Up today: Spectre of the Gun (10/25/1968).
The podcast for this one can be found right here:
There seemed to be this unwritten rule for many years that TV shows in years past had to have at least one episode set in the old West. Which lends the question...if a science fiction show had to set an episode in the Old West, the what if Bonanza had an episode set in outer space?!!!! Ahem... If The Prisoner could have one, then I guess why not Star Trek? I could see an argument either way as to whether this was just a convenient way for the show to use some existing props at the studio and easily insert the Western genre into the show to tell a story. The show manages to justify not only the setting but the sparse sets and props. Indeed, the odd look of the half-finished sets actually adds to the dream-like atmosphere of the episode. I read that they were planning on shooting this on real backlot or location settings but didn't have the budget. It's a good thing that they went with the interior sets instead.
Star Trek had a number of "alien test" themed stories but at least this one puts a fun twist on it. Once Kirk decides to beam down to the planet, he and the audience are inserted into the strange world the aliens create based on what we are told is Kirk's memories/imagination. Of course I have to assume this setting is based on some old movies or something; in any case, it gets the job done: a good symbol of Kirk's human (AKA "American") cultural heritage.
The landing party seems genuinely bewildered by the setting they're thrown into. Sure, Kirk ignored the aliens' warning about not wanting any outside contact but it is fairly odd to have been thrown into this elaborate illusion. Is this to truly test the humans or is it an execution sentence that Spock manages to outsmart? In some episodes, the reasons and details behind the plots can be frustrating. In this one, the vagueness just allows us to imagine the why and the how. There is also no other "framing story" going on aboard the Enterprise. We don't know how long the landing party is missing or what the rest of the crew is doing. The action on the planet is nicely disassociated with the show's normal reality.
If I remember correctly, I was never overly fond of this episode all those years ago. Sure, I didn't really dislike it but I'm not sure my 12 year old self appreciated it as much. There are interesting ideas that reward a repeat viewing. Other than the somewhat-obligatory fight scene at the end, there isn't a lot of action.
Interestingly, the landing party has no expendable (AKA Red Shirts) characters to be killed off which is refreshing. Chekov's "death" must have been a bit of a shock at a first viewing though it's hard to see that with fresh eyes today. Somehow though, the dreamlike atmosphere makes his death seem less than real. Hindsight perhaps...
The guest actors are decent, mostly playing stock Western types: the ineffective Sheriff, the bartender, the menacing bad guys, etc. The performances of the Earps/Doc Holliday are a bit subdued. I don't know if this intentional or the sign of a phoned-in performance, but like the half-baked sets, the characters fit.
The dynamic between the characters is running on all cylinders; there are funny lines between them all and watching Kirk and Spock figure out the "rules" of their Tombstone, AZ prison is entertaining. This is also another episode where there is a new-sounding musical score, this time by Jerry Fielding who also scored the classic 1968 Western, "The Wild Bunch".
Beyond the nice-looking picture and sound on the HD version of this show, the enhanced effects didn't really add much this time around. The alien fog shrouded head still looks pretty cheesy.
But don't misunderstand: this episode holds up well and is a real standout of Season 3.
---
And now Eric gets his turn:
Ah, the first review of 2014. As I write this, the temperature outside has reached the forecast high of -12 F. Positively balmy. With a wind chill of -33 F, I'm pretty sure it's literally cold enough to freeze the balls off of a brass monkey. All of which has absolutely nothing to do with our current episode, "Spectre of the Gun."
I'm not going to attempt a literary analysis of this episode. (You're welcome.) But I will say that I'm inclined to rank it among the best third season episodes. Admittedly, this is probably a case of damning with faint praise, but "Spectre of the Gun" works surprisingly well. As we discussed in our podcast, the budgetary restraints of the third season served to heighten the surreal feeling with minimalist sets and a featureless, red sky. Given that the scenario is drawn from Kirk's imagination and entirely academic knowledge of the 19th century American west, it is appropriate for the surroundings and characters to be incomplete and lacking in depth. In fact, this is what gives the episode its sense of unreality.
And the resolution is well done too. Spock--who else--deduces that their entire situation is an illusion, and thanks to his Vulcan mental discipline, is able to render himself immune to any danger from it. Of course, he has to mind meld with the others to instill in them his level of awareness and detachment. But it works: no contrivances and no deus ex machina. The only real error that I caught in this episode was that the town Marshal of Tombstone at the time of the Gunfight at the O.K. Corral was Virgil Earp, not his better-known brother Wyatt.
"Spectre of the Gun" does a delightful job of playing with our sense of reality. In fact, the only episode that deals as well with illusions and their inherent danger is "The Menagerie."
Next time: "Day of the Dove"
Tuesday, December 31, 2013
Tuesday, October 22, 2013
TOS Rewind #58: "Is There in Truth No Beauty?"
Today we take a look at Is There in Truth No Beauty? (10/18/1968)
The podcast for this episode is here:
Since I continue to find this episode...um, annoying?...Eric gets to start us out:
This review was initially a real quandry for me. The question inherent in the title, "Is There In Truth No Beauty?" made me want to do a more in-depth analysis, but as I watched and rewatched this episode, I kept finding that this question gets a frustratingly shallow treatment. It wasn't until I thought of the 1999 movie "American Beauty" (which does a much more meaningful examination of the nature of beauty) that I realized the theme I was looking for is that beauty is not in truth, beauty is truth.
To be clear, I am referring to personal truth and inner beauty. One of several gripes I have with this episode (along with the misogyny, misandry, and atrocious dialog) is that it focuses on physical beauty, exemplified by Miranda Jones, or the hideous lack thereof, represented by Kollos. As Kirk says, "...most of us are attracted by beauty and repelled by ugliness. One of the last of our prejudices." And while this is true, physical beauty has little or nothing to do with a person's character, which is closely tied to a person's intrinsic honesty. And honesty goes hand-in-hand with truth.
Consider Miranda Jones, who is outwardly very attractive. So much so that she has the human males stumbling over each other to try to woo her. In fact, they're so busy thinking with their glands they don't notice her distinct, but carefully veiled, defensiveness and animosity towards Spock. She is filled with anger and resentment because he is more adept as a telepath, but she isn't honest enough to admit this, even to herself. And this isn't the only way Miranda is living a lie; as we find out later in the episode, she is blind but hides that fact thanks to a sensor net woven into her clothes. This is a blatant and entirely intentional deception, and it isn't until McCoy reveals her blindness that her internal facade of dishonesty begins to crack. Finally, when Kirk confronts Miranda about her unwillingness to help Spock, her inner ugliness is laid bare and she is forced to accept and embrace the truth. And it is this that makes her beautiful.
Ironically, it is Miranda who frames the contradiction between Kollos' appearance and his true nature. She asks if Kollos is to ugly to bear or too beautiful? And when Spock mind melds with Kollos, the answer becomes clear. Kollos is completely without guile. His confusion over communication via speech is because it is so highly susceptible to inaccuracy and misinterpretation. Kollos is utterly honest, and it is this truth that is beautiful in stark contrast to his physical appearance.
So despite the flaws in this episode, there is enough substance to answer the question: Is There in Truth No Beauty?
---
Annoying? Do tell...
What I see with this episode is an awkward attempt to combine some sci-fi elements with a treatise on we humans' treatment of beauty. At least what we consider to be beautiful, that is...
The episode certainly has its heart in the right place. The idea of truth and beauty, well-expressed by Eric above, I can offer no quarrel with. The idea behind the "Alien of the Week" , the Medusans (obvious and awful) is not new; Trek has had a number of non-corporeal beings before. But the way this being is used in a plot is a new twist at least. These aliens, while possessing very noble characteristics, are literally unbearable to look at. At least by we puny humans. Miranda has the physical beauty but is filled with petty jealousy and other emotional "ugliness". Okay, pretty good setup
The main problem is the way the characters handle this. Miranda's conflicts are done in such a shallow, soap opera-style manner that it feels like the writers were either being lazy by using tired (even in 1968) melodramatic tools or didn't think the audience would "get" the concept otherwise. If you doubt this, go back and rewatch the scene where McCoy reveals Miranda's blindness.
Speaking of tools, Marvick is probably the worst offender in the bad drama department for this episode. He seems a bit unhinged even before he settles into his role as plot device. Now, it isn't that surprising considering he's in a love triangle with Miranda and Kollos. Talk about a no-win scenario...but Marvick playing "insane" is laughably bad (with the help of some skewed camera angles and fish eye lenses) and quite obvious as the device to get the Enterprise into a bad spot. The "we've traveled outside the galaxy and can't get home" plot is pretty weak and since it's a device, let's just move right along...
Ultimately I think this one could have been pretty decent. The idea is solid and you really can't blame the usual Season 3 budget woes for the problems. The writing needed a serious rework and if you don't believe me, recall the awful dinner scene at the beginning where Kirk and the rest of the crew are acting pretty badly. Shatner and the rest are just, well, following orders. I'm sure I've mentioned before that I just don't enjoy Diana Muldaur and I'm not exactly sure why. Some of the time her performance works here but she often comes off as just plain unsympathetic. Part of that is due to the way the character is written but the actor does have something to do with it. D.M. rubs me the wrong way and I'm going to have leave it at that. Humph!
So, Eric has the better take on this one and I do hope that next time I'll have a little bit more of interest or value to say...
Next time: "Spectre of the Gun"
The podcast for this episode is here:
Since I continue to find this episode...um, annoying?...Eric gets to start us out:
This review was initially a real quandry for me. The question inherent in the title, "Is There In Truth No Beauty?" made me want to do a more in-depth analysis, but as I watched and rewatched this episode, I kept finding that this question gets a frustratingly shallow treatment. It wasn't until I thought of the 1999 movie "American Beauty" (which does a much more meaningful examination of the nature of beauty) that I realized the theme I was looking for is that beauty is not in truth, beauty is truth.
To be clear, I am referring to personal truth and inner beauty. One of several gripes I have with this episode (along with the misogyny, misandry, and atrocious dialog) is that it focuses on physical beauty, exemplified by Miranda Jones, or the hideous lack thereof, represented by Kollos. As Kirk says, "...most of us are attracted by beauty and repelled by ugliness. One of the last of our prejudices." And while this is true, physical beauty has little or nothing to do with a person's character, which is closely tied to a person's intrinsic honesty. And honesty goes hand-in-hand with truth.
Consider Miranda Jones, who is outwardly very attractive. So much so that she has the human males stumbling over each other to try to woo her. In fact, they're so busy thinking with their glands they don't notice her distinct, but carefully veiled, defensiveness and animosity towards Spock. She is filled with anger and resentment because he is more adept as a telepath, but she isn't honest enough to admit this, even to herself. And this isn't the only way Miranda is living a lie; as we find out later in the episode, she is blind but hides that fact thanks to a sensor net woven into her clothes. This is a blatant and entirely intentional deception, and it isn't until McCoy reveals her blindness that her internal facade of dishonesty begins to crack. Finally, when Kirk confronts Miranda about her unwillingness to help Spock, her inner ugliness is laid bare and she is forced to accept and embrace the truth. And it is this that makes her beautiful.
Ironically, it is Miranda who frames the contradiction between Kollos' appearance and his true nature. She asks if Kollos is to ugly to bear or too beautiful? And when Spock mind melds with Kollos, the answer becomes clear. Kollos is completely without guile. His confusion over communication via speech is because it is so highly susceptible to inaccuracy and misinterpretation. Kollos is utterly honest, and it is this truth that is beautiful in stark contrast to his physical appearance.
So despite the flaws in this episode, there is enough substance to answer the question: Is There in Truth No Beauty?
---
Annoying? Do tell...
What I see with this episode is an awkward attempt to combine some sci-fi elements with a treatise on we humans' treatment of beauty. At least what we consider to be beautiful, that is...
The episode certainly has its heart in the right place. The idea of truth and beauty, well-expressed by Eric above, I can offer no quarrel with. The idea behind the "Alien of the Week" , the Medusans (obvious and awful) is not new; Trek has had a number of non-corporeal beings before. But the way this being is used in a plot is a new twist at least. These aliens, while possessing very noble characteristics, are literally unbearable to look at. At least by we puny humans. Miranda has the physical beauty but is filled with petty jealousy and other emotional "ugliness". Okay, pretty good setup
The main problem is the way the characters handle this. Miranda's conflicts are done in such a shallow, soap opera-style manner that it feels like the writers were either being lazy by using tired (even in 1968) melodramatic tools or didn't think the audience would "get" the concept otherwise. If you doubt this, go back and rewatch the scene where McCoy reveals Miranda's blindness.
Speaking of tools, Marvick is probably the worst offender in the bad drama department for this episode. He seems a bit unhinged even before he settles into his role as plot device. Now, it isn't that surprising considering he's in a love triangle with Miranda and Kollos. Talk about a no-win scenario...but Marvick playing "insane" is laughably bad (with the help of some skewed camera angles and fish eye lenses) and quite obvious as the device to get the Enterprise into a bad spot. The "we've traveled outside the galaxy and can't get home" plot is pretty weak and since it's a device, let's just move right along...
Ultimately I think this one could have been pretty decent. The idea is solid and you really can't blame the usual Season 3 budget woes for the problems. The writing needed a serious rework and if you don't believe me, recall the awful dinner scene at the beginning where Kirk and the rest of the crew are acting pretty badly. Shatner and the rest are just, well, following orders. I'm sure I've mentioned before that I just don't enjoy Diana Muldaur and I'm not exactly sure why. Some of the time her performance works here but she often comes off as just plain unsympathetic. Part of that is due to the way the character is written but the actor does have something to do with it. D.M. rubs me the wrong way and I'm going to have leave it at that. Humph!
So, Eric has the better take on this one and I do hope that next time I'll have a little bit more of interest or value to say...
Next time: "Spectre of the Gun"
Thursday, September 19, 2013
TOS Rewind #57: "And the Children Shall Lead"
The podcast for this episode opens with a not-too-lengthy discussion betwixt the three of us regarding the newest Trek film, Star Trek Into Darkness. Check it out
For your consideration, we have And the Childran Shall Lead (10/11/1968).
Well, I believe we've reached another low ebb of our beloved Original Series. Yes, everyone remembers Spock's Brain as being awful but it's really a few notches above this one both in terms of ideas/story as well as just plain watchability. For you see, Spock's Brain at least has its camp value and funny costumes going for it. This episode has me grasping for the Brain remote control so I can click my out of this. In the end I have to conclude that this episode is a prime example of the general malaise that took hold of the show in its last season when the network decided Trek had no future. That a script this poor managed to be considered at all speaks volumes. Really, no one cared all that much by this point and it has to be considered amazing that the actually good episodes that come later made it at all.
What we have is a basic morality good vs. evil story that doesn't have the interest or really the nerve to pursue its ideas, such as they are. Much of the time is devoted to the ridiculous way the crew is used by the children and their evil leader. It's just very hard to take things seriously when they show poor Sulu being terrified of a screen full of flying Ginsu knives. Kirk's breakdown on the bridge is also bad; I wonder if Shatner deliberately hammed up the scene beyond his usual scenery-chewing ways because he was somehow attempting to compensate for the script.
For all the silliness present in this episode, the show doesn't want to tackle the one serious matter it does actually present. The children have, directly or not, participated in their own parents' deaths. It may be too much to ask of a 60s era TV show to tackle something like this head-on but since it's the only serious idea presented, the guy who wrote this should have known better. Everything is wrapped neatly at the end, which is to be expected but the evil that humans are capable of, even children, under the right/wrong influence is not explored as a matter of human nature. Instead, the show uses this "legendary" evil alien/demon thing as the monster. Again, if you don't want to go there, make the episode a monster/alien suspense story. That would have been at least coherent, though as a traditional villain, the dude in the large shower curtain leaves much to be desired.
The sets are already beginning to be reused this season and they look cheaper; the reduced budgets continue to be apparent in the look of the show. I could go on about this episode but it doesn't really seem worth the time to pick it apart further and there isn't really a good idea, at least not an idea worthy of Trek, here to extract and analyze. Maybe next time?
The effects for the remastered version were good, though there was little added in this episode.
---
Eric has the floor:
"And the Children Shall Lead" is another attempt at a Star Trek horror story. And as such, it is only marginally successful. I do remember it being somewhat frightening when I was much younger, but now, it comes across as more laughable than scary.
One of the things that bothers me is how stupid and shallow the crew are portrayed. It's incredibly insulting, and misogynistic, to make Uhura's biggest fear growing old and having her beauty fade. And Sulu's fear is that the Enterprise will go off course and be destroyed by a wall of swords and daggers in space?!
I also object to the portrayal of the children. Maybe the youngest kids would play games like Ring Around the Rosie, but Tommy Starnes is shown playing with them, and he's supposed to be in his early teens. No non-lobotomized teenager in the history of the universe has or would play games like Ring Around the Rosie with a bunch of prepubescents!
And here's a quote from the Memory Alpha wiki regarding the casting of the late Melvin Belli as Gorgon:
"The idea to cast noted attorney Melvin Belli as Gorgon came when his son, Caesar Belli, was cast as Steve. Producer Fred Freiberger hoped that the presence of Belli would boost ratings. This plan failed and Freiberger realized it would have been more appropriate to cast an actor in the role."
Agreed. And when I looked up Melvin Belli on Wikipedia, I found that he had what may be a contender for most unfortunate middle name of all time: Mouron. Or perhaps it's just weirdly apropos for an attorney. I'll have to consult my lawyer friends.
One note on the production is that the set where the kids and Kirk have ice cream is an arboretum set that was constructed in the third season to emphasize the need to give crew members a way to stay connected to nature while on deep space missions. It was originally supposed to be introduced in the episode "Elaan of Troyius," (which was filmed before "And the Children Shall Lead") but the scenes where it was used were cut.
Finally, I have a problem with the title. "And the Children Shall Lead" is derived from a biblical quote (Isaiah 11:16):
"The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them.
First, I don't see how this has any relevance to the episode, and second, being an agnostic, secular humanist, I don't appreciate the religious allusions.
So, it looks like I don't have much good to say about "And the Children Shall Lead." Oh well, the next episode should spark some interesting discussion.
Next time: "Is There in Truth No Beauty"
For your consideration, we have And the Childran Shall Lead (10/11/1968).
Well, I believe we've reached another low ebb of our beloved Original Series. Yes, everyone remembers Spock's Brain as being awful but it's really a few notches above this one both in terms of ideas/story as well as just plain watchability. For you see, Spock's Brain at least has its camp value and funny costumes going for it. This episode has me grasping for the Brain remote control so I can click my out of this. In the end I have to conclude that this episode is a prime example of the general malaise that took hold of the show in its last season when the network decided Trek had no future. That a script this poor managed to be considered at all speaks volumes. Really, no one cared all that much by this point and it has to be considered amazing that the actually good episodes that come later made it at all.
What we have is a basic morality good vs. evil story that doesn't have the interest or really the nerve to pursue its ideas, such as they are. Much of the time is devoted to the ridiculous way the crew is used by the children and their evil leader. It's just very hard to take things seriously when they show poor Sulu being terrified of a screen full of flying Ginsu knives. Kirk's breakdown on the bridge is also bad; I wonder if Shatner deliberately hammed up the scene beyond his usual scenery-chewing ways because he was somehow attempting to compensate for the script.
For all the silliness present in this episode, the show doesn't want to tackle the one serious matter it does actually present. The children have, directly or not, participated in their own parents' deaths. It may be too much to ask of a 60s era TV show to tackle something like this head-on but since it's the only serious idea presented, the guy who wrote this should have known better. Everything is wrapped neatly at the end, which is to be expected but the evil that humans are capable of, even children, under the right/wrong influence is not explored as a matter of human nature. Instead, the show uses this "legendary" evil alien/demon thing as the monster. Again, if you don't want to go there, make the episode a monster/alien suspense story. That would have been at least coherent, though as a traditional villain, the dude in the large shower curtain leaves much to be desired.
The sets are already beginning to be reused this season and they look cheaper; the reduced budgets continue to be apparent in the look of the show. I could go on about this episode but it doesn't really seem worth the time to pick it apart further and there isn't really a good idea, at least not an idea worthy of Trek, here to extract and analyze. Maybe next time?
The effects for the remastered version were good, though there was little added in this episode.
---
Eric has the floor:
"And the Children Shall Lead" is another attempt at a Star Trek horror story. And as such, it is only marginally successful. I do remember it being somewhat frightening when I was much younger, but now, it comes across as more laughable than scary.
One of the things that bothers me is how stupid and shallow the crew are portrayed. It's incredibly insulting, and misogynistic, to make Uhura's biggest fear growing old and having her beauty fade. And Sulu's fear is that the Enterprise will go off course and be destroyed by a wall of swords and daggers in space?!
I also object to the portrayal of the children. Maybe the youngest kids would play games like Ring Around the Rosie, but Tommy Starnes is shown playing with them, and he's supposed to be in his early teens. No non-lobotomized teenager in the history of the universe has or would play games like Ring Around the Rosie with a bunch of prepubescents!
And here's a quote from the Memory Alpha wiki regarding the casting of the late Melvin Belli as Gorgon:
"The idea to cast noted attorney Melvin Belli as Gorgon came when his son, Caesar Belli, was cast as Steve. Producer Fred Freiberger hoped that the presence of Belli would boost ratings. This plan failed and Freiberger realized it would have been more appropriate to cast an actor in the role."
Agreed. And when I looked up Melvin Belli on Wikipedia, I found that he had what may be a contender for most unfortunate middle name of all time: Mouron. Or perhaps it's just weirdly apropos for an attorney. I'll have to consult my lawyer friends.
One note on the production is that the set where the kids and Kirk have ice cream is an arboretum set that was constructed in the third season to emphasize the need to give crew members a way to stay connected to nature while on deep space missions. It was originally supposed to be introduced in the episode "Elaan of Troyius," (which was filmed before "And the Children Shall Lead") but the scenes where it was used were cut.
Finally, I have a problem with the title. "And the Children Shall Lead" is derived from a biblical quote (Isaiah 11:16):
"The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them.
First, I don't see how this has any relevance to the episode, and second, being an agnostic, secular humanist, I don't appreciate the religious allusions.
So, it looks like I don't have much good to say about "And the Children Shall Lead." Oh well, the next episode should spark some interesting discussion.
Next time: "Is There in Truth No Beauty"
Monday, July 8, 2013
TOS Rewind #56: "The Paradise Syndrome"
Today we get down with The Paradise Syndrome (10/04/1968)
The podcast for this episode is right here:
Eric starts us out:
"The Paradise Syndrome" is an interesting episode. Not because it's particularly good--it's just average--but rather because of Kirk's interaction with the "primitive" civilization on the planet.
We discuss many of the reasons to criticize this episode in our podcast, but as I've given it more thought, what annoys me most is the way Kirk interacts with the indigenous tribe to which he comes to be regarded as a god. The environment on the planet is described as idyllic, a paradise like Shangri-La, and Kirk praises the tribal elder for the prosperity of their fields and the happiness of their people. Why, then, does Kurok (Kirk's memory blurred god name) feel the need to fuck with it?
He introduces new ways to preserve food, makes an oil lantern, and describes plans to build a canal. In short, he raises their level of technology and is clearly intent on raising it much further. Again, why? The tribe is productive, healthy, and content. Why mess with that? The answer that is implied is that increased technology is necessarily good. Kurok is helping these people. We need look no farther than our own, bloody history, however, to see how the meeting between Native Americans and more advanced technology was anything but helpful to them. And while we've gained many comforts, conveniences, and benefits, thanks to our level of technology, it has also forced us to sacrifice a great deal and put ourselves in danger in many ways: overpopulation, environmental destruction, weapons of mass destruction, new and lethal pathogens, compromised food and water supply, pandemic poor physical health, unremitting stress, and disconnection from the natural world to name a few.
There can be no doubt that this is a complex issue, and I acknowledge that it is unrealistic to expect any one-hour TV drama to do more than scratch the surface. What bothers me is that the idea that technological advancement is good is presented in "The Paradise Syndrome" as axiomatic. Nitpicky? Perhaps, but to paraphrase an old saying, the devil is in the subtext.
---
We're all Kirok!!!!!!
As I remarked on the podcast, I have long had a special loathing for this episode. I don't really ever remember liking it that well and remember groaning when I would happen upon this episode on TV. Just as some of the series has gotten worse with age, could this one have gotten, better?
Let's break it down a bit. First, the good:
The fundamental idea for this episode is actually pretty solid. The story of an ancient advanced race of space-faring people saving/moving humanoids around the galaxy to explain all those very similar-looking people gets more fleshed out here. Of course, this idea is a very convenient way of avoiding expensive costumes and makeup but at least there is some thought behind it.
The subplot with Spock and the rest of the Enterprise crew trying to stop the asteroid has some good character moments between Spock and McCoy. Naturally the long period of time it takes for this part of the storyline to unfold allows events back on the planet with Kirk to proceed, but the writers had to do something to keep the gang busy.
The episode does not look at all cheap. The decision to shoot on location, even if it's in L.A. at Andy Griffith's fishing hole, gives the show a richness it often lacks when they're depicting scenes off the ship. The shots outdoors look cinematic; HD really makes these scenes look good, thanks to the show's use of 35mm film. Also, the set and props of the alien obelisk look great. The exterior of the obelisk was not used anywhere else in the series and looks impressive. The American Indian costumes, no doubt borrowed from Paramount's collection, also look good. Funny enough, this may be one of the best-looking episodes of the third season.
For the first time in a while, I noticed that the musical score is mostly new for this episode. The show reused music cues throughout much of the second season so it's nice to hear something different, even if the score relies a bit too much on musical cliches to depict the idyllic life of the tribe.
The not-so-good.
The portrayal of American Indians is perhaps, by the standards of the time, average, but by modern standards: not so great. Eric pointed out many problems with the attitudes about the "backwards" ways of the people on the planet. The one dodge they could perhaps come up with is that Kirk has lost his memory and doesn't realize he's violating the Prime Directive. The way the show slants things however is that everything Kirk introduces to "improve" the tribe's way of life is a net good. Unlike other episodes where there is meddling with other cultures, we don't really see the downside of what Kirk does. Sure, the asteroid is deflected, but one comes away from the episode wondering what damage was done to the tribe. Other than Salish losing his girlfriend, that is.
Speaking of Miramanee, she bugged me. I think the person playing her was fine but the Miramanee character was written purely as the "dumb pretty American Indian girl" as the love interest for Kirk's visit to paradise. Ahem. I think they could done a lot more with this character. I also found it harder to empathize with her after the way she dumps Salish, her previous lover. Miramanee seems to have few feelings about the matter and just shrugs as she takes up with Kirk, who, even with his brain zapped, is a smooth operator.
Shatner. Now, depending on your point of view, the performance of Shatner in this episode could go in the plus or minus column. If you're not a fan of Bill's style of acting then you're really not going to like it here. There are moments that are relatively restrained (Miramanee's death scene) but other times Shatner goes pretty far over the top; the dramatic scene near the end where Kirk yells into the wind as well as the earlier bits where Kirk is doing this reverb-filled voiceover (sounds like his "musical" ventures sometimes!). Which can be entertaining, again depending on your liking of Shatner. As for me, the Shatner scenery chewing used to bug me a LOT but I now appreciate it for what it is; you have to embrace the performance somewhat to really appreciate the character of Kirk or for that matter, the spirit of the original series. I think that for many years I allowed the camp of these scenes to obscure anything positive about this episode. Yes, the episode is middling and has problems, but I've definitely upgraded it in retrospect.
The new effects make this episode look even better. The asteroid and the phaser effects are well done. This is one of those episodes where I would not want to go back to the old shots.
Next time: "And the Children Shall Lead" (God help us)
The podcast for this episode is right here:
Eric starts us out:
"The Paradise Syndrome" is an interesting episode. Not because it's particularly good--it's just average--but rather because of Kirk's interaction with the "primitive" civilization on the planet.
We discuss many of the reasons to criticize this episode in our podcast, but as I've given it more thought, what annoys me most is the way Kirk interacts with the indigenous tribe to which he comes to be regarded as a god. The environment on the planet is described as idyllic, a paradise like Shangri-La, and Kirk praises the tribal elder for the prosperity of their fields and the happiness of their people. Why, then, does Kurok (Kirk's memory blurred god name) feel the need to fuck with it?
He introduces new ways to preserve food, makes an oil lantern, and describes plans to build a canal. In short, he raises their level of technology and is clearly intent on raising it much further. Again, why? The tribe is productive, healthy, and content. Why mess with that? The answer that is implied is that increased technology is necessarily good. Kurok is helping these people. We need look no farther than our own, bloody history, however, to see how the meeting between Native Americans and more advanced technology was anything but helpful to them. And while we've gained many comforts, conveniences, and benefits, thanks to our level of technology, it has also forced us to sacrifice a great deal and put ourselves in danger in many ways: overpopulation, environmental destruction, weapons of mass destruction, new and lethal pathogens, compromised food and water supply, pandemic poor physical health, unremitting stress, and disconnection from the natural world to name a few.
There can be no doubt that this is a complex issue, and I acknowledge that it is unrealistic to expect any one-hour TV drama to do more than scratch the surface. What bothers me is that the idea that technological advancement is good is presented in "The Paradise Syndrome" as axiomatic. Nitpicky? Perhaps, but to paraphrase an old saying, the devil is in the subtext.
---
We're all Kirok!!!!!!
As I remarked on the podcast, I have long had a special loathing for this episode. I don't really ever remember liking it that well and remember groaning when I would happen upon this episode on TV. Just as some of the series has gotten worse with age, could this one have gotten, better?
Let's break it down a bit. First, the good:
The fundamental idea for this episode is actually pretty solid. The story of an ancient advanced race of space-faring people saving/moving humanoids around the galaxy to explain all those very similar-looking people gets more fleshed out here. Of course, this idea is a very convenient way of avoiding expensive costumes and makeup but at least there is some thought behind it.
The subplot with Spock and the rest of the Enterprise crew trying to stop the asteroid has some good character moments between Spock and McCoy. Naturally the long period of time it takes for this part of the storyline to unfold allows events back on the planet with Kirk to proceed, but the writers had to do something to keep the gang busy.
The episode does not look at all cheap. The decision to shoot on location, even if it's in L.A. at Andy Griffith's fishing hole, gives the show a richness it often lacks when they're depicting scenes off the ship. The shots outdoors look cinematic; HD really makes these scenes look good, thanks to the show's use of 35mm film. Also, the set and props of the alien obelisk look great. The exterior of the obelisk was not used anywhere else in the series and looks impressive. The American Indian costumes, no doubt borrowed from Paramount's collection, also look good. Funny enough, this may be one of the best-looking episodes of the third season.
For the first time in a while, I noticed that the musical score is mostly new for this episode. The show reused music cues throughout much of the second season so it's nice to hear something different, even if the score relies a bit too much on musical cliches to depict the idyllic life of the tribe.
The not-so-good.
The portrayal of American Indians is perhaps, by the standards of the time, average, but by modern standards: not so great. Eric pointed out many problems with the attitudes about the "backwards" ways of the people on the planet. The one dodge they could perhaps come up with is that Kirk has lost his memory and doesn't realize he's violating the Prime Directive. The way the show slants things however is that everything Kirk introduces to "improve" the tribe's way of life is a net good. Unlike other episodes where there is meddling with other cultures, we don't really see the downside of what Kirk does. Sure, the asteroid is deflected, but one comes away from the episode wondering what damage was done to the tribe. Other than Salish losing his girlfriend, that is.
Speaking of Miramanee, she bugged me. I think the person playing her was fine but the Miramanee character was written purely as the "dumb pretty American Indian girl" as the love interest for Kirk's visit to paradise. Ahem. I think they could done a lot more with this character. I also found it harder to empathize with her after the way she dumps Salish, her previous lover. Miramanee seems to have few feelings about the matter and just shrugs as she takes up with Kirk, who, even with his brain zapped, is a smooth operator.
Shatner. Now, depending on your point of view, the performance of Shatner in this episode could go in the plus or minus column. If you're not a fan of Bill's style of acting then you're really not going to like it here. There are moments that are relatively restrained (Miramanee's death scene) but other times Shatner goes pretty far over the top; the dramatic scene near the end where Kirk yells into the wind as well as the earlier bits where Kirk is doing this reverb-filled voiceover (sounds like his "musical" ventures sometimes!). Which can be entertaining, again depending on your liking of Shatner. As for me, the Shatner scenery chewing used to bug me a LOT but I now appreciate it for what it is; you have to embrace the performance somewhat to really appreciate the character of Kirk or for that matter, the spirit of the original series. I think that for many years I allowed the camp of these scenes to obscure anything positive about this episode. Yes, the episode is middling and has problems, but I've definitely upgraded it in retrospect.
The new effects make this episode look even better. The asteroid and the phaser effects are well done. This is one of those episodes where I would not want to go back to the old shots.
Next time: "And the Children Shall Lead" (God help us)
Thursday, May 2, 2013
TOS Rewind #55: "The Enterprise Incident"
The podcast we recorded for this one can be listened to right here:
Up today: The Enterprise Incident (9/27/1968).
After the last episode, pretty much anything would be an improvement but this one is actually decent.
I have to wonder why they wouldn't have led the season with this one instead of "Spock's Brain". "Incident" would have been a strong, action and intrigue-filled opening as opposed to the camp and just plain awfulness of "Brain". But hey, they don't pay me the big bucks to make network television programming choices so what do I know?
One of the notable things about this one is the way that it references earlier parts of the show: the Romulans are already known to the characters and even the fact that they are using a Klingon-looking ship is noted. On the other hand, the fact that Kirk and co. act like the cloaking technology is new seems like something that the writers could have easily fixed; it comes off as just lazy today. To be fair, I do have to wonder if you went back and scrutinized other TV shows of the era, say the entire run of Bonanza, whether you'd also find as many or more continuity flaws. I don't think the people who produced television then thought the audiences paid that much attention or slavishly watched every episode. TV seemed like more of a disposable product back then.
There are some implied connections to the first season episode, "Balance of Terror" where once again, we're reminded that Vulcans and Romulans share a common ancestry. These two episodes form the foundation of all the Romulan-filled episode and movie plot. All in all, the Romulans were the more interesting of the two villain races that were introduced in the original series.
Of course it needs to be said how great it is to see a female adversary in the old show. Sure, the Romulan commander (never given a name by the writers) is snookered by Kirk and Spock but she is an authority figure who (mostly) retains her dignity throughout and is a refreshing change from the usual characters our heroes go up against. The commander is also totally NOT interested in Kirk...again! That's two in a row where the lead woman character of the episode is not remotely charmed by Kirk. Now we know things are gettin' weird! However, Spock really puts on what we have to assume is a Vulcan-style seduction act and sells it to us and the object of his deception. The commander may let her guard down a bit too quickly for real credibility but it's easy to see how she falls for Spock; she acts like she's been waiting to run into Spock and has a thing for Vulcans. Heh. So don't examine this part too closely but this part of the plot, which is given ample time to develop, certainly adds to the entertainment value of this episode.
Kirk is less of a focus in this episode, especially after he's done playing crazy. Shatner does the right amount of scenery-chewing to make the story work and is actually a bit of a jerk in the opening act. I found it amusing that he was the one qualified to sneak back aboard the Romulan ship, locate the cloaking device (with its light bulb-esque socket), and remove it but heroes have gotta do their thing. McCoy has a few good moments and now, we have Sulu AND Chekov together on the bridge.
The feel of the story definitely goes along with the Cold War time; the story could have been between two naval vessels. Once again I find myself wishing for just a bit of background and exposition that we got in abundance Next Gen: obviously there's some Starfleet Intelligence intrigue going on here that would be fun to see further explored. The scenes where Kirk has been made up to look like a Romulan have always been fun even if it reminds me a bit of how they used to make up white actors to look like Asians in the old movies. The pacing is good and there's the right combination of suspense and humor to make this episode memorable.
Like Eric, I liked this episode when I was growing up. We were always wanting to see more of the Klingons and the Romulans back then and this episode always stood out for upping the threat factor of the earlier seasons. Sure, the "romance" scenes weren't that cool for us but it was all for King and Country so go Spock!
The new effects add to the episode. Being able to more clearly see the other ships is great and the attention to detail is appreciated, such as the bird logos visible along the bottom of the hulls.
---
And now Eric's take:
In our podcast, we talk about how infinitely better it would have been to start the third season of original Star Trek with "The Enterprise Incident" rather than "Spock's Brain." There's no doubt that "The Enterprise Incident" is a better episode by at least an order of magnitude, but I'm not sure if beginning the season with a strong episode like this and then following up with a festering turd like "Spock's Brain" would have been more or less disappointing.
In any case, I recall enjoying "The Enterprise Incident" growing up, and on seeing it again, I was pleased to find that for the most part, it held up. There are, however, some interesting facts about this episode that I didn't know until very recently. For example, the story is loosely based on the Pueblo Incident, where on January 23, 1968, the USS Pueblo, a Naval intelligence vessel, was captured by North Korean forces while conducting spying operations in the Sea of Japan. Also, in D. C. Fontana's original script, the premise is that the Romulans have improved their cloaking device since it was first introduced in the excellent first season episode "Balance of Terror." In this draft, however, the device is stored in a laboratory instead of being installed on an active duty ship. This brings me to my main criticisms:
It is clearly established in the aforementioned "Balance of Terror" that the Romulans have a cloaking device, but when Kirk and company discuss the matter in "The Enterprise Incident," they seem to have completely forgotten that fact, as if the Romulan cloaking device is entirely new. At best, this is a jarring continuity error.
My other primary complaint is that the security around the cloaking device on the Romulan ship is pathetically lax. First, Kirk beams aboard the Romulan ship undetected and then knocks out the only guard in what Spock describes as a heavily guarded area. He then proceeds to enter the top-secret, restricted cloaking device room where there is only one Romulan whom he knocks out as easily as the first guard. Now we discover that the cloaking device, an amazing piece of highly advanced technology, is a gadget the size of a table lamp that bears a remarkable resemblance to Nomad from "The Changeling." And the coup de grace is that Kirk simply lifts it out of its receptacle and carries it off. Apparently, we're supposed to believe that it functions without any physical connection to the ship. That being said, the Romulans did detect the the transmissions between Kirk and Spock's communicators, but still...
Despite these flaws, "The Enterprise Incident" is a well-paced, interesting story that keeps you guessing. The lead-in with Kirk feigning a mental breakdown is particularly well done, and I always enjoy the interaction between Spock and the Romulan commander. And what self-respecting Trek fan doesn't dig getting to see Kirk sporting upswept eyebrows and pointed ears? (Although I tend to agree with Spock that it isn't aesthetically pleasing.)
Next time: "The Paradise Syndrome"
Up today: The Enterprise Incident (9/27/1968).
After the last episode, pretty much anything would be an improvement but this one is actually decent.
I have to wonder why they wouldn't have led the season with this one instead of "Spock's Brain". "Incident" would have been a strong, action and intrigue-filled opening as opposed to the camp and just plain awfulness of "Brain". But hey, they don't pay me the big bucks to make network television programming choices so what do I know?
One of the notable things about this one is the way that it references earlier parts of the show: the Romulans are already known to the characters and even the fact that they are using a Klingon-looking ship is noted. On the other hand, the fact that Kirk and co. act like the cloaking technology is new seems like something that the writers could have easily fixed; it comes off as just lazy today. To be fair, I do have to wonder if you went back and scrutinized other TV shows of the era, say the entire run of Bonanza, whether you'd also find as many or more continuity flaws. I don't think the people who produced television then thought the audiences paid that much attention or slavishly watched every episode. TV seemed like more of a disposable product back then.
There are some implied connections to the first season episode, "Balance of Terror" where once again, we're reminded that Vulcans and Romulans share a common ancestry. These two episodes form the foundation of all the Romulan-filled episode and movie plot. All in all, the Romulans were the more interesting of the two villain races that were introduced in the original series.
Of course it needs to be said how great it is to see a female adversary in the old show. Sure, the Romulan commander (never given a name by the writers) is snookered by Kirk and Spock but she is an authority figure who (mostly) retains her dignity throughout and is a refreshing change from the usual characters our heroes go up against. The commander is also totally NOT interested in Kirk...again! That's two in a row where the lead woman character of the episode is not remotely charmed by Kirk. Now we know things are gettin' weird! However, Spock really puts on what we have to assume is a Vulcan-style seduction act and sells it to us and the object of his deception. The commander may let her guard down a bit too quickly for real credibility but it's easy to see how she falls for Spock; she acts like she's been waiting to run into Spock and has a thing for Vulcans. Heh. So don't examine this part too closely but this part of the plot, which is given ample time to develop, certainly adds to the entertainment value of this episode.
Kirk is less of a focus in this episode, especially after he's done playing crazy. Shatner does the right amount of scenery-chewing to make the story work and is actually a bit of a jerk in the opening act. I found it amusing that he was the one qualified to sneak back aboard the Romulan ship, locate the cloaking device (with its light bulb-esque socket), and remove it but heroes have gotta do their thing. McCoy has a few good moments and now, we have Sulu AND Chekov together on the bridge.
The feel of the story definitely goes along with the Cold War time; the story could have been between two naval vessels. Once again I find myself wishing for just a bit of background and exposition that we got in abundance Next Gen: obviously there's some Starfleet Intelligence intrigue going on here that would be fun to see further explored. The scenes where Kirk has been made up to look like a Romulan have always been fun even if it reminds me a bit of how they used to make up white actors to look like Asians in the old movies. The pacing is good and there's the right combination of suspense and humor to make this episode memorable.
Like Eric, I liked this episode when I was growing up. We were always wanting to see more of the Klingons and the Romulans back then and this episode always stood out for upping the threat factor of the earlier seasons. Sure, the "romance" scenes weren't that cool for us but it was all for King and Country so go Spock!
The new effects add to the episode. Being able to more clearly see the other ships is great and the attention to detail is appreciated, such as the bird logos visible along the bottom of the hulls.
---
And now Eric's take:
In our podcast, we talk about how infinitely better it would have been to start the third season of original Star Trek with "The Enterprise Incident" rather than "Spock's Brain." There's no doubt that "The Enterprise Incident" is a better episode by at least an order of magnitude, but I'm not sure if beginning the season with a strong episode like this and then following up with a festering turd like "Spock's Brain" would have been more or less disappointing.
In any case, I recall enjoying "The Enterprise Incident" growing up, and on seeing it again, I was pleased to find that for the most part, it held up. There are, however, some interesting facts about this episode that I didn't know until very recently. For example, the story is loosely based on the Pueblo Incident, where on January 23, 1968, the USS Pueblo, a Naval intelligence vessel, was captured by North Korean forces while conducting spying operations in the Sea of Japan. Also, in D. C. Fontana's original script, the premise is that the Romulans have improved their cloaking device since it was first introduced in the excellent first season episode "Balance of Terror." In this draft, however, the device is stored in a laboratory instead of being installed on an active duty ship. This brings me to my main criticisms:
It is clearly established in the aforementioned "Balance of Terror" that the Romulans have a cloaking device, but when Kirk and company discuss the matter in "The Enterprise Incident," they seem to have completely forgotten that fact, as if the Romulan cloaking device is entirely new. At best, this is a jarring continuity error.
My other primary complaint is that the security around the cloaking device on the Romulan ship is pathetically lax. First, Kirk beams aboard the Romulan ship undetected and then knocks out the only guard in what Spock describes as a heavily guarded area. He then proceeds to enter the top-secret, restricted cloaking device room where there is only one Romulan whom he knocks out as easily as the first guard. Now we discover that the cloaking device, an amazing piece of highly advanced technology, is a gadget the size of a table lamp that bears a remarkable resemblance to Nomad from "The Changeling." And the coup de grace is that Kirk simply lifts it out of its receptacle and carries it off. Apparently, we're supposed to believe that it functions without any physical connection to the ship. That being said, the Romulans did detect the the transmissions between Kirk and Spock's communicators, but still...
Despite these flaws, "The Enterprise Incident" is a well-paced, interesting story that keeps you guessing. The lead-in with Kirk feigning a mental breakdown is particularly well done, and I always enjoy the interaction between Spock and the Romulan commander. And what self-respecting Trek fan doesn't dig getting to see Kirk sporting upswept eyebrows and pointed ears? (Although I tend to agree with Spock that it isn't aesthetically pleasing.)
Next time: "The Paradise Syndrome"
Tuesday, April 2, 2013
TOS Rewind #54: "Spock's Brain"
Welcome to Season 3!
Spock's Brain (9-20-1968)
Our award-winning podcast:
Eric did a fine job outlining the production background of Star Trek at this time of the series which puts the, ahem, quality of this episode into perspective so he goes first...
"Spock's Brain" has the distinction of being both the first episode in the third, and final, season of original Star Trek and one of the worst episodes in all of Trek history. But before delving into that particular miasma, a brief explanation of what happened between the second and third seasons is in order.
As I noted in my last review, at the end of the second season, NBC tried once again to cancel Star Trek, and once again, it was saved by a letter writing campaign by the fans. Not only was it saved, but NBC also promised Roddenberry a primetime slot in the Fall 1968 lineup, and on that basis, he agreed to be line producer for the third season. The network then (oh surprise!) reneged and put Star Trek in the Friday, 10:30 pm slot. (A death stroke for any series that targets the 18-25 demographic.) Roddenberry protested, but NBC wouldn't back down, so he walked away. This deprived Star Trek of its creator and Executive Producer. To make matters worse, one of the key producers, Gene Coon, had also left by the time the third season rolled around. This was when Fred Freiberger was brought in to take over the showrunner/producer role. And while I (and many other fans) have been inclined to blame him for the poor quality of season three, the Friday night death slot and a drastically reduced budget meant that he had little to work with.
That said, there really can be no excuse for "Spock's Brain." What is maddening, though, is that there is also no reason for this to be the case. It was written by the aforementioned Gene Coon (under the pseudonym Lee Cronin) who wrote several excellent episodes, such as "Arena," "Devil in the Dark," and "A Taste of Armageddon." And it was directed by Marc Daniels, who helmed some of the best original Trek episodes, like "The Menagerie," "Space Seed," and "The Doomsday Machine." I'm not going to bother with a detailed analysis of its many faults (e.g. painfully laughable dialog, blatant sexism, and extreme camp); we cover that quite well in the podcast. (Give it a listen.) But I still wonder just what the hell happened during the production of "Spock's Brain?" Were all of writers and producers incredibly stoned? Did Marc Daniels have a stroke? Maybe it was just the perfect (shit)storm of crappy TV. I don't know, but it's a shame--it could've been a good episode if it had had a decent script. I suppose, however, that it's better not to dwell on such things. Let's just clear our palate with the next (thankfully much better) episode.
---
I find it quite amusing that I write this on the very day day President Obama announced a new initiative to map the human brain. If only he'd opened his announcement with this line:
"Brain and brain! What is brain?!"
One of the most infamous lines uttered in all of Star Trek. Yes my friends, we have arrived in third season where the going gets rough. Sure, there are some decent episodes sprinkled about but beginning the season with something this awful indicates that something is just not right.
I can see why Eric wanted to focus his review on the behind-the-scenes action instead of the content. It's hard to really know where to begin.
I'm quite certain that ever since I first saw this episode, I knew it was a dud. Even 10-year-old John had better taste than this. I have memories of looking through my Uncle's TV Guide issues and groaning to myself when I figured out that Spock's Brain was coming up on TV that week. Sigh.
Is Spock's Brain the worst episode in the original series? Right now I'm tempted to say yes but I know there are other offenders waiting out there for us so I am going to hold off on proclaiming this THE WORST EVER.
There are a few positive things about this one, sure. Actually the opening scene, right before the mystery woman appears, is not that bad a setup. There is a tight sequence of the bridge crew going on alert, going about their jobs, seemingly ready for anything. Well, almost anything! Then the Amazon-go-go woman in a costume out of an Austin Powers movie shows up and swipes Spock's brain because none of their brains are up to the job. Well, okay I can buy that...wait, WHY AM I TRYING TO BUY INTO THIS STOOOPID PREMISE?!?!?!?
And the contraption (seems like the right word for the Zenith Space Command remote control McCoy has for him) that makes Spock run sans brain has to make this mechanical clock-like sound when it's running...yeah, sure. Actually if they hadn't done this silly sound, the sight of Spock walking around like a zombie might have had some dramatic impact or at least given this episode some kind of serious atmosphere.
Some of the ideas, like using a living brain to run machinery and whether or not the Prime Directive applies to a planet like this (wait a minute, why WOULDN'T the PD apply here???), are decent and perhaps well-worth exploring in a Trek episode, but there are so many ways in which this one goes off the rails that you really do have to wonder what went wrong. I've run across articles that claim there are rumors that this episode was written as a joke or a comedy episode, perhaps like I, Mudd. If this were true, the episode might have been more successful, if still as offensive. Of course if this was supposed to be a farce then why would you want to open the season, the time when you're trying to keep the audience tuning in for the new season, with something like this? Alas, I have no answers...
But this is what we're left with: a groaner of an episode to open a season that already had plenty of built-in disadvantages (time slot, network antipathy, reduced budgets). At least you can laugh at some of the camp and there are a few actual humorous moments. I believe there are some upcoming episodes of questionable quality that won't be as easy to sit through. When two Red Shirt security guys beam down to the planet and don't suffer even a scratch AND Kirk doesn't even try to seduce the alien female to get what he wants, we know something is wrong!
The remastered version serves up its usual HD clarity and slick effects. The space scenes are nice but never enough to take your...um, brain, off of this episode.
Next time: "The Enterprise Incident"
Spock's Brain (9-20-1968)
Our award-winning podcast:
Eric did a fine job outlining the production background of Star Trek at this time of the series which puts the, ahem, quality of this episode into perspective so he goes first...
"Spock's Brain" has the distinction of being both the first episode in the third, and final, season of original Star Trek and one of the worst episodes in all of Trek history. But before delving into that particular miasma, a brief explanation of what happened between the second and third seasons is in order.
As I noted in my last review, at the end of the second season, NBC tried once again to cancel Star Trek, and once again, it was saved by a letter writing campaign by the fans. Not only was it saved, but NBC also promised Roddenberry a primetime slot in the Fall 1968 lineup, and on that basis, he agreed to be line producer for the third season. The network then (oh surprise!) reneged and put Star Trek in the Friday, 10:30 pm slot. (A death stroke for any series that targets the 18-25 demographic.) Roddenberry protested, but NBC wouldn't back down, so he walked away. This deprived Star Trek of its creator and Executive Producer. To make matters worse, one of the key producers, Gene Coon, had also left by the time the third season rolled around. This was when Fred Freiberger was brought in to take over the showrunner/producer role. And while I (and many other fans) have been inclined to blame him for the poor quality of season three, the Friday night death slot and a drastically reduced budget meant that he had little to work with.
That said, there really can be no excuse for "Spock's Brain." What is maddening, though, is that there is also no reason for this to be the case. It was written by the aforementioned Gene Coon (under the pseudonym Lee Cronin) who wrote several excellent episodes, such as "Arena," "Devil in the Dark," and "A Taste of Armageddon." And it was directed by Marc Daniels, who helmed some of the best original Trek episodes, like "The Menagerie," "Space Seed," and "The Doomsday Machine." I'm not going to bother with a detailed analysis of its many faults (e.g. painfully laughable dialog, blatant sexism, and extreme camp); we cover that quite well in the podcast. (Give it a listen.) But I still wonder just what the hell happened during the production of "Spock's Brain?" Were all of writers and producers incredibly stoned? Did Marc Daniels have a stroke? Maybe it was just the perfect (shit)storm of crappy TV. I don't know, but it's a shame--it could've been a good episode if it had had a decent script. I suppose, however, that it's better not to dwell on such things. Let's just clear our palate with the next (thankfully much better) episode.
---
I find it quite amusing that I write this on the very day day President Obama announced a new initiative to map the human brain. If only he'd opened his announcement with this line:
"Brain and brain! What is brain?!"
One of the most infamous lines uttered in all of Star Trek. Yes my friends, we have arrived in third season where the going gets rough. Sure, there are some decent episodes sprinkled about but beginning the season with something this awful indicates that something is just not right.
I can see why Eric wanted to focus his review on the behind-the-scenes action instead of the content. It's hard to really know where to begin.
I'm quite certain that ever since I first saw this episode, I knew it was a dud. Even 10-year-old John had better taste than this. I have memories of looking through my Uncle's TV Guide issues and groaning to myself when I figured out that Spock's Brain was coming up on TV that week. Sigh.
Is Spock's Brain the worst episode in the original series? Right now I'm tempted to say yes but I know there are other offenders waiting out there for us so I am going to hold off on proclaiming this THE WORST EVER.
There are a few positive things about this one, sure. Actually the opening scene, right before the mystery woman appears, is not that bad a setup. There is a tight sequence of the bridge crew going on alert, going about their jobs, seemingly ready for anything. Well, almost anything! Then the Amazon-go-go woman in a costume out of an Austin Powers movie shows up and swipes Spock's brain because none of their brains are up to the job. Well, okay I can buy that...wait, WHY AM I TRYING TO BUY INTO THIS STOOOPID PREMISE?!?!?!?
And the contraption (seems like the right word for the Zenith Space Command remote control McCoy has for him) that makes Spock run sans brain has to make this mechanical clock-like sound when it's running...yeah, sure. Actually if they hadn't done this silly sound, the sight of Spock walking around like a zombie might have had some dramatic impact or at least given this episode some kind of serious atmosphere.
Some of the ideas, like using a living brain to run machinery and whether or not the Prime Directive applies to a planet like this (wait a minute, why WOULDN'T the PD apply here???), are decent and perhaps well-worth exploring in a Trek episode, but there are so many ways in which this one goes off the rails that you really do have to wonder what went wrong. I've run across articles that claim there are rumors that this episode was written as a joke or a comedy episode, perhaps like I, Mudd. If this were true, the episode might have been more successful, if still as offensive. Of course if this was supposed to be a farce then why would you want to open the season, the time when you're trying to keep the audience tuning in for the new season, with something like this? Alas, I have no answers...
But this is what we're left with: a groaner of an episode to open a season that already had plenty of built-in disadvantages (time slot, network antipathy, reduced budgets). At least you can laugh at some of the camp and there are a few actual humorous moments. I believe there are some upcoming episodes of questionable quality that won't be as easy to sit through. When two Red Shirt security guys beam down to the planet and don't suffer even a scratch AND Kirk doesn't even try to seduce the alien female to get what he wants, we know something is wrong!
The remastered version serves up its usual HD clarity and slick effects. The space scenes are nice but never enough to take your...um, brain, off of this episode.
Next time: "The Enterprise Incident"
Monday, March 18, 2013
TOS Rewind #53: "Assignment: Earth"
Up for us this time: Assignment: Earth (3/29/1968)
Here's the podcast:
Eric starts us out:
With "Assignment: Earth," we bring the second season of original Star Trek to a close. As an episode, it has the distinction of being the only one that isn't really a Star Trek episode. It is actually a pilot for what was to be a new Gene Roddenberry series titled (you guessed it) "Assignment: Earth."
To the best of my knowledge, there are no other examples of airing a pilot this way. Perhaps for good reason. The story and premise of "Assignment: Earth" is solid and interesting, but for the most part, it sidelines Kirk and company, which means it doesn't deliver as Star Trek. To be fair, though, I can understand the calculus that must've been at work. Towards the end of the second season, NBC tried once again to cancel Star Trek, and once again, it was saved by a letter writing campaign by the fans. Nevertheless, Roddenberry saw the writing on the wall, and with "Assignment: Earth," seized the opportunity to try to launch a new series to take Trek's place.
And as an SF series, it had potential. The premise, that for a very long time an advanced alien species has been sending agents to Earth to help humanity survive and mature as a race, is compelling (and similar to the premise of another Roddenberry series pilot, "The Questor Tapes"). The main characters, Gary Seven and Roberta Lincoln, had potential I think, but the late Robert Lansing's portrayal of Gary Seven seems a bit flat, and Roberta Lincoln, played by Teri Garr, is a bit too ditzy and insubstantial. In both cases, a little time for the actors to get a firm handle on their characters may very well have solved these problems, but we'll never know. "Assignment: Earth" was not picked up by NBC. Original Star Trek, however, did go on to have a third season, which we'll begin discussing in the next review.
For now, though, I'll close with some final thoughts about the second season. Overall, I think it edges out the first season for consistently turning out exellent stories. There are low points, of course--"The Apple" springs to mind--but they are outweighed by some of the best episodes in Trek history (e.g. "Amok time," "The Doomsday Machine," "Mirror, Mirror," "The Ultimate Computer" and so on). Also, the actors, writers, and producers are comfortable with the characters, theme, and format of the series. There is none of the struggling to find their footing that was evident, understandably, in the early part of the first season. That said, the first season episodes perhaps did a better job of delivering their messages with subtlty. And the sense of wonder that I've mentioned before was more evident; the impression that the Enterprise was out in deep, unexplored space was stronger and more convincing than it was in the second season.
I find, not surprisingly, that I honestly can't choose one season over the other, so, given that it has crossed from late at night to early in the morning, I'll leave it at that. LLAP.
---
So let's get this out of the way right now. This episode was frustrating and somewhat irritating for me to watch. Eric has given us a good summary of how this episode, a pilot for a new Gene Roddenberry show, came to be. I really want to cut Gene and his gang some slack for the situation they were undoubtedly in. These guys decided to use any tool at their disposal to sell a new show to rise from what they felt were the ashes of Star Trek. I'm sure in Gene's mind, Trek was about to be cancelled and probably forgotten. Even by those who wrote all the letters to the network begging for Trek's renewal. The new series would hopefully be a hit with its secret agent-like main character and attractive "assistant". The new show would have just enough sci-fi appeal to keep Star Trek's audience tuning in but be more accessible to mainstream viewers of 1968.
Well we know how well that plan worked out. The new show was not picked up, Star Trek held on for one more season, and Gene found himself left with a show that the network still wanted dead. Gene bowed out of the daily running of Trek and we have Third Season. I really understand the pickle Gene was in and perhaps he had no other option. Unfortunately the pilot/Trek episode we're left with is what we judge. The episode is just another failed concept and that's fine: there are lots of them out there littering the TV landscape. The problem is that the episode is quite compromised as Star Trek.
The irritating part is the way that the Trek characters are given relatively little to do and when they do something, they're really diminished so the Gary Seven character can come off as more impressive; Kirk and company don't really have anything important to do other than be spectators to the epic coolness of Gary S. And his sweet office.
"Captain's log, supplemental. Spock and I are in custody. Even if we'd talk, they wouldn't believe us. We're powerless to stop Mr. Seven or prevent the launch, or even be certain if we should. I have never felt so helpless." This quote pretty well sums up the state of our beloved Trek characters on this episode. Gary Seven is even immune to Spock's neck pinch! Fortunately for Kirk, the government "security" people hold him are even more pathetic.
As Eric pointed out, Teri Garr's Roberta Lincoln character is a ditz. Lincoln alternates between clueless airhead with a bad wardrobe to world-wise patriotic hippie; "hey man, don't be monkeying around with my nation's rockets. I know this world needs help. That's why some of my generation are kind of crazy and rebels, you know?" Young people really can do anything!
The way time travel is used seems quite trivial and the whole setup where the Enterprise is just hanging out checking out history seems odd. Is that the best use of a Federation starship? Unfortunately even if the new characters were amazing, they're just footnotes in a middling Trek episode. If this episode disappeared tomorrow, I doubt anyone would miss it. I have to think that this concept, which is fine would have better served by an episode that just focused on the new characters/world even if it was set in the Trek universe. A simple mention or cameo by Star Trek characters would have sufficed.
And what the hell was up with Gary's cat? Perhaps the cat should have been the main character.
Next time: "Spock's Brain"
Here's the podcast:
Eric starts us out:
With "Assignment: Earth," we bring the second season of original Star Trek to a close. As an episode, it has the distinction of being the only one that isn't really a Star Trek episode. It is actually a pilot for what was to be a new Gene Roddenberry series titled (you guessed it) "Assignment: Earth."
To the best of my knowledge, there are no other examples of airing a pilot this way. Perhaps for good reason. The story and premise of "Assignment: Earth" is solid and interesting, but for the most part, it sidelines Kirk and company, which means it doesn't deliver as Star Trek. To be fair, though, I can understand the calculus that must've been at work. Towards the end of the second season, NBC tried once again to cancel Star Trek, and once again, it was saved by a letter writing campaign by the fans. Nevertheless, Roddenberry saw the writing on the wall, and with "Assignment: Earth," seized the opportunity to try to launch a new series to take Trek's place.
And as an SF series, it had potential. The premise, that for a very long time an advanced alien species has been sending agents to Earth to help humanity survive and mature as a race, is compelling (and similar to the premise of another Roddenberry series pilot, "The Questor Tapes"). The main characters, Gary Seven and Roberta Lincoln, had potential I think, but the late Robert Lansing's portrayal of Gary Seven seems a bit flat, and Roberta Lincoln, played by Teri Garr, is a bit too ditzy and insubstantial. In both cases, a little time for the actors to get a firm handle on their characters may very well have solved these problems, but we'll never know. "Assignment: Earth" was not picked up by NBC. Original Star Trek, however, did go on to have a third season, which we'll begin discussing in the next review.
For now, though, I'll close with some final thoughts about the second season. Overall, I think it edges out the first season for consistently turning out exellent stories. There are low points, of course--"The Apple" springs to mind--but they are outweighed by some of the best episodes in Trek history (e.g. "Amok time," "The Doomsday Machine," "Mirror, Mirror," "The Ultimate Computer" and so on). Also, the actors, writers, and producers are comfortable with the characters, theme, and format of the series. There is none of the struggling to find their footing that was evident, understandably, in the early part of the first season. That said, the first season episodes perhaps did a better job of delivering their messages with subtlty. And the sense of wonder that I've mentioned before was more evident; the impression that the Enterprise was out in deep, unexplored space was stronger and more convincing than it was in the second season.
I find, not surprisingly, that I honestly can't choose one season over the other, so, given that it has crossed from late at night to early in the morning, I'll leave it at that. LLAP.
---
So let's get this out of the way right now. This episode was frustrating and somewhat irritating for me to watch. Eric has given us a good summary of how this episode, a pilot for a new Gene Roddenberry show, came to be. I really want to cut Gene and his gang some slack for the situation they were undoubtedly in. These guys decided to use any tool at their disposal to sell a new show to rise from what they felt were the ashes of Star Trek. I'm sure in Gene's mind, Trek was about to be cancelled and probably forgotten. Even by those who wrote all the letters to the network begging for Trek's renewal. The new series would hopefully be a hit with its secret agent-like main character and attractive "assistant". The new show would have just enough sci-fi appeal to keep Star Trek's audience tuning in but be more accessible to mainstream viewers of 1968.
Well we know how well that plan worked out. The new show was not picked up, Star Trek held on for one more season, and Gene found himself left with a show that the network still wanted dead. Gene bowed out of the daily running of Trek and we have Third Season. I really understand the pickle Gene was in and perhaps he had no other option. Unfortunately the pilot/Trek episode we're left with is what we judge. The episode is just another failed concept and that's fine: there are lots of them out there littering the TV landscape. The problem is that the episode is quite compromised as Star Trek.
The irritating part is the way that the Trek characters are given relatively little to do and when they do something, they're really diminished so the Gary Seven character can come off as more impressive; Kirk and company don't really have anything important to do other than be spectators to the epic coolness of Gary S. And his sweet office.
"Captain's log, supplemental. Spock and I are in custody. Even if we'd talk, they wouldn't believe us. We're powerless to stop Mr. Seven or prevent the launch, or even be certain if we should. I have never felt so helpless." This quote pretty well sums up the state of our beloved Trek characters on this episode. Gary Seven is even immune to Spock's neck pinch! Fortunately for Kirk, the government "security" people hold him are even more pathetic.
As Eric pointed out, Teri Garr's Roberta Lincoln character is a ditz. Lincoln alternates between clueless airhead with a bad wardrobe to world-wise patriotic hippie; "hey man, don't be monkeying around with my nation's rockets. I know this world needs help. That's why some of my generation are kind of crazy and rebels, you know?" Young people really can do anything!
The way time travel is used seems quite trivial and the whole setup where the Enterprise is just hanging out checking out history seems odd. Is that the best use of a Federation starship? Unfortunately even if the new characters were amazing, they're just footnotes in a middling Trek episode. If this episode disappeared tomorrow, I doubt anyone would miss it. I have to think that this concept, which is fine would have better served by an episode that just focused on the new characters/world even if it was set in the Trek universe. A simple mention or cameo by Star Trek characters would have sufficed.
And what the hell was up with Gary's cat? Perhaps the cat should have been the main character.
Next time: "Spock's Brain"
Thursday, January 10, 2013
TOS Rewind #52: "Bread and Circuses"
Today we'll take a look at: Bread and Circuses (03/15/1968)
Here's the podcast:
Another nostalgic angle on Trek: Like the last episode, this show is one that I always enjoyed seeing growing up. There is a lot of combat and our heroes seem to get into one mess after another. Unlike "The Ultimate Computer," this episode doesn't hold up as well when watched today.
Once again we find ourselves with yet another parallel Earth. I get the fact that Roddenberry always planned for this idea on the show but it's done in such a literal way in episodes like this that it just stretches things a bit too far. Once I get past that, I enjoy the episode a lot more.
One of the strongest aspects of the show is the use of television, the medium itself as a reflection of a society. I may be wrong but I don't think a lot of TV programming of the 1960s worked this in. The gladiatorial matches on TV don't sound all that different from some of the reality TV we have today. One could also draw a conclusion about televised sports from this as well. The Roman Empire was known for its use of violent entertainment. The great thing here is how this is translated into a 20th Century form and how it may be used to suppress the populace. Unfortunately not enough attention is paid to this angle and we are left wondering how the TV culture really works with a modern-day Roman Empire.
Another angle in this episode that isn't really given enough time to be fleshed out is the religion part of the story. Star Trek almost always stayed away from religion and the way it is so matter-of-factly inserted here feels strange. If they wanted to really talk about Christianity, then sure, go for it. But the way the topic is finally brought up at the tail-end could have come from a greeting card; no one could really be satisfied with it (except for perhaps the network people who may have had something to say about this, who knows).
The Kirk/Spock/McCoy scenes are good; at this point our regular characters are well established and the scenes are fine, though I feel like the emotional scene with Spock and McCoy in the jail cell is a bit forced.
Otherwise, the Captain Merik is played well. I like the way that Merik is a Starfleet dropout and not just another Kirk-level officer gone rogue. Merik becomes a tool of the Roman Marcus but does redeem himself at the end when he gives his life so that Kirk and the others can escape. The Roman Marcus character is interesting. Marcus is of course violent and tastes that run to, well perhaps all sorts of things and people. I can't help but think that the Marcus character was inspired by some of the 1950s Hollywood Roman epics. The Roman leaders in those films a a bit warped and it looks like Marcus perhaps prefers both snails and oysters.
The CG effects this time add little to the episode but those outdoor scenes sure do look nice in HD.
---
Eric's review:
t's the afternoon of the Winter Solstice as I write this, and given that the world is still in existence, I must conclude that the Mayans were wrong--that, or we're seeing yet another example of idiotic misinterpretation of ancient texts, which leads nicely into my review of "Bread and Circuses."
We did a comprehensive review of this episode in our podcast--please give it a listen--so I'm going to focus on what still leaves me utterly perplexed: How could a staunch secular humanist like Gene Roddenberry have written and produced such a pro-Christian script?
To give some background, "Bread and Circuses" is loosely based on a story idea Roddenberry included in his Star Trek pitch to the networks, dated March 11, 1964. It is titled "The Coming" and says simply:
"Alien people in an alien society, but something disturbingly familiar about the quiet dignity of one who is being condemned to crucifixion."
Obviously, a great deal of evolution, and four years, happened from this one-sentence description to the script for "Bread and Circuses," but the idea was one of the first Roddenberry had for Star Trek.
(Note: Another idea Roddenberry included in his pitch was the "parallel worlds" concept, which he rightly said was key to Star Trek. Interestingly, though, a reasonable explanation for such a wildly improbable principle wasn't offered until the Star Trek: The Next Generation episode "The Chase" aired on April 26, 1993.)
Some reasons for this seemingly anomalous episode could be:
Roddenberry intended to deal with Jesus as a historic figure rather than a religious figure. (The problem with this is that it would be difficult, at best, to divorce one from the other.)
The episode included the pro-Christian slant at the behest of the network.
Gene Coon, who co-wrote the script, influenced the religious aspect.
There's no way to get a definitive explanation, but I'm still perplexed. Happily, though, Star Trek (with the exception of this episode) has managed in all of its incarnations to deal with religions in an objective, non-biased way. And as with many other original episodes, I still enjoy it despite the flaws.
Next time: "Assignment: Earth"
Here's the podcast:
Another nostalgic angle on Trek: Like the last episode, this show is one that I always enjoyed seeing growing up. There is a lot of combat and our heroes seem to get into one mess after another. Unlike "The Ultimate Computer," this episode doesn't hold up as well when watched today.
Once again we find ourselves with yet another parallel Earth. I get the fact that Roddenberry always planned for this idea on the show but it's done in such a literal way in episodes like this that it just stretches things a bit too far. Once I get past that, I enjoy the episode a lot more.
One of the strongest aspects of the show is the use of television, the medium itself as a reflection of a society. I may be wrong but I don't think a lot of TV programming of the 1960s worked this in. The gladiatorial matches on TV don't sound all that different from some of the reality TV we have today. One could also draw a conclusion about televised sports from this as well. The Roman Empire was known for its use of violent entertainment. The great thing here is how this is translated into a 20th Century form and how it may be used to suppress the populace. Unfortunately not enough attention is paid to this angle and we are left wondering how the TV culture really works with a modern-day Roman Empire.
Another angle in this episode that isn't really given enough time to be fleshed out is the religion part of the story. Star Trek almost always stayed away from religion and the way it is so matter-of-factly inserted here feels strange. If they wanted to really talk about Christianity, then sure, go for it. But the way the topic is finally brought up at the tail-end could have come from a greeting card; no one could really be satisfied with it (except for perhaps the network people who may have had something to say about this, who knows).
The Kirk/Spock/McCoy scenes are good; at this point our regular characters are well established and the scenes are fine, though I feel like the emotional scene with Spock and McCoy in the jail cell is a bit forced.
Otherwise, the Captain Merik is played well. I like the way that Merik is a Starfleet dropout and not just another Kirk-level officer gone rogue. Merik becomes a tool of the Roman Marcus but does redeem himself at the end when he gives his life so that Kirk and the others can escape. The Roman Marcus character is interesting. Marcus is of course violent and tastes that run to, well perhaps all sorts of things and people. I can't help but think that the Marcus character was inspired by some of the 1950s Hollywood Roman epics. The Roman leaders in those films a a bit warped and it looks like Marcus perhaps prefers both snails and oysters.
The CG effects this time add little to the episode but those outdoor scenes sure do look nice in HD.
---
Eric's review:
t's the afternoon of the Winter Solstice as I write this, and given that the world is still in existence, I must conclude that the Mayans were wrong--that, or we're seeing yet another example of idiotic misinterpretation of ancient texts, which leads nicely into my review of "Bread and Circuses."
We did a comprehensive review of this episode in our podcast--please give it a listen--so I'm going to focus on what still leaves me utterly perplexed: How could a staunch secular humanist like Gene Roddenberry have written and produced such a pro-Christian script?
To give some background, "Bread and Circuses" is loosely based on a story idea Roddenberry included in his Star Trek pitch to the networks, dated March 11, 1964. It is titled "The Coming" and says simply:
"Alien people in an alien society, but something disturbingly familiar about the quiet dignity of one who is being condemned to crucifixion."
Obviously, a great deal of evolution, and four years, happened from this one-sentence description to the script for "Bread and Circuses," but the idea was one of the first Roddenberry had for Star Trek.
(Note: Another idea Roddenberry included in his pitch was the "parallel worlds" concept, which he rightly said was key to Star Trek. Interestingly, though, a reasonable explanation for such a wildly improbable principle wasn't offered until the Star Trek: The Next Generation episode "The Chase" aired on April 26, 1993.)
Some reasons for this seemingly anomalous episode could be:
Roddenberry intended to deal with Jesus as a historic figure rather than a religious figure. (The problem with this is that it would be difficult, at best, to divorce one from the other.)
The episode included the pro-Christian slant at the behest of the network.
Gene Coon, who co-wrote the script, influenced the religious aspect.
There's no way to get a definitive explanation, but I'm still perplexed. Happily, though, Star Trek (with the exception of this episode) has managed in all of its incarnations to deal with religions in an objective, non-biased way. And as with many other original episodes, I still enjoy it despite the flaws.
Next time: "Assignment: Earth"
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