Jeffersons." He wrote an episode of "Chico And The Man." You know, he was a gun-for-hire writer, producer. And you go where the work takes you. And he was - you know, he and his partner, Phil Margo, wrote the illustrious TV movie "Venus Goddess Of Love" (ph) starring Vanna White.

GROSS: (Laughter) Excuse me.

ADLON: And I think that was '80 - what? - I don't even know - '88 or something. It made, like, the top 10 worst...

GROSS: Oh, gosh.

ADLON: ...TV movie lists of '88 or something like that. And he was so excited. He was like, we're part of the conversation.

GROSS: (Laughter).

ADLON: Yes. We're top 10. Top 10 anything is good.

GROSS: Was it discouraging for you to see him work so hard and just do episodes of, like, some good shows and some bad shows?

ADLON: It wasn't discouraging for me. I - it was work. I was seeing somebody working. You know, it's - and before that, he was writing comic books, and he was producing a daytime talk show. And my mother was working as well. My mother was working to support us while my dad was looking for income jobs. So my mother was a travel agent, and she was working for a composer, and she was working for a publisher. And so - she was a realtor.

And I have been modeled to working parents my whole life. So, you know, this little kind of scattershot career that I've built comes from all of these little things that I would see my parents do. And I've been working my whole life not just as an actor but doing other odd jobs. When I was - I was on "Facts Of Life" for one season, and then they got rid of me. And I was in a flower store. And my agent at the time - he walked in, and he's like, what are you doing here? And I'm like, I should ask the same thing about you.

GROSS: Oh, you were working in the flower store.

ADLON: Why am I working in a flower store?

GROSS: Yeah.

ADLON: But I like work.

GROSS: (Laughter).

ADLON: You know, that was my thing. I mean, I worked at Alice Underground in New York. I liked working in retail. I - anything to keep my income, you know, going. And now, of course, I get the ultimate gift, which is doing something that I love.

GROSS: You've told the story to interviewers about how when you were in your teens and you were working - I think on a sitcom, maybe a movie - there was a scene where you were wearing a towel, and...

ADLON: Yeah.

GROSS: ...The director said, oh, you know what would be really hilarious is if you dropped the towel. But I don't think you've said, like, what did you do? Did you do what the director asked you, or did you refuse?

ADLON: You know, I was about 15 years old, and I was wearing a towel. So we're supposed to be post-swim because we've broken into somebody's house. And he said that to me. And by some - I don't know - grace of some inner strength, I said, oh, no, I don't feel comfortable doing that.

GROSS: What was it like being a teenager - you were - what? - 15.

ADLON: I was 15.

GROSS: So you're 15, and you're telling the director, who's supposed to be telling you what to do - and that's his job. And you're telling him no.

ADLON: Yeah, he wanted to see my butt. He wanted me to drop my towel.

GROSS: So...

ADLON: He said we'd only see your butt. And I just was so uncomfortable.

GROSS: Has the #MeToo movement led you to rethink some of the things you experienced in your past and kind of see them in a different light?

ADLON: Oh, absolutely, absolutely. You know, when all of it was going down, I was haunted by, you know, memories. I was kind of, like, flipping through the Rolodex of my experiences and looking at them and going, huh (ph), that's really - that's just not OK. Or, you know, you know, I mean, I have three daughters, you know, and I want them to be protected. And I also want them to speak up for themselves and advocate for themselves because, you know, for me in particular, I've gotten hurt, you know, by being, you know, forced into doing something physical. But it's not a "stunt," quote, unquote, you know?

GROSS: You mean physically hurt, not emotionally hurt.

ADLON: Exactly. And I remember meeting an old - my old friend Steve Antin, who was in the movie "The Goonies." And one day, we were in a store, and we were just comparing scars where we got hurt at work. And so when I would be on jobs and I'd meet young people, I would say, don't ever, ever do anything that makes you feel uncomfortable or unsafe. You just walk away if anybody tries to pressure you.

GROSS: But then you risk losing the job, right?

ADLON: Yeah. That's the thing. And, you know, it's why I have my dad say - the dad character in my show say, you know, don't be a whistleblower, you know, and I do the opposite because people are still afraid to speak up. You know, and there's a lot of...

GROSS: How come you're not?

ADLON: Well, I don't know. It used to get me in trouble, and now it got me a show.

(LAUGHTER)

GROSS: Your character on the show - again, a single mother of three - and in your series, the middle daughter almost bullies her mother, your character. And she's so - like, the children, the three children are, like, so not curious about their mother's life, you know? And...

ADLON: Oh, my God, that's amazing that you said that (laughter).

GROSS: But they're not. They're really not. You know, like, you could be going through the most, like, extraordinary or excruciating thing. And it's, like, they don't even want to know about it. And you could go out of your way to do, like, something great for, say, the middle daughter and get her tickets to something she's been dying to see.

ADLON: Yeah.

GROSS: And she'll just be rude to you about it. Or, like - so is that something that you've experienced? And how do you explain that? - because I know a lot of parents feel that way.

ADLON: It's just - I'm so glad you brought it up because it's just a very - you know, I describe it as being alone within the chaos. So they're all talking about their situations and everything. And I'm sitting there going, OK, well, I had, you know, this kind of really amazing thing happen today, or I feel bad about this, or I just went on a trip. I want to tell you guys about it. They really don't want to know (laughter).

So it's like that thing when people say when - if a kid says to you, how was your day, it's shocking. You're stunned. Oh, my God. Thank you for asking. My day - wait. Whew. Be still my heart. Let me take a seat. I mean, it's just they are extremely self-absorbed. That's the way they are. They're, you know, molding and changing, and they're losing their amniotic sacs daily and becoming - going in the direction of each other.

And, you know, I remember when my kids were younger, something - you know, one of my kids said something like, oh, you don't know who David Bowie is, Mom. And I was like, I will kill you because I invented the, you don't tell me who David Bowie is; I told you. And it's - you - there's this feeling of obsolescence when you have children who are, you know, gathering strength and momentum, and you're like, well, you guys pretty much don't need me anymore. You know, you're ready to go. It's a crazy kind of feeling. It's like, you know, you can be lonely and be living in a family. You know, I think it's particularly a single parent phenomenon.

GROSS: So when we started the interview, we played a clip from "Better Things" in which your character is telling her doctor that she needs something to help her sleep because one daughter's going through puberty, another is going to college, and she has to - and your character has to pay tuition. And your character is going through menopause, and it's just like, too much, and you can't sleep. So you yourself have been through a lot of that. Add on that you also went through the trauma of everything that happened with Louis. Are you getting any sleep?

ADLON: I do get sleep. I sleep pretty good, I got to tell you. I do the thing that I said in the scene with Dr. Babu. I don't sleep anymore. I pass out.

GROSS: (Laughter) Thank you so much for talking with us. I love talking with you.

ADLON: Thank you so much, Terry, for having me. It was awesome to talk to you.

BIANCULLI: Pamela Adlon speaking to Terry Gross in 2019. Her TV series "Better Things" presented its finale last month after a five-year run on FX. All episodes can now be seen on the streaming service Hulu. Coming up, I review "Star Trek: Strange New Worlds," the new Paramount+ series that takes the "Star Trek" narrative back to its original origins. This is FRESH AIR.

(SOUNDBITE OF AMANDA GARDIER'S "FJORD")

DAVID BIANCULLI, HOST:

This is FRESH AIR. I'm TV critic David Bianculli. This week Paramount+ unveiled a new science fiction series, but it's also, in a way, a series that's very, very old. It's called "Star Trek: Strange New Worlds." And basically, it brings to fruition a TV series that NBC first proposed and made an unsuccessful pilot episode of in 1965. The "Star Trek" universe, like the "Star Wars" universe that followed it a decade later, obeys the laws of physics of our own universe. It's constantly expanding. And like "Star Wars," the original adventures of "Star Trek" ended up in the middle of the canon with other stories added that were either sequels or prequels.

"Star Trek" as it was first broadcast began on NBC in 1966 and ran for three years, never cracking the top 20, but making an ever-widening pop culture footprint. William Shatner starred as James T. Kirk, captain of the Starship Enterprise, and Leonard Nimoy played his half-human, half-Vulcan sidekick, Mr. Spock. Eventually, other "Star Trek" TV series and movies followed. On TV alone, counting only the live-action, non-animated "Star Trek" shows, there have been four sequels - "The Next Generation," "Deep Space Nine," "Voyager" and a current Paramount+ offering, "Picard."

As for the prequels, which cover the territory before Kirk and Spock teamed up, there's been the series called "Enterprise" showing that starship's maiden voyages, and "Star Trek: Discovery," another current Paramount+ show. And now we have "Strange New Worlds," a new "Star Trek" narrative that pulls characters and plot points not just from "Discovery," but also from the very origins of the "Star Trek" series itself. And here's the surprising, exciting part. I've seen five episodes of "Star Trek: Strange New Worlds," and they're really, really fun. This is the most enjoyable "Star Trek" show since the original.

It's a genuine throwback in more ways than one. The captain in "Strange New Worlds" is Christopher Pike, played by Anson Mount, who played the same character throughout Season 2 of "Discovery" and now gets to deliver this new show's opening narration, a major nod to the original "Star Trek."

(SOUNDBITE OF TV SHOW, "STAR TREK: STRANGE NEW WORLDS")

ANSON MOUNT: (As Captain Christopher Pike) Space - the final frontier. These are the voyages of the Starship Enterprise. Its five-year mission - to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no one has gone before.

(SOUNDBITE OF SPACESHIP WHIZZING)

BIANCULLI: The nostalgia doesn't end there. The creators of this new series are all about connecting all the "Star Trek" dots. Pike is called back from self-imposed retirement to take charge of the USS Enterprise once again, and his crew members include a new recruit named Uhura and a returning Starfleet science officer named Spock. This younger version of Spock is played by Ethan Peck, who nailed the role on "Discovery" and nails it again here, reuniting with Pike as the captain beams up to the bridge of the Enterprise.

(SOUNDBITE OF TV SHOW, "STAR TREK: STRANGE NEW WORLDS")

MOUNT: (As Captain Christopher Pike) How are you, Mr. Spock?

ETHAN PECK: (As Spock) Systems are all nominal. But as you know, no simulations were run.

MOUNT: (As Captain Christopher Pike) Thank you, Chief Kyle.

PECK: (As Spock) The main AI has been upgraded. Personal rotation was in process. A few officers will have to billet after the mission. That includes the chief engineer and Lieutenant Kirk, whom I know you requested.

MOUNT: (As Captain Christopher Pike) Seems like a million years ago.

PECK: (As Spock) Three months, 10 days, four hours, five minutes, actually.

MOUNT: (As Captain Christopher Pike) I asked how you were, Spock.

PECK: (As Spock) I am well, Captain. Although I confess, each time I return to space, the weight I carry for the loss of my sister feels heavier.

MOUNT: (As Captain Christopher Pike) Sorry. I miss her, too.

BIANCULLI: The sister they're referring to is the central character of "Discovery," who, like that series, has time-jumped 900 years into the future. So that makes "Discovery" no longer a prequel but a sequel, and that's getting way too deep into the sci-fi weeds. All you need to know is that "Star Trek: Strange New Worlds" is a true prequel but a modern one - both retro and shiny, old-fashioned and sleek. Its episodes are fairly self-contained. Its characters are playful and clever. And to those who know the original "Star Trek" series, there's that extra jolt of revisiting familiar characters.

There are major upgrades, for example, of Nurse Chapel and T'Pring, both of whom are better written and played by better actors than in the old series. Even Number One is here, who was a character in the never-broadcast "Star Trek" pilot from 1965, the one made before Shatner starred as Captain Kirk but instead featured actor Jeffrey Hunter as Captain Christopher Pike. It also had Leonard Nimoy as a more robotic Spock. And here's how that unsold pilot began - with him issuing an order. Consider it the Big Bang of the entire "Star Trek" universe.

(SOUNDBITE OF TV SHOW, "STAR TREK")

LEONARD NIMOY: (As Spock) Check the circuit.

UNIDENTIFIED ACTOR #1: (As character) All operating, sir.

NIMOY: (As Spock) Can't be the screen, then.

UNIDENTIFIED ACTOR #2: (As character) Definitely something out there, Captain, headed this way.

BIANCULLI: And now headed this way is a new series that picks up the original "Star Trek" story and that already is set to introduce the Kirk character in Season 2. Just as the original "Star Trek" by Gene Roddenberry, it manages to comment on today's society and problems while presenting adventures that are both imaginative and, on occasion, inspiring. More than 55 years later, it's still a winning formula.

(SOUNDBITE OF JEFF RUSSO'S "STAR TREK: STRANGE NEW WORLDS THEME")

DAVID BIANCULLI, HOST:

This is FRESH AIR. Arriving the same week as the news that the Supreme Court could overturn Roe v. Wade next month, the French movie "Happening" tells the story of a young woman trying to get an illegal abortion. Our film critic, Justin Chang, says that while the story takes place in early 1960s France, it could scarcely feel more of the moment. The movie won the top prize at last year's Venice International Film Festival and opens in theaters this week. Here is his review.

JUSTIN CHANG, BYLINE: It would be hard to overstate the timeliness of the new abortion-themed drama "Happening." Then again, this harrowing movie, directed with great tension and intimacy by the French filmmaker Audrey Diwan, would feel timely and urgent under any circumstances. Based on a memoir by Annie Ernaux, it unfolds over several weeks in the life of Anne, a 23-year-old literature student in the French town of Angouleme, who discovers she's pregnant after a brief fling. It's 1963. And most working-class women in Anne's position would be forced to drop out of school, give up their careers and/or get married. But Anne doesn't want to do any of those things. She wants to continue her studies. And so she decides to seek out an abortion, even though the procedure is illegal.

Anne is played by the superb French Romanian actor Anamaria Vartolomei, whose piercing blue eyes register her character's mounting desperation. But behind that terror, she also shows us Anne's quiet determination. I'll manage, Anne tends to say whenever she encounters a setback, which is often. The father in question doesn't care what she does about the pregnancy, so long as it doesn't involve him. Anne sees two male doctors. The first is sympathetic to her situation but unable to help. The second prescribes her shots that he says will start her period. She later finds out he lied and the drugs have actually strengthened the embryo. Anne turns to some of her school friends for help, but they give her the cold shoulder. A male classmate makes a pass at her, figuring that since she's already pregnant, she might as well throw caution to the wind.

"Happening" is especially perceptive in portraying the social stigma of being a sexually active woman in the early '60s. Anne's friends think and talk about sex constantly, while remaining extremely judgmental of anyone who actually has sex. In one uncomfortable scene, Anne is harassed in the dorm showers by a classmate who accuses her of being a loose woman and spreading sexually transmitted diseases. Many of these details come directly from Ernaux's memoir. And Diwan and her co-writer, Marcia Romano, bring us deep inside Anne's experience. We are with her at every step, as her body begins to change and her academics and relationships begin to suffer.

The movie becomes a clock-ticking thriller, with regular on-screen reminders of how many weeks she is into her pregnancy. The camera follows Anne in long, uninterrupted tracking shots that create a remarkable level of tension. That tension kicks into overdrive when Anne takes matters into her own hands, first by attempting the abortion herself and then by turning to the black market. These scenes are not for the faint of heart. But as graphic as they are, they never feel exploitative.

"Happening" joins a strong field of abortion-themed movies, including the 2007 drama "4 Months, 3 Weeks And 2 Days" and the more recent "Never Rarely Sometimes Always." In each of these movies, we see a young woman struggling to deal with an impossible situation, whether in communist Romania or present-day Manhattan. "Happening" itself sometimes feels ambiguous in terms of its setting. You can tell the era from the actors' clothes and the payphones. But Diwan doesn't overdo the '60s trappings. It's as if she's saying, this recreation of the past might very well be a window into the future.

BIANCULLI: Justin Chang is film critic for the LA Times. He reviewed the new film "Happening," opening in theaters today. On Monday's show, actress Rosie Perez. She's currently co-starring in the HBO Max series "The Flight Attendant." She was discovered at the age of 19 dancing at a nightclub and became a dancer on "Soul Train." Spike Lee chose her for the role of his girlfriend in his film "Do The Right Thing" after getting in an argument with her at a club. I hope you can join us.

(SOUNDBITE OF ABDULLAH IBRAHIM'S "JABULA")

BIANCULLI: FRESH AIR's executive producer is Danny Miller. Our senior producer today is Roberta Shorrock. Our technical director and engineer is Audrey Bentham with additional engineering support by Joyce Lieberman, Julian Herzfeld and Al Banks. Our interviews and reviews are produced and edited by Amy Salit, Phyllis Myers, Sam Briger, Lauren Krenzel, Heidi Saman, Therese Madden, Ann Marie Baldonado, Thea Chaloner, Seth Kelley and Joel Wolfram. Our digital media producer is Molly Seavy-Nesper. For Terry Gross, I'm David Bianculli.

(SOUNDBITE OF ABDULLAH IBRAHIM'S "JABULA")

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