2015 update: another artifact from the old blog.
This year, I thought I'd do a brief rundown listing some of my favorite, for various reasons, holiday movies and TV specials. These are titles I don't tire of seeing year after year. They really do hold up.
I'm working on the next Trek entry, but it looks as though it isn't going to come together until after the holiday (please try and contain your disappointment!). The good part is, the next entry will be a two-episode hot kiss at the end of a wet fist, so prepare yourselves!
So on to the list, in no particular order:
1. How the Grinch Stole Christmas! (1966) I just can't get tired of this classic Chuck Jones TV special. It represents the spirit of the season as well as being faithful to the book. It's very funny and sweet at the same time. Another thing I appreciate about this version is its efficiency: the program doesn't overdo it or add unneeded schmaltz. FAR superior to the feature film version (and don't get me started on the Horton movie). And if that isn't enough, need I mention Boris Karloff?
2. Holiday Inn (1942) As some of you know, this movie is a tradition with my family: we watched it nearly every year while I was growing up. We all know it so well that we tend to speak entire lines of dialogue from it while it's running. This movie, of course, originated the mega-holiday-juggernaut-hit, "White Christmas." No, it wasn't the movie White Christmas (1954), even though it is more recognized and has a somewhat similar plot. Holiday Inn, despite its cheesiness is a lot of fun for me. Bing Crosby and Fred Astaire are always entertaining with lines like, "A gentle smile often breeds a kick in the pants." Some of the songs aren't exactly Irving Berlin's finest, but they do at least have a certain cheeky fun to them. Heck, the movie is worth watching for Astaire's firecracker dance alone.
3. A Charlie Brown Christmas (1965) I don't need to tell you all much about this one. I've been a fan of it since I was very young, so much that I remember making a cassette tape recording of the special's audio so I could listen to it over again. No VCR at the time: I put the microphone of the tape recorder close to the TV speaker. Seriously high tech! Unsurprisingly, the voices used for the Peanuts characters in this special are the ones I still consider to be the "real" voices. The others just don't seem as right to me (ah, impressionable youth!). Looking at the show today, I love the music (classic stuff) and the humor still makes me laugh: "We all know that Christmas is a big commercial racket. It's run by a big eastern syndicate, you know." The animation is crude, but it totally fits the material and this holiday special isn't afraid to come out and talk about the actual holiday. I'm not really a Christian and am as far away as possible from the "war on Christmas" BS, but I've always appreciated the way that this special gets to the point of the holiday in an honest way. It sure beats, "Jesus is the reason for the season."
4. Love Actually (2003) This, in my view can't really be called a classic, (hasn't been around long enough) but I've seen this film often enough to recognize its value as a holiday staple. It may not age well in the long run, but I still find this "feel good" movie to be one of my favorites. Yes, it really does deserve the "feel good" label! The film manages to blend its amusing and bittersweet elements with an overall humanity that really works for me. The film occasionally loses control of its large collection of stories and characters, but manages to pull it together in the end. The conclusion, which tidies up many of story lines, has just enough uncertainty to keep it somewhat grounded in the real world. Not all the relationship issues are resolved happily or with the sentiment of a greeting card. If nothing else, the story surrounding Bill Nighy's aging rock star character makes the film worth watching.
5. It's a Wonderful Life (1946) Again, I don't really need to give this one much explanation. It too was viewed on a regular basis when I was growing up. The movie has enough sentimentality ("sentimental hogwash!") for ten holiday movies and is often dismissed because of it or enjoyed only on that level. Beyond the main message of this movie, the things that keep me from getting bored with the film are the complexities of the ideas, the characters, the great performances of the cast, and the interesting way the film is structured. The guy who writes DVD Savant has a really interesting take on the film here. He talks a bit about the background of the movie and a very interesting theory about the way it's put together. I highly recommend reading it if you're a fan of this film. One quote:
"It would be fun to write a version of It's a Wonderful Life from Henry Potter's point of view. Potter only wants to bring order and frugality to a messy, mongrelized population and that upstart pipsqueak Bailey keeps gumming up the works.
Other character sketches are so rich they seem to indicate lives outside the movie proper. What was the sordid truth behind poor Violet Bick's reputation? Did Uncle Billy's transgressions drive his brother Peter to an early death? Just what did Miss Davis (Ellen Corby) need the $17.30 for? While George was propping up Bedford Falls, did the notorious playboy Sam Wainwright run Harry Bailey for congress on his war record, and warp American values by passing legislation favoring the plastics industry?
And what about Mr. Welch (Stanley Andrews), the unhappy husband of George's kids' schoolteacher, Mrs. Welch? Mr. Welch hits George for making his wife cry. He's the villain of the moment, but imagine a one-act play about life at the Welch family. They have no kids; she's underpaid and he's out of work. They're trying to be cheerful on Christmas Eve when an unreasonable parent accuses Mrs. Welch of endangering a student, Zuzu. Mrs. Welch breaks down in tears. Mr. Welch stomps out to get drunk. It sounds like something from James Joyce." Classic stuff.
6. A Christmas Carol (aka "Scrooge" 1951) This warhorse has been done a lot, but this is maybe the best filmed version. I also get a kick out of the Muppet version.
7. Rudolph, the Red-Nosed Reindeer (1964) This is the one Rankin/Bass special I will still sit through and is the standout. Sure, the Rudolph song was written for a retail store jingle originally, but the story is good and has a message of tolerance (those commie 60s hippies!); come on, it has a gay dentist as a major supporting character! The old rickety stop-motion animation makes the Charlie Brown specials look sophisticated, but it's still endearing. And today, the message contained in the song, "There's Always Tomorrow," that you can always put off making your dreams come true, is a bit of a downer if you think about it very much. But really, who cares? We're all residents on that Island of Misfit Toys at one point or another.
OK, that's it for this year. I'm sure I'm leaving something out, but there's always tomorrow...
Have a great holiday, everyone (whatever you're celebrating) and stay ahead of the weather!
Wednesday, December 23, 2009
Tuesday, December 8, 2009
TOS Rewind #35: "I, Mudd"
This time we take a look at I, Mudd (11/03/1967).
Eric, Rob, Andy, and I did a podcast. Check it out.
I mentioned when talking about "Catspaw" that I felt that the creators weren't always sure whether they wanted to be serious or not. Well, this time they had their tongues surely planted in cheek. This episode has a load of goofy material in it and often goes from one gag to another. A real problem for me is that they have this plot that's all too easy to poke holes in. The whole thing isn't all that satisfying but does have its moments. The first act, where the robot Norman takes control of the Enterprise, is too rushed for its amount of detail (they have to explain how he takes over the ship) and too long for a quick, if unimportant, "get them to the planet" plot point. Kirk and the crew just seem to shrug and wait it out once they become aware of Norman's actions. The whole thing just doesn't seem right for the characters.
Harry Mudd gets a proper introduction with the other robots and even introduces the replica of his ex-wife. Otherwise, all the other robots (save for Norman) are hot women in skimpy outfits, causing Chekov to exclaim, "this is even better than Leningrad!" After the plot is in full swing, it's time once again for those crafty humans to outwit the machines with a full-on Shatner speech: I believe at this point in the series, the Kirk talking the machine to death thing has officially become a joke. The head robot Norman is "smoked" by the humans' erratic behavior and a simple logic loop. Wow, there's some high tech, there! I really have trouble taking their plot to "serve" the galaxy very seriously and wonder why they didn't just go for something simpler. The penultimate scene where they leave Mudd on the planet with 500 "unlocked" ex-wife robots does indeed seem like a suitable fate for Harry (but of course, the character returns in an episode of the Animated Series)
Roger Carmel is back playing Mudd and he's fun to watch as he embraces the part with gusto. I usually resist using the word, "gusto" but it just seems apt in this cast. The rest of the cast gets to do some pseudo-improv during the scenes where they're attempting to overload the robots. Shatner goes between being cranky and whimsically sarcastic. I still find some of that amusing and I believe the cast had fun doing the scenes. Hell, it's a lot more than James Doohan usually got to do.
Interesting notes:
Norman is the only robot who talks, well, like a stereotypical robot. All the female "models" talk normally.
Kirk and Spock are the only members of the landing party not to be at all tempted by something the robot population has to offer. I'm surprised they didn't have some android babe try to go after Kirk. This time, it's all-business for the Captain. Also, I notice how Uhura is potentially "bought" with the offer of an immortal robot body. Chekov is ready to settle down with all the chicks and McCoy and Scotty get tempted by work-related labs and stuff. What does that tell you? That Uhura, always thinking about her looks...
The doors on the planet set look awfully similar to the Krell doors of "Forbidden Planet." Hmmm...
Of course I didn't really care about this stuff growing up. I always liked watching the shenanigans of I, Mudd and found the last half very amusing. The sight of those familiar characters acting like that for one episode was quite entertaining.
I watched the remastered version of this episode. Besides the usual ship/space/planet shot replacements, I noticed that they spruced up the part where Norman reveals the little access panel on his stomach. One of those times where it didn't really add nor detract from the episode.
---
Now let's turn it over to Eric:
This is going to be another short review, partly because of the holidays but mostly because there is nothing particularly profound about "I Mudd." It is essentially a satire, a lighthearted romp through silliness that often strays into surreal absurdity. The only themes that have any resonance are two that we've discussed before and are perhaps overused in original Trek: "Man vs. Machine" and "Man vs. Idyllic existence." (For more satisfying treatments, see "This Side of Paradise" and "Return of the Archons.") With both of these themes, Kirk fulfills the role he has in the past: advocate for the ascendancy of humanity over machines (in this case androids) and pleader for the human spirit's need for freedom and challenge.
The androids, by way of Norman, show the shortcomings of artificial intelligence--it lacks the human capacity to devise its own sense of purpose. (This is an interesting point, although many humans, despite being blessed with "organic intelligence," also suffer from that same difficulty.) In addition, the androids, with the possible exception of Norman, are incapable of original, independent thought. And even in Norman, this capacity is stunted at best. So naturally, it is human creativity, irrationality, and out-of-the-box thinking that wins the day.
Mudd, on the other hand, represents the "evils" of an idyllic existence (albeit one in captivity). Apparently it makes one fat, lazy, and pointless. The lesson is lost, however, when one refers back to the first season episode "Mudd's Women" and sees that Harry Mudd has always been fat, lazy, and pointless. In any case, Kirk and crew are able to escape only when they reject the "gilded cage" offered by the androids. And as a kicker, even Mudd (who clearly relishes having the androids to fulfill his every whim) is willing to join forces with Kirk to win his freedom.
So the themes in "I Mudd" are retreads from earlier episodes, and their treatment and resolution is notably unremarkable. This episode is hardly a gem, but if you watch it expecting nothing more than a light satire, it is still enjoyable.
Next time: "Metamorphosis"
Eric, Rob, Andy, and I did a podcast. Check it out.
I mentioned when talking about "Catspaw" that I felt that the creators weren't always sure whether they wanted to be serious or not. Well, this time they had their tongues surely planted in cheek. This episode has a load of goofy material in it and often goes from one gag to another. A real problem for me is that they have this plot that's all too easy to poke holes in. The whole thing isn't all that satisfying but does have its moments. The first act, where the robot Norman takes control of the Enterprise, is too rushed for its amount of detail (they have to explain how he takes over the ship) and too long for a quick, if unimportant, "get them to the planet" plot point. Kirk and the crew just seem to shrug and wait it out once they become aware of Norman's actions. The whole thing just doesn't seem right for the characters.
Harry Mudd gets a proper introduction with the other robots and even introduces the replica of his ex-wife. Otherwise, all the other robots (save for Norman) are hot women in skimpy outfits, causing Chekov to exclaim, "this is even better than Leningrad!" After the plot is in full swing, it's time once again for those crafty humans to outwit the machines with a full-on Shatner speech: I believe at this point in the series, the Kirk talking the machine to death thing has officially become a joke. The head robot Norman is "smoked" by the humans' erratic behavior and a simple logic loop. Wow, there's some high tech, there! I really have trouble taking their plot to "serve" the galaxy very seriously and wonder why they didn't just go for something simpler. The penultimate scene where they leave Mudd on the planet with 500 "unlocked" ex-wife robots does indeed seem like a suitable fate for Harry (but of course, the character returns in an episode of the Animated Series)
Roger Carmel is back playing Mudd and he's fun to watch as he embraces the part with gusto. I usually resist using the word, "gusto" but it just seems apt in this cast. The rest of the cast gets to do some pseudo-improv during the scenes where they're attempting to overload the robots. Shatner goes between being cranky and whimsically sarcastic. I still find some of that amusing and I believe the cast had fun doing the scenes. Hell, it's a lot more than James Doohan usually got to do.
Interesting notes:
Norman is the only robot who talks, well, like a stereotypical robot. All the female "models" talk normally.
Kirk and Spock are the only members of the landing party not to be at all tempted by something the robot population has to offer. I'm surprised they didn't have some android babe try to go after Kirk. This time, it's all-business for the Captain. Also, I notice how Uhura is potentially "bought" with the offer of an immortal robot body. Chekov is ready to settle down with all the chicks and McCoy and Scotty get tempted by work-related labs and stuff. What does that tell you? That Uhura, always thinking about her looks...
The doors on the planet set look awfully similar to the Krell doors of "Forbidden Planet." Hmmm...
Of course I didn't really care about this stuff growing up. I always liked watching the shenanigans of I, Mudd and found the last half very amusing. The sight of those familiar characters acting like that for one episode was quite entertaining.
I watched the remastered version of this episode. Besides the usual ship/space/planet shot replacements, I noticed that they spruced up the part where Norman reveals the little access panel on his stomach. One of those times where it didn't really add nor detract from the episode.
---
Now let's turn it over to Eric:
This is going to be another short review, partly because of the holidays but mostly because there is nothing particularly profound about "I Mudd." It is essentially a satire, a lighthearted romp through silliness that often strays into surreal absurdity. The only themes that have any resonance are two that we've discussed before and are perhaps overused in original Trek: "Man vs. Machine" and "Man vs. Idyllic existence." (For more satisfying treatments, see "This Side of Paradise" and "Return of the Archons.") With both of these themes, Kirk fulfills the role he has in the past: advocate for the ascendancy of humanity over machines (in this case androids) and pleader for the human spirit's need for freedom and challenge.
The androids, by way of Norman, show the shortcomings of artificial intelligence--it lacks the human capacity to devise its own sense of purpose. (This is an interesting point, although many humans, despite being blessed with "organic intelligence," also suffer from that same difficulty.) In addition, the androids, with the possible exception of Norman, are incapable of original, independent thought. And even in Norman, this capacity is stunted at best. So naturally, it is human creativity, irrationality, and out-of-the-box thinking that wins the day.
Mudd, on the other hand, represents the "evils" of an idyllic existence (albeit one in captivity). Apparently it makes one fat, lazy, and pointless. The lesson is lost, however, when one refers back to the first season episode "Mudd's Women" and sees that Harry Mudd has always been fat, lazy, and pointless. In any case, Kirk and crew are able to escape only when they reject the "gilded cage" offered by the androids. And as a kicker, even Mudd (who clearly relishes having the androids to fulfill his every whim) is willing to join forces with Kirk to win his freedom.
So the themes in "I Mudd" are retreads from earlier episodes, and their treatment and resolution is notably unremarkable. This episode is hardly a gem, but if you watch it expecting nothing more than a light satire, it is still enjoyable.
Next time: "Metamorphosis"
Monday, November 23, 2009
Goodbye, Mr. Barnes
I don't normally use this blog for personal stuff, but I wanted to note the passing of my Uncle Don Barnes, who died early this morning at the age of 94.
Don had suffered from Alzheimer's for the last 5 years so in a sense, he's been gone for a while. Nonetheless, I wanted to make a short note about this person who had a real influence on me.
Uncle Don, who along with my late Aunt Faith lived in the Rapid City area the entire time I was growing up; the Barnes' were a regular part of our lives during those years. We visited their house a lot when I was younger and if you could see what the place looked like, you'd understand the influence. Don was a retired electrical engineer (he worked for the FAA for some of his career IIRC) and a real pack rat. His garage and basement were stuffed full of all sorts of fascinating old electronics junk. I spent a lot of time in that basement (it was a fun place to play for us kids) and have vivid memories of the place. Don was one of the reasons I'm as into technology as I am. He was pretty much always interested in new tech and we had fun talking about whatever the latest stuff was. I often brought over some piece of audio gear, often in non-working condition. He was always ready to dive in and either get his soldering iron warmed up to fix it or show me what had to be done with it. I learned a lot about how electronics work from him and also have my background knowledge of old tech thanks to him (and my Dad, of course).
Don was also extraordinarily generous, as anyone who knew him could tell you. While he collected a lot of old stuff, he didn't hesitate to provide it to anyone who needed it. When I was done with high school and didn't have a car to drive, he gave me his unused 1962 Mercury Meteor. This old car, which was black with a red interior (and often dubbed "The Batmobile") and had rear fins, got me through several years of regular use.
So Don will not be forgotten in my family. His struggle with Alzheimer's was not easy to watch but we're fortunate that we had so many years with him. RIP, Uncle Don: we all miss you.
Don had suffered from Alzheimer's for the last 5 years so in a sense, he's been gone for a while. Nonetheless, I wanted to make a short note about this person who had a real influence on me.
Uncle Don, who along with my late Aunt Faith lived in the Rapid City area the entire time I was growing up; the Barnes' were a regular part of our lives during those years. We visited their house a lot when I was younger and if you could see what the place looked like, you'd understand the influence. Don was a retired electrical engineer (he worked for the FAA for some of his career IIRC) and a real pack rat. His garage and basement were stuffed full of all sorts of fascinating old electronics junk. I spent a lot of time in that basement (it was a fun place to play for us kids) and have vivid memories of the place. Don was one of the reasons I'm as into technology as I am. He was pretty much always interested in new tech and we had fun talking about whatever the latest stuff was. I often brought over some piece of audio gear, often in non-working condition. He was always ready to dive in and either get his soldering iron warmed up to fix it or show me what had to be done with it. I learned a lot about how electronics work from him and also have my background knowledge of old tech thanks to him (and my Dad, of course).
Don was also extraordinarily generous, as anyone who knew him could tell you. While he collected a lot of old stuff, he didn't hesitate to provide it to anyone who needed it. When I was done with high school and didn't have a car to drive, he gave me his unused 1962 Mercury Meteor. This old car, which was black with a red interior (and often dubbed "The Batmobile") and had rear fins, got me through several years of regular use.
So Don will not be forgotten in my family. His struggle with Alzheimer's was not easy to watch but we're fortunate that we had so many years with him. RIP, Uncle Don: we all miss you.
Monday, November 2, 2009
TOS Rewind #34: "Catspaw"
Happy Halloween! We happened to hit this episode, one that's actually Halloween-themed, this week. Funny...OK, so we're a little late. Boo!
So we have Catspaw (10/27/1967), the one original series holiday special, so to speak.
Eric and Rob joined me on the podcast:
So here we have the single holiday-themed episode in Trek history (I think). Sure, it's no Star Wars Holiday Special, but it's pretty weak for a second season episode.
I think the big issue here is that the writers couldn't seem to figure out whether this was going to be a silly/campy "Jiffy Trek" or something with serious concepts. There's a bit of both here, really and the mix just doesn't work. There a number of jokey references which, while amusing by themselves, just add to the muddled nature of this episode. The ending, as Rob points out on the podcast, is a bit odd as well. The idea seems to borrow from other Trek material and the idea of aliens assuming human form and not being able to deal with the accompanying "sensations," (ahem!) gets used again in future episodes. Another problem is that we don't really get what the aliens actually want from Kirk and co.
The acting here ranges from just okay to quite mediocre. I didn't think the actor playing Korob was too bad, but the woman playing Sylvia was often laugh-inducing. Part of it was her lines and costumes. Speaking of costumes, who thought the fuzzy wig on Chekov was a good idea? It looks really bad. They had the good sense to ditch it later, thankfully. The worst performance/character had to be DeSalle, the guy who's left in command when Kirk, Spock, and McCoy beam down (Scotty and Sulu were already missing). He comes off as this stuck-up, annoying throw-back to bad WW2 combat movies: "Maybe we can't break it, but I'll bet you credits to navy beans we can put a dent in it!" Uh, yeah. That'll show 'em! Another great quote: "I can squash you! And that would be an interesting sensation, yes." Tee hee. The scene where Sylvia is trying to get it on with Kirk made Stacie laugh a lot. Of course, right after that when she finds out he's just messing with her is pretty fun. There's also a sequence where Sylvia, in the form of a black cat, grows to giant size to threaten Kirk and the landing party. It looks so incredibly silly that I was instantly reminded of the scene in Team America: World Police where the puppets are attacked by a black house cat.
Growing up, I would watch this one and say the 1970s equivalent of "Meh." Now, it doesn't hold up so well. It happens. I watched the BD/remastered version and aside from a re-done view of the outside of the castle, there wasn't a whole lot to see.
Now let's see what Eric made of this one:
---
It recently occurred to me that my written reviews of late have been nothing more than recaps of our podcasts, so starting with this review, I'm going to attempt a literary analysis (or something bearing a vague resemblance to a literary analysis) of our chosen episode. And I'll ask your forgiveness in advance--it's been a loooong time since I've written anything like this.
To begin, I'm certain there are many who would argue strenuously that there is nothing literary about Star Trek worthy of analysis. I, of course, disagree. As I've mentioned before, almost all of the original Star Trek episodes had underlying themes that were interesting and sometimes even profound. They not uncommonly suffered from poor presentation and/or inadequate development, but they are still there. And with a little coaxing, they can be brought out and examined. So, here goes...
"Catspaw" is about the use and abuse of power and the attendant consequences. Throughout the episode, the experiences and fates of Korob, Sylvia, and Captain Kirk show that a person must have the courage to use power and the wisdom and strength not to abuse it.
Consider Korob. He is the alien who has control of the transmuter, and thereby wields extraordinary power, but he doesn't use it to stop Sylvia until it is almost too late. When he is talking to Captain Kirk, he alludes that Sylvia's instability is the reason their introduction to our galaxy wasn't peaceful. So early on, Korob knew, or at least suspected, that there was a problem and didn't have the courage to act preemptively to head off the impending disaster. Of course, it can be argued that such suspicions aren't adequate to warrant neutralizing one's partner, but Korob also harangues Sylvia for abandoning her duty to their superiors, which should've been sufficient reason for him to act. Again, he lacks to courage to do what must be done, so it isn't until Sylvia has killed, enslaved, and goes on a murderous rampage, threatening to wipe out all human life, that he finally takes action. This gives Kirk the opportunity to defeat Sylvia, but in the process, Korob is killed.
Conversely, Sylvia has no problem whatsoever with using power. In all fairness, her situation is much like that of a drug addict. In taking human form, she is suddenly exposed to a host of intoxicating sensations that overwhelm her. This is understandable, if tragic. She uses her power not so much for the sake of power itself, as is true of so many villains, but rather to get her "fix" of sensations. In any case, regardless of her motivations, Sylvia grossly abuses her power--she commits heinous crimes (murder and slavery) and threatens genocide (credibly, one must assume) against the human race. Her fate, much like Korob, is defeat and death. And along the way, she is manipulated by Kirk, just as she used members of the Enterprise crew.
So now we come to Kirk's role. He is also unafraid to use power, which he has shown numerous times. It could be said that he is irresponsible because he takes sexual advantage of Sylvia, who doesn't understand sexuality or sexual politics. But at this point the question becomes: Do Kirk's actions demonstrate a lack of responsibility and morality, or do they show the strength and courage Korob lacked? The answer lies in Kirk's motivation in manipulating Sylvia, which is to gain the information and influence necessary to save the Enterprise and its crew, and (somewhat melodramatically) all of humanity. As a Starfleet captain, he swore an oath to protect not only his crew but also the entire Federation, so his motivation is rooted in sworn duty, and, in a larger sense, the moral obligation any decent human being would feel when faced with a threat to the human race. Also, perhaps even more tellingly, Kirk does not manipulate Sylvia out of malice or for his own benefit or pleasure. He does what he must do. He has the strength to use his power (masculine wiles?), and although he may be ruthless, he uses that power responsibly. As a result, he survives and is successful.
So "Catspaw" shows us that it is wrong not only to abuse power, but also to allow fear to prevent one from using power when it is called for. The ideal is to be strong enough to use power when needed and to temper that usage with wisdom so that it does not become abuse.
Next time: "I Mudd"
So we have Catspaw (10/27/1967), the one original series holiday special, so to speak.
Eric and Rob joined me on the podcast:
So here we have the single holiday-themed episode in Trek history (I think). Sure, it's no Star Wars Holiday Special, but it's pretty weak for a second season episode.
I think the big issue here is that the writers couldn't seem to figure out whether this was going to be a silly/campy "Jiffy Trek" or something with serious concepts. There's a bit of both here, really and the mix just doesn't work. There a number of jokey references which, while amusing by themselves, just add to the muddled nature of this episode. The ending, as Rob points out on the podcast, is a bit odd as well. The idea seems to borrow from other Trek material and the idea of aliens assuming human form and not being able to deal with the accompanying "sensations," (ahem!) gets used again in future episodes. Another problem is that we don't really get what the aliens actually want from Kirk and co.
The acting here ranges from just okay to quite mediocre. I didn't think the actor playing Korob was too bad, but the woman playing Sylvia was often laugh-inducing. Part of it was her lines and costumes. Speaking of costumes, who thought the fuzzy wig on Chekov was a good idea? It looks really bad. They had the good sense to ditch it later, thankfully. The worst performance/character had to be DeSalle, the guy who's left in command when Kirk, Spock, and McCoy beam down (Scotty and Sulu were already missing). He comes off as this stuck-up, annoying throw-back to bad WW2 combat movies: "Maybe we can't break it, but I'll bet you credits to navy beans we can put a dent in it!" Uh, yeah. That'll show 'em! Another great quote: "I can squash you! And that would be an interesting sensation, yes." Tee hee. The scene where Sylvia is trying to get it on with Kirk made Stacie laugh a lot. Of course, right after that when she finds out he's just messing with her is pretty fun. There's also a sequence where Sylvia, in the form of a black cat, grows to giant size to threaten Kirk and the landing party. It looks so incredibly silly that I was instantly reminded of the scene in Team America: World Police where the puppets are attacked by a black house cat.
Growing up, I would watch this one and say the 1970s equivalent of "Meh." Now, it doesn't hold up so well. It happens. I watched the BD/remastered version and aside from a re-done view of the outside of the castle, there wasn't a whole lot to see.
Now let's see what Eric made of this one:
---
It recently occurred to me that my written reviews of late have been nothing more than recaps of our podcasts, so starting with this review, I'm going to attempt a literary analysis (or something bearing a vague resemblance to a literary analysis) of our chosen episode. And I'll ask your forgiveness in advance--it's been a loooong time since I've written anything like this.
To begin, I'm certain there are many who would argue strenuously that there is nothing literary about Star Trek worthy of analysis. I, of course, disagree. As I've mentioned before, almost all of the original Star Trek episodes had underlying themes that were interesting and sometimes even profound. They not uncommonly suffered from poor presentation and/or inadequate development, but they are still there. And with a little coaxing, they can be brought out and examined. So, here goes...
"Catspaw" is about the use and abuse of power and the attendant consequences. Throughout the episode, the experiences and fates of Korob, Sylvia, and Captain Kirk show that a person must have the courage to use power and the wisdom and strength not to abuse it.
Consider Korob. He is the alien who has control of the transmuter, and thereby wields extraordinary power, but he doesn't use it to stop Sylvia until it is almost too late. When he is talking to Captain Kirk, he alludes that Sylvia's instability is the reason their introduction to our galaxy wasn't peaceful. So early on, Korob knew, or at least suspected, that there was a problem and didn't have the courage to act preemptively to head off the impending disaster. Of course, it can be argued that such suspicions aren't adequate to warrant neutralizing one's partner, but Korob also harangues Sylvia for abandoning her duty to their superiors, which should've been sufficient reason for him to act. Again, he lacks to courage to do what must be done, so it isn't until Sylvia has killed, enslaved, and goes on a murderous rampage, threatening to wipe out all human life, that he finally takes action. This gives Kirk the opportunity to defeat Sylvia, but in the process, Korob is killed.
Conversely, Sylvia has no problem whatsoever with using power. In all fairness, her situation is much like that of a drug addict. In taking human form, she is suddenly exposed to a host of intoxicating sensations that overwhelm her. This is understandable, if tragic. She uses her power not so much for the sake of power itself, as is true of so many villains, but rather to get her "fix" of sensations. In any case, regardless of her motivations, Sylvia grossly abuses her power--she commits heinous crimes (murder and slavery) and threatens genocide (credibly, one must assume) against the human race. Her fate, much like Korob, is defeat and death. And along the way, she is manipulated by Kirk, just as she used members of the Enterprise crew.
So now we come to Kirk's role. He is also unafraid to use power, which he has shown numerous times. It could be said that he is irresponsible because he takes sexual advantage of Sylvia, who doesn't understand sexuality or sexual politics. But at this point the question becomes: Do Kirk's actions demonstrate a lack of responsibility and morality, or do they show the strength and courage Korob lacked? The answer lies in Kirk's motivation in manipulating Sylvia, which is to gain the information and influence necessary to save the Enterprise and its crew, and (somewhat melodramatically) all of humanity. As a Starfleet captain, he swore an oath to protect not only his crew but also the entire Federation, so his motivation is rooted in sworn duty, and, in a larger sense, the moral obligation any decent human being would feel when faced with a threat to the human race. Also, perhaps even more tellingly, Kirk does not manipulate Sylvia out of malice or for his own benefit or pleasure. He does what he must do. He has the strength to use his power (masculine wiles?), and although he may be ruthless, he uses that power responsibly. As a result, he survives and is successful.
So "Catspaw" shows us that it is wrong not only to abuse power, but also to allow fear to prevent one from using power when it is called for. The ideal is to be strong enough to use power when needed and to temper that usage with wisdom so that it does not become abuse.
Next time: "I Mudd"
Tuesday, October 6, 2009
TOS Rewind #33: "The Doomsday Machine"
And now we get to one of the series true classics: The Doomsday Machine (10/20/1967).
The podcast we did for this one can be found here:
This episode has always been a personal favorite and still is today. The episode has a very entertaining action/sci-fi story. Adding to this are some interesting concepts and decent performances from the cast.
Growing up, the whole idea of the wandering planet killer, along with seeing a copy of the familiar Enterprise was just irresistible. Despite the fact that the wrecked Constellation was a cheap toy Enterprise model kit (it was an actual AMT kit) that they altered, it was enough to evoke visions in my imagination of a real wrecked Enterprise sister. Sure, the planet killer looked like a glowing ice cream cone/wind sock dipped in cement (IIRC, that's actually what they used!), but it did the job. Plus, the odd look actually works better than some design with a more conventional look. The weirdness tends to make it more believable as an alien object (at least it always did to me).
Today, the episode still packs a punch and even has some interesting ideas behind it. The scene where Kirk and the landing party encounter Decker aboard the Constellation has a couple of notable points. One, when it's revealed that there is this planet killer/robot out there slicing/dicing planets, Kirk does some thoughtful speculation as to its origin and purpose. That bit of dialogue helps the antagonist rise above the "monster of the week" thing and draws parallels to cold war issues. The planet killer can also be interpreted as an environmental statement (thanks Lee for pointing that out) in that future generations are having to reckon with the destruction wrought by man-made machines. Sure, aliens in another galaxy may have built this thing and could be long-dead, but *someone* has to clean up the mess. This time, it just happened to be our heroes.
The other real point here is the scene where Decker reveals the fate of his crew. Windom, the actor playing Decker, really goes all out in the scene and goes right to the edge of scenery chewing. The performance, in the context of the material is right on. The emotionally-charged lines along with his effectively haggard appearance come across as genuine. Shatner is relatively subdued in this episode, which works well. Nimoy has some very good material to work with. In particular, his confrontations with Decker after he's assumed command of the ship are subtle and still dramatic. The looks on his face really convey the logical realization that Decker's actions will almost certainly assure all their deaths. This realization is even more effective after it's made clear that Spock can't prevent it, at least not yet. There is also a compelling bit of a strategy game going on with Spock and Decker: Spock's strategy will work, but only if he can relieve Decker of command before he kills them all. Decker wants to destroy the thing at all costs. If that means his own death, then so much the better at this point.
McCoy doesn't really get to do much, other than harass Decker. Scotty has some good scenes repairing the wrecked Constellation including some fun interaction with Kirk (Scotty, you've just earned your pay for the week.").
It sounds to me like there were some new musical cues written for this episode. The cues used when the ships are battling the machine sound different and are quite effective in an old-school movie music style: dramatic suspense-building music.
I watched this episode on BD and came away impressed. This is, by far, the best the show has ever looked on video and I liked being able to watch either the original or remastered effects. I've generally been lukewarm on the new effects work, but here it really did make a difference, particularly with the shots of the Constellation. There is real detail to the damaged ship and the debris field around it. They really got this one right. The new planet killer looks more menacing, though they went a bit overboard on the "molten" look of the interior. I know Lee preferred the original 'killer, but I think its modern look was mostly an improvement.
---
And now, Eric chimes in:
We apparently have gotten to the point in the second season where excellent episodes alternate with execrable ones: "Mirror Mirror" (a superb classic) followed by "The Apple" (see our previous reviews/podcast), and now time we're up to "The Doomsday Machine," one of the best original series episodes. After this is "Catspaw" (not completely fetid, but not great either)--It's starting to feel like a roller coaster...
Anyway, on to "the Doomsday Machine," which is certainly one of my top ten favorite episodes, and may be one of my top five. Once again, I'm not going to rehash our entire podcast, but this episode scores high just about every respect. The director, Marc Daniels (who also directed classic episodes such as "the Menagerie," "Space Seed," and "Mirror Mirror") turns in what may be his best work. The acting is well above par--Shatner is good, Nimoy is excellent, and William Windom, who plays Commodore Decker, is outstanding. His portrayal of Decker's haunted anguish is both wrenchingly believable and moving. And the story, written by SF veteran Norman Spinrad, is both an interesting cold war analogy and a great science fiction yarn. In "The Apple" we weren't given any clues or tantalizing hints about the nature/origin/purpose of Vaal (the malevolent mechanism du jour), which worked to the considerable detriment of the episode. With "The Doomsday Machine," however, these questions are asked and some thought-provoking answers are suggested.
But the story is successful as more than an imaginative SF tale, it is also excellent action/adventure. As such, the special effects are extremely important. This is probably the most effects-laden episode in original Trek, and while the original SFX were good (for the time), this is the one instance when I recommend the remastered version. The new digital effects actually enhance the storytelling. The wrecked USS Constellation has always been an affecting sight and presence, but the version in the remastered episode is even more disturbing--it's like seeing our beloved Enterprise crippled and ruined. And the planet killer, always menacing, looks even more macabre and otherworldly.
A few interesting bits of trivia:
· Commodore Decker is the father of Captain/Commander Will Decker in the "Star Trek: The Motion Picture."
· One of the Star Trek novels proposes that the planet killer was constructed by a race from our galaxy as a weapon to fight the Borg.
· Commodore Decker makes a subsequent appearance (yes, after his apparent death) in a fan-produced episode that takes place in the 20th century.
· At Gene Roddenberry's request, Norman Spinrad came up with a design for the planet killer that portrayed it as a massive battleship, bristling with all sorts of evil-looking weapons. He was reportedly disappointed in the design the ended up being used, saying it looked like a "wind sock dipped in cement." Roddenberry's response was that they ran out of money for the episode and had to make do. I think the design actually is more effective--it's quintessentially alien and ominous.
So this is episode is a real gem: excellent direction, superb acting, and a great story. I just wish I could be as enthusiastic about the following episode...
Next time: "Catspaw"
The podcast we did for this one can be found here:
This episode has always been a personal favorite and still is today. The episode has a very entertaining action/sci-fi story. Adding to this are some interesting concepts and decent performances from the cast.
Growing up, the whole idea of the wandering planet killer, along with seeing a copy of the familiar Enterprise was just irresistible. Despite the fact that the wrecked Constellation was a cheap toy Enterprise model kit (it was an actual AMT kit) that they altered, it was enough to evoke visions in my imagination of a real wrecked Enterprise sister. Sure, the planet killer looked like a glowing ice cream cone/wind sock dipped in cement (IIRC, that's actually what they used!), but it did the job. Plus, the odd look actually works better than some design with a more conventional look. The weirdness tends to make it more believable as an alien object (at least it always did to me).
Today, the episode still packs a punch and even has some interesting ideas behind it. The scene where Kirk and the landing party encounter Decker aboard the Constellation has a couple of notable points. One, when it's revealed that there is this planet killer/robot out there slicing/dicing planets, Kirk does some thoughtful speculation as to its origin and purpose. That bit of dialogue helps the antagonist rise above the "monster of the week" thing and draws parallels to cold war issues. The planet killer can also be interpreted as an environmental statement (thanks Lee for pointing that out) in that future generations are having to reckon with the destruction wrought by man-made machines. Sure, aliens in another galaxy may have built this thing and could be long-dead, but *someone* has to clean up the mess. This time, it just happened to be our heroes.
The other real point here is the scene where Decker reveals the fate of his crew. Windom, the actor playing Decker, really goes all out in the scene and goes right to the edge of scenery chewing. The performance, in the context of the material is right on. The emotionally-charged lines along with his effectively haggard appearance come across as genuine. Shatner is relatively subdued in this episode, which works well. Nimoy has some very good material to work with. In particular, his confrontations with Decker after he's assumed command of the ship are subtle and still dramatic. The looks on his face really convey the logical realization that Decker's actions will almost certainly assure all their deaths. This realization is even more effective after it's made clear that Spock can't prevent it, at least not yet. There is also a compelling bit of a strategy game going on with Spock and Decker: Spock's strategy will work, but only if he can relieve Decker of command before he kills them all. Decker wants to destroy the thing at all costs. If that means his own death, then so much the better at this point.
McCoy doesn't really get to do much, other than harass Decker. Scotty has some good scenes repairing the wrecked Constellation including some fun interaction with Kirk (Scotty, you've just earned your pay for the week.").
It sounds to me like there were some new musical cues written for this episode. The cues used when the ships are battling the machine sound different and are quite effective in an old-school movie music style: dramatic suspense-building music.
I watched this episode on BD and came away impressed. This is, by far, the best the show has ever looked on video and I liked being able to watch either the original or remastered effects. I've generally been lukewarm on the new effects work, but here it really did make a difference, particularly with the shots of the Constellation. There is real detail to the damaged ship and the debris field around it. They really got this one right. The new planet killer looks more menacing, though they went a bit overboard on the "molten" look of the interior. I know Lee preferred the original 'killer, but I think its modern look was mostly an improvement.
---
And now, Eric chimes in:
We apparently have gotten to the point in the second season where excellent episodes alternate with execrable ones: "Mirror Mirror" (a superb classic) followed by "The Apple" (see our previous reviews/podcast), and now time we're up to "The Doomsday Machine," one of the best original series episodes. After this is "Catspaw" (not completely fetid, but not great either)--It's starting to feel like a roller coaster...
Anyway, on to "the Doomsday Machine," which is certainly one of my top ten favorite episodes, and may be one of my top five. Once again, I'm not going to rehash our entire podcast, but this episode scores high just about every respect. The director, Marc Daniels (who also directed classic episodes such as "the Menagerie," "Space Seed," and "Mirror Mirror") turns in what may be his best work. The acting is well above par--Shatner is good, Nimoy is excellent, and William Windom, who plays Commodore Decker, is outstanding. His portrayal of Decker's haunted anguish is both wrenchingly believable and moving. And the story, written by SF veteran Norman Spinrad, is both an interesting cold war analogy and a great science fiction yarn. In "The Apple" we weren't given any clues or tantalizing hints about the nature/origin/purpose of Vaal (the malevolent mechanism du jour), which worked to the considerable detriment of the episode. With "The Doomsday Machine," however, these questions are asked and some thought-provoking answers are suggested.
But the story is successful as more than an imaginative SF tale, it is also excellent action/adventure. As such, the special effects are extremely important. This is probably the most effects-laden episode in original Trek, and while the original SFX were good (for the time), this is the one instance when I recommend the remastered version. The new digital effects actually enhance the storytelling. The wrecked USS Constellation has always been an affecting sight and presence, but the version in the remastered episode is even more disturbing--it's like seeing our beloved Enterprise crippled and ruined. And the planet killer, always menacing, looks even more macabre and otherworldly.
A few interesting bits of trivia:
· Commodore Decker is the father of Captain/Commander Will Decker in the "Star Trek: The Motion Picture."
· One of the Star Trek novels proposes that the planet killer was constructed by a race from our galaxy as a weapon to fight the Borg.
· Commodore Decker makes a subsequent appearance (yes, after his apparent death) in a fan-produced episode that takes place in the 20th century.
· At Gene Roddenberry's request, Norman Spinrad came up with a design for the planet killer that portrayed it as a massive battleship, bristling with all sorts of evil-looking weapons. He was reportedly disappointed in the design the ended up being used, saying it looked like a "wind sock dipped in cement." Roddenberry's response was that they ran out of money for the episode and had to make do. I think the design actually is more effective--it's quintessentially alien and ominous.
So this is episode is a real gem: excellent direction, superb acting, and a great story. I just wish I could be as enthusiastic about the following episode...
Next time: "Catspaw"
Monday, September 21, 2009
TOS Rewind #32: "The Apple"
Up now is The Apple (10/13/1967)
Eric, Rob, and I did a podcast. As Kirk might say in this episode, "Podcasts...IN PARADISE!"
Eric gets the first shot:
This apple has a worm in it. Where the previous episode, "Mirror Mirror," is a great example of Star Trek at its best, "The Apple" is a great example of the dregs of the series. It's odd, actually, because the next episode, "The Doomsday Machine," is another classic. I guess the producers, and/or network, decided a sub-par episode might not be noticeable if it aired between two that are superb.
I'm not going to spend a great deal of time repeating the critique we did in our podcast, however. (Go listen to it!) By way of a quick recap, this episode fails in pretty much every category: the acting is wooden, the special effects (especially the paper mache model that was used for Vaal) are pathetic, and worst of all, the story is derivative and devoid of anything resembling a compelling plot. On the plus side (very narrow), there are some good character moments, particularly for Scotty. And the idea underlying the story isn't bad, the problem is that it's an underdeveloped rehash of "The Return of the Archons" from the first season. If the writer and producers has bothered to explain, or at least hint at, how and why Vaal came to be, the episode might have been okay. But they didn't...
All this being said, as I pointed out in the 'cast, original Trek was produced at a breakneck pace on a frayed shoestring budget, so it's amazing a much higher percentage of episodes weren't of the low caliber of "The Apple." And as I mentioned earlier, the next episode is a classic!
---
This episode is a bit of a stinker. I don't think it's one of the worst, but it really stands out within the second season as the rest of the episodes are generally quite good. The ideas expressed here might be more interesting if we hadn't seen them before in the far-superior "Archons." Landru, the society-guiding cyber intelligence of "Archons" at least had a back story and was a much more interesting adversary to the crude and poorly defined Vaal in this episode. Of course, having a planet with a stagnant computer-managed human society where Kirk has to decide whether or not to violate the Prime Directive is a good idea for an episode. Unfortunately, very little time is devoted to it. Much of the running time of the episode is spent killing off Red Shirts (this episode really establishes the tradition with four of them getting knocked off), Kirk repeatedly throwing paradise-lost-themed lines out, and bad "love" scenes between Chekov and Yeoman Landon. In its defense, the Red Shirt sequences are actually pretty funny and can be fully appreciated in the episode's trailer: it stitches together many of the bad/funny scenes in this episode.
Without the subplot of the Enterprise being attacked, perhaps there would have been time to actually explore the implications of Kirk interfering with the society, something that's only really given lip service here. Like the spore-shooting plants and exploding rocks ("Garden of Eden, with land mines." tee hee), the action in orbit is just there to juice up the tension. Of course one could argue that plenty of Next Generation episodes went in the other direction: all character/ideas with too little action. In the end, for this episode, it all comes off as silly and we find it hard to take any of the ideas seriously.
As Rob pointed out in the podcast, Shatner seemed to have dramatic difficulty doing tense scenes without a real villain to play of off. His performance if definitely off. Nimoy goes between overreaction and blandness much of the time here. Not that there aren't points of fun with the characters. I've always liked the back/forth between Kirk and Scotty in this episode and Spock/McCoy get some of their usual sparring in. There's also a very amusing scene between Spock and Chekov where they create a distraction.
As Eric pointed out, the facade of Vaal looks pretty shabby, though I remember it being somewhat more impressive when I saw it growing up. Another victim of large, high resolution screens. The planet sets look like rejects from Gilligan's Island, pretty sad. It's a good thing that the next episode brings the level back up...
Next time: "The Doomsday Machine"
Eric, Rob, and I did a podcast. As Kirk might say in this episode, "Podcasts...IN PARADISE!"
Eric gets the first shot:
This apple has a worm in it. Where the previous episode, "Mirror Mirror," is a great example of Star Trek at its best, "The Apple" is a great example of the dregs of the series. It's odd, actually, because the next episode, "The Doomsday Machine," is another classic. I guess the producers, and/or network, decided a sub-par episode might not be noticeable if it aired between two that are superb.
I'm not going to spend a great deal of time repeating the critique we did in our podcast, however. (Go listen to it!) By way of a quick recap, this episode fails in pretty much every category: the acting is wooden, the special effects (especially the paper mache model that was used for Vaal) are pathetic, and worst of all, the story is derivative and devoid of anything resembling a compelling plot. On the plus side (very narrow), there are some good character moments, particularly for Scotty. And the idea underlying the story isn't bad, the problem is that it's an underdeveloped rehash of "The Return of the Archons" from the first season. If the writer and producers has bothered to explain, or at least hint at, how and why Vaal came to be, the episode might have been okay. But they didn't...
All this being said, as I pointed out in the 'cast, original Trek was produced at a breakneck pace on a frayed shoestring budget, so it's amazing a much higher percentage of episodes weren't of the low caliber of "The Apple." And as I mentioned earlier, the next episode is a classic!
---
This episode is a bit of a stinker. I don't think it's one of the worst, but it really stands out within the second season as the rest of the episodes are generally quite good. The ideas expressed here might be more interesting if we hadn't seen them before in the far-superior "Archons." Landru, the society-guiding cyber intelligence of "Archons" at least had a back story and was a much more interesting adversary to the crude and poorly defined Vaal in this episode. Of course, having a planet with a stagnant computer-managed human society where Kirk has to decide whether or not to violate the Prime Directive is a good idea for an episode. Unfortunately, very little time is devoted to it. Much of the running time of the episode is spent killing off Red Shirts (this episode really establishes the tradition with four of them getting knocked off), Kirk repeatedly throwing paradise-lost-themed lines out, and bad "love" scenes between Chekov and Yeoman Landon. In its defense, the Red Shirt sequences are actually pretty funny and can be fully appreciated in the episode's trailer: it stitches together many of the bad/funny scenes in this episode.
Without the subplot of the Enterprise being attacked, perhaps there would have been time to actually explore the implications of Kirk interfering with the society, something that's only really given lip service here. Like the spore-shooting plants and exploding rocks ("Garden of Eden, with land mines." tee hee), the action in orbit is just there to juice up the tension. Of course one could argue that plenty of Next Generation episodes went in the other direction: all character/ideas with too little action. In the end, for this episode, it all comes off as silly and we find it hard to take any of the ideas seriously.
As Rob pointed out in the podcast, Shatner seemed to have dramatic difficulty doing tense scenes without a real villain to play of off. His performance if definitely off. Nimoy goes between overreaction and blandness much of the time here. Not that there aren't points of fun with the characters. I've always liked the back/forth between Kirk and Scotty in this episode and Spock/McCoy get some of their usual sparring in. There's also a very amusing scene between Spock and Chekov where they create a distraction.
As Eric pointed out, the facade of Vaal looks pretty shabby, though I remember it being somewhat more impressive when I saw it growing up. Another victim of large, high resolution screens. The planet sets look like rejects from Gilligan's Island, pretty sad. It's a good thing that the next episode brings the level back up...
Next time: "The Doomsday Machine"
Tuesday, September 1, 2009
TOS Rewind #31: "Mirror, Mirror"
Up this time: Mirror, Mirror (10/06/1967).
We recorded a podcast with Eric, Rob, Lee, and myself.
Eric starts us out:
"Mirror Mirror" is generally regarded as one of the very best classic Star Trek episodes; it is certainly in my top 10. The story is great SF--it's certainly not hard science fiction (i.e. SF that actually respects and does justice to science), but I can't think of any science fiction TV shows that are (or have been) hard SF. That said, Mirror Mirror is a great example of the kind of wildly imaginative science fiction that you find in the short stories and novels from the 50s through the 70s. It's pure geeky fun.
One of the best aspects of this episode is that there are great parts for all of the characters, not just Kirk, Spock, and McCoy. This is the only episode in which Scotty calls Kirk by his first name, and he's got several good pieces sprinkled throughout. Uhura is at her best--she gets to show her claws, which is always fun. Mirror Sulu is a delightfully malicious and lecherous diversion from his clean-cut counterpart in our universe, and who would've thought sweet little Chekov could be such a conniving, murderous shit? The version of these characters we're used to are shining examples of exceptional human beings, very upstanding and moral and proper, so it's delicious to see them stripped of their veneer of civilization.
Speaking of which, I really would've liked to see more of mirror Kirk, McCoy, Uhura, and Scotty. They are in the brig on "our" Enterprise for the whole episode, but if this had been a two-parter, it would've been great to see them attempt a breakout and takeover. The best mirror character, however, is Spock. He's essentially the Spock we know, but there's a hard edge there that makes him extremely cool. And what's fascinating is that Spock seems to be the constant in both universes. Despite being rather brutal and ruthless in the mirror universe, he's still intelligent, decent, and ethical, and it's this consistency that allows our Kirk, McCoy, Scotty, Uhura to return to our universe. It's also the factor that promises a heap o' trouble for mirror Kirk when he gets back to his Enterprise.
I'll leave my review there. There's much more that can be said about this episode (and we cover much of it in our podcast--go give it a listen). Mirror Mirror is classic Star Trek at it's best!
---
I believe we were all in agreement: this is top-drawer Trek. This episode isn't just thought-provoking, it's also a lot of fun. I have always loved this episode. The charge of seeing Spock with facial hair was something else. It isn't really that big of a deal, but when I was a kid, it certainly seemed like it. The idea of our familiar Enterprise being run by a group of futuristic thugs who happened to look like our heroes was irresistible.
It's easy to poke holes in the concept and science on display here, but the good/evil character ideas are still compelling. It's interesting to contemplate how this mirror universe actually operates. The episode doesn't give us a lot to work with, but we know there is central authority crossed with a gangster/pirate element (example: the hired goons used by the officers). As Lee pointed out in the podcast, this system probably wouldn't get very far in real life, but they manage to pack some interesting ideas into a very limited frame.
The character elements, as Eric pointed out, are the real draw here. Kirk and the landing party adapt to the new situation well. Uhura really does a 180 from being scared, clinging to Kirk, to taking on evil Sulu (complete with facial scar!). Sulu and Chekov are appropriately slimy. Hell, even the uniforms are different. Nimoy really does a great performance as the alternate Spock. His mannerisms are slightly different and he never overdoes it. "Mirror" Spock has this command authority we seldom see from the "good" version. Of course, we all think the Mirror Spock is WAY cooler than the regular one. His costume is cooler, and he's even more of a badass. Some things in the alternate universe aren't so different, like Kirk's relationships with women. This exchange between Kirk and Marlena (evil Kirk's, um, girlfriend?) got a chuckle out of me:
Marlena: "I've been a captain's woman, and I like it. I'll be one again, if I have to go through every officer in the fleet."
Kirk: "You could... I simply meant that you could be anything you wanted to be."
Wow...
Another thing I really like about this episode is how they created the atmosphere of the mirror universe with relatively few changes to the sets and costumes. They obviously couldn't change things too much, but it's enough to get the point across. Besides, the characters are what really convince us that Kirk and co. aren't in Kansas anymore.
Like Eric, I think it would have been fun to have seen more of the evil Kirk/landing party in our universe. The one scene we see has Kirk acting like a bombastic gangster trying to bribe Spock to get out of the brig. This particular plot was mined in other Trek shows to good effect. We would have enjoyed seeing the aftermath with bearded Spock after the evil Kirk returned.
The remastered version had a few enhancements. The Agony Booth got some effects, so we don't just see Chekov sweating in that plexiglass tube. There are a few zapping effects when Spock hits Mr Kyle with the agonizer hoopajoop.
So there you have it. Definitely an episode I always like to watch and one that really makes the most of its limited time/budget. "Captain Kirk, I shall consider it!"
Next time: "The Apple"
We recorded a podcast with Eric, Rob, Lee, and myself.
Eric starts us out:
"Mirror Mirror" is generally regarded as one of the very best classic Star Trek episodes; it is certainly in my top 10. The story is great SF--it's certainly not hard science fiction (i.e. SF that actually respects and does justice to science), but I can't think of any science fiction TV shows that are (or have been) hard SF. That said, Mirror Mirror is a great example of the kind of wildly imaginative science fiction that you find in the short stories and novels from the 50s through the 70s. It's pure geeky fun.
One of the best aspects of this episode is that there are great parts for all of the characters, not just Kirk, Spock, and McCoy. This is the only episode in which Scotty calls Kirk by his first name, and he's got several good pieces sprinkled throughout. Uhura is at her best--she gets to show her claws, which is always fun. Mirror Sulu is a delightfully malicious and lecherous diversion from his clean-cut counterpart in our universe, and who would've thought sweet little Chekov could be such a conniving, murderous shit? The version of these characters we're used to are shining examples of exceptional human beings, very upstanding and moral and proper, so it's delicious to see them stripped of their veneer of civilization.
Speaking of which, I really would've liked to see more of mirror Kirk, McCoy, Uhura, and Scotty. They are in the brig on "our" Enterprise for the whole episode, but if this had been a two-parter, it would've been great to see them attempt a breakout and takeover. The best mirror character, however, is Spock. He's essentially the Spock we know, but there's a hard edge there that makes him extremely cool. And what's fascinating is that Spock seems to be the constant in both universes. Despite being rather brutal and ruthless in the mirror universe, he's still intelligent, decent, and ethical, and it's this consistency that allows our Kirk, McCoy, Scotty, Uhura to return to our universe. It's also the factor that promises a heap o' trouble for mirror Kirk when he gets back to his Enterprise.
I'll leave my review there. There's much more that can be said about this episode (and we cover much of it in our podcast--go give it a listen). Mirror Mirror is classic Star Trek at it's best!
---
I believe we were all in agreement: this is top-drawer Trek. This episode isn't just thought-provoking, it's also a lot of fun. I have always loved this episode. The charge of seeing Spock with facial hair was something else. It isn't really that big of a deal, but when I was a kid, it certainly seemed like it. The idea of our familiar Enterprise being run by a group of futuristic thugs who happened to look like our heroes was irresistible.
It's easy to poke holes in the concept and science on display here, but the good/evil character ideas are still compelling. It's interesting to contemplate how this mirror universe actually operates. The episode doesn't give us a lot to work with, but we know there is central authority crossed with a gangster/pirate element (example: the hired goons used by the officers). As Lee pointed out in the podcast, this system probably wouldn't get very far in real life, but they manage to pack some interesting ideas into a very limited frame.
The character elements, as Eric pointed out, are the real draw here. Kirk and the landing party adapt to the new situation well. Uhura really does a 180 from being scared, clinging to Kirk, to taking on evil Sulu (complete with facial scar!). Sulu and Chekov are appropriately slimy. Hell, even the uniforms are different. Nimoy really does a great performance as the alternate Spock. His mannerisms are slightly different and he never overdoes it. "Mirror" Spock has this command authority we seldom see from the "good" version. Of course, we all think the Mirror Spock is WAY cooler than the regular one. His costume is cooler, and he's even more of a badass. Some things in the alternate universe aren't so different, like Kirk's relationships with women. This exchange between Kirk and Marlena (evil Kirk's, um, girlfriend?) got a chuckle out of me:
Marlena: "I've been a captain's woman, and I like it. I'll be one again, if I have to go through every officer in the fleet."
Kirk: "You could... I simply meant that you could be anything you wanted to be."
Wow...
Another thing I really like about this episode is how they created the atmosphere of the mirror universe with relatively few changes to the sets and costumes. They obviously couldn't change things too much, but it's enough to get the point across. Besides, the characters are what really convince us that Kirk and co. aren't in Kansas anymore.
Like Eric, I think it would have been fun to have seen more of the evil Kirk/landing party in our universe. The one scene we see has Kirk acting like a bombastic gangster trying to bribe Spock to get out of the brig. This particular plot was mined in other Trek shows to good effect. We would have enjoyed seeing the aftermath with bearded Spock after the evil Kirk returned.
The remastered version had a few enhancements. The Agony Booth got some effects, so we don't just see Chekov sweating in that plexiglass tube. There are a few zapping effects when Spock hits Mr Kyle with the agonizer hoopajoop.
So there you have it. Definitely an episode I always like to watch and one that really makes the most of its limited time/budget. "Captain Kirk, I shall consider it!"
Next time: "The Apple"
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