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"
Tuesday, April 2, 2013
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"
Friday, December 28, 2012
TOS Rewind #51: "The Ultimate Computer"
And now, The Ultimate Computer (03/08/1968)
The podcast for this episode can be listened to here:
As a bonus, Andy and I recorded a review for this episode on 9/15/2007: download it here. Consider this an extreme prototype for the kinds of podcasts we do now.
Eric's review:
Well, no Trek-related obituaries, so I'll get right to my thoughts about our current episode. When "The Ultimate Computer" came up in the queue, I fondly remembered the past 30,000 times I've seen it, but what I didn't remember was what an exceptional episode it is.
To begin with, I watched the remastered version of the episode, and this is definitely one case where the improved special effects added to the story. I enjoyed getting to see another design for a Federation starbase and really appreciate that it follows the established design lineage (i.e. Space Station K-7 in "The Trouble with Tribbles"). I also was surprised by how much the new effects add to the drama of the action sequences.
The story, superficially at least, is just Kirk vs. Computer again, but it is the best of those stories. (Although "Return of the Archons" and "The Changeling" are tied for a close second.) The premise--a revolutionary supercomputer is installed on the Enterprise for the purpose of replacing the human crew--is handled insightfully. Kirk's response to the prospect of losing his captaincy to a machine rings true. His reaction when Commodore Wesley refers to him as "Captain Dunsel" is affecting, and we are sympathetic to his plight. The support and compassion McCoy and Spock show him is sincere and touching; they both, in their own characteristic ways, are unwavering in their loyalty and friendship.
What really makes this an exceptional episode, though, is Dr. Daystrom. I never fully appreciated the depth and complexity of this character--He is arguably the antagonist, but he is also sympathetic and perhaps even pitiable. His genius is undeniable, one of the Federation's greatest minds, but he is also a paranoid schizophrenic, and he transferred those traits to his M5 computer, which is put in control of the Enterprise. This sets up wonderful dramatic tension, and William Marshall makes the very most of the role. And now that I think about his excellent performance, I found myself asking an interesting question: Did Daystrom's genius cause his insanity or was his insanity a innate condition that was expressed, due to his experiences, as genius? It's the old Nature vs. Nurture argument, and while I'm hardly an expert, I tend to think the latter scenario is the case. Daystrom had a predilection for schizophrenia that might not have developed except for his early success and the perceived scorn of his contemporaries.
Even with these richly deserved plaudits, I do have a complaint that concerns Commodore Wesley. When the task force is getting its ass kicked by M5/Enterprise, he keeps yelling things like "What is Kirk doing?!" It seems unlikely that he simply forgot that M5 was put in control of the Enterprise for the express purpose of seeing how well it can handle situations such as combat, so I'm mystified as to why he blames Kirk for M5's rampage. It doesn't make any sense, but ultimately (heh) it's a minor quibble with an otherwise superb episode.
I'll close with the full text of the magnificent poem Kirk quoted:
"Sea Fever"
I must down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a grey mist on the sea's face, and a grey dawn breaking.
I must down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls crying.
I must down to the seas again, to the vagrant gypsy life,
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover
And quiet sleep and a sweet dream when the long trick's over.
By John Masefield (1878-1967).
(English Poet Laureate, 1930-1967.)
---
"The Ultimate Computer" is one of the rare episodes that was not only a childhood favorite but also holds up extremely well to the passage of time.
Despite the fact that Trek was a science fiction/adventure show, it didn't actually touch on the role of technology and human society all that often, at least not at the detail that this one does. This is not a knock against the program as these issues can be weighty and tough to distill into a 50 minute television show that above all needs to entertain. The seriousness of the ideas is easily seen in the excellent scene in Kirk's quarters where he and McCoy discuss he relentless march of technology and how it has this tendency to disrupt the fabric of human society, all the way down to the individual. The scene isn't all that long but it gets the point across effectively and as Eric points out below, uses the poem to accent the feelings Kirk is expressing.
"We are one big happy fleet!" (I wonder how Khan would handle his job being outsourced!)
The chance to get a bit, if you'll excuse the term, meta with the workings of Starfleet doesn't come along very often throughout the original series and this episode takes full advantage. Daystrom's M5 is allowed to control one of the most powerful starships in the fleet so we have to assume that the top commanders are at least entertaining the idea of an automated fleet having been convinced that, to quote McCoy, "the right computer finally came along." The fact of the matter is, it's quite easy to see from the early action of the episode, exactly why the top brass thought it was worth pursuing. The Enterprise does indeed operate more efficiently under the control of the M5. It doesn't seem all that far-fetched, even knowing the outcome of the episode, that those in charge would consider the M5 a better choice to control the helm, weapons, etc than Sulu and the gang. But Kirk and his breed of captain prove to be irreplaceable. It's funny how no one speculates how well an M5 would replace Spock!
Daystrom is the character that really makes this show tick. Not only is Daystrom a very well developed character, one of the best non-regulars, he is also emblematic of a shattered genius. The story moves beyond its focus on the benefits and perhaps dangers of placing a ship under computer control and becomes a psychological study that gives us a character that is worthy of both scorn and pity. McCoy is the audience's emotional view of Daystrom; at the start of the show he is suspicious and dismissive of Daystrom and his machine. By the end he feels the sympathy that we do. William Marshall gives the role the depth that is needed and makes the character's swagger to emotional meltdown quite believable. Marshall pushes the envelope of scenery chewing but is never out of character. Shatner actually plays this episode more on the subdued side; perhaps this was the direction but the thoughtful, vulnerable side of Kirk really adds to the character.
As far as Eric's complaint about Commodore Wesely, I have to agree. Wesely acts as though he's completely forgotten that the Enterprise is under computer control. Sure, Kirk's supposed to have a "kill" switch at his chair, but an extra sentence of dialogue would have made this a bit more believable.
The new CG effects really help with this episode. Not only do we get to see another Federation space station, but the exterior shots of all the starships are much better than the old optically re-printed Enterprise shots we had before. Of course when I was young, just the idea of all those extra Enterprise-like ships on the show was exciting and I didn't really care what it looked like on the screen.
Next time: "Bread and Circuses"
The podcast for this episode can be listened to here:
As a bonus, Andy and I recorded a review for this episode on 9/15/2007: download it here. Consider this an extreme prototype for the kinds of podcasts we do now.
Eric's review:
Well, no Trek-related obituaries, so I'll get right to my thoughts about our current episode. When "The Ultimate Computer" came up in the queue, I fondly remembered the past 30,000 times I've seen it, but what I didn't remember was what an exceptional episode it is.
To begin with, I watched the remastered version of the episode, and this is definitely one case where the improved special effects added to the story. I enjoyed getting to see another design for a Federation starbase and really appreciate that it follows the established design lineage (i.e. Space Station K-7 in "The Trouble with Tribbles"). I also was surprised by how much the new effects add to the drama of the action sequences.
The story, superficially at least, is just Kirk vs. Computer again, but it is the best of those stories. (Although "Return of the Archons" and "The Changeling" are tied for a close second.) The premise--a revolutionary supercomputer is installed on the Enterprise for the purpose of replacing the human crew--is handled insightfully. Kirk's response to the prospect of losing his captaincy to a machine rings true. His reaction when Commodore Wesley refers to him as "Captain Dunsel" is affecting, and we are sympathetic to his plight. The support and compassion McCoy and Spock show him is sincere and touching; they both, in their own characteristic ways, are unwavering in their loyalty and friendship.
What really makes this an exceptional episode, though, is Dr. Daystrom. I never fully appreciated the depth and complexity of this character--He is arguably the antagonist, but he is also sympathetic and perhaps even pitiable. His genius is undeniable, one of the Federation's greatest minds, but he is also a paranoid schizophrenic, and he transferred those traits to his M5 computer, which is put in control of the Enterprise. This sets up wonderful dramatic tension, and William Marshall makes the very most of the role. And now that I think about his excellent performance, I found myself asking an interesting question: Did Daystrom's genius cause his insanity or was his insanity a innate condition that was expressed, due to his experiences, as genius? It's the old Nature vs. Nurture argument, and while I'm hardly an expert, I tend to think the latter scenario is the case. Daystrom had a predilection for schizophrenia that might not have developed except for his early success and the perceived scorn of his contemporaries.
Even with these richly deserved plaudits, I do have a complaint that concerns Commodore Wesley. When the task force is getting its ass kicked by M5/Enterprise, he keeps yelling things like "What is Kirk doing?!" It seems unlikely that he simply forgot that M5 was put in control of the Enterprise for the express purpose of seeing how well it can handle situations such as combat, so I'm mystified as to why he blames Kirk for M5's rampage. It doesn't make any sense, but ultimately (heh) it's a minor quibble with an otherwise superb episode.
I'll close with the full text of the magnificent poem Kirk quoted:
"Sea Fever"
I must down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a grey mist on the sea's face, and a grey dawn breaking.
I must down to the seas again, for the call of the running tide
Is a wild call and a clear call that may not be denied;
And all I ask is a windy day with the white clouds flying,
And the flung spray and the blown spume, and the sea-gulls crying.
I must down to the seas again, to the vagrant gypsy life,
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover
And quiet sleep and a sweet dream when the long trick's over.
By John Masefield (1878-1967).
(English Poet Laureate, 1930-1967.)
---
"The Ultimate Computer" is one of the rare episodes that was not only a childhood favorite but also holds up extremely well to the passage of time.
Despite the fact that Trek was a science fiction/adventure show, it didn't actually touch on the role of technology and human society all that often, at least not at the detail that this one does. This is not a knock against the program as these issues can be weighty and tough to distill into a 50 minute television show that above all needs to entertain. The seriousness of the ideas is easily seen in the excellent scene in Kirk's quarters where he and McCoy discuss he relentless march of technology and how it has this tendency to disrupt the fabric of human society, all the way down to the individual. The scene isn't all that long but it gets the point across effectively and as Eric points out below, uses the poem to accent the feelings Kirk is expressing.
"We are one big happy fleet!" (I wonder how Khan would handle his job being outsourced!)
The chance to get a bit, if you'll excuse the term, meta with the workings of Starfleet doesn't come along very often throughout the original series and this episode takes full advantage. Daystrom's M5 is allowed to control one of the most powerful starships in the fleet so we have to assume that the top commanders are at least entertaining the idea of an automated fleet having been convinced that, to quote McCoy, "the right computer finally came along." The fact of the matter is, it's quite easy to see from the early action of the episode, exactly why the top brass thought it was worth pursuing. The Enterprise does indeed operate more efficiently under the control of the M5. It doesn't seem all that far-fetched, even knowing the outcome of the episode, that those in charge would consider the M5 a better choice to control the helm, weapons, etc than Sulu and the gang. But Kirk and his breed of captain prove to be irreplaceable. It's funny how no one speculates how well an M5 would replace Spock!
Daystrom is the character that really makes this show tick. Not only is Daystrom a very well developed character, one of the best non-regulars, he is also emblematic of a shattered genius. The story moves beyond its focus on the benefits and perhaps dangers of placing a ship under computer control and becomes a psychological study that gives us a character that is worthy of both scorn and pity. McCoy is the audience's emotional view of Daystrom; at the start of the show he is suspicious and dismissive of Daystrom and his machine. By the end he feels the sympathy that we do. William Marshall gives the role the depth that is needed and makes the character's swagger to emotional meltdown quite believable. Marshall pushes the envelope of scenery chewing but is never out of character. Shatner actually plays this episode more on the subdued side; perhaps this was the direction but the thoughtful, vulnerable side of Kirk really adds to the character.
As far as Eric's complaint about Commodore Wesely, I have to agree. Wesely acts as though he's completely forgotten that the Enterprise is under computer control. Sure, Kirk's supposed to have a "kill" switch at his chair, but an extra sentence of dialogue would have made this a bit more believable.
The new CG effects really help with this episode. Not only do we get to see another Federation space station, but the exterior shots of all the starships are much better than the old optically re-printed Enterprise shots we had before. Of course when I was young, just the idea of all those extra Enterprise-like ships on the show was exciting and I didn't really care what it looked like on the screen.
Next time: "Bread and Circuses"
Saturday, September 8, 2012
TOS Rewind #50: "The Omega Glory"
And now we get to The Omega Glory (3/1/1968).
Eric, Rob, and I recorded a podcast:
I write this on September 8, 2012; 46 years to the day that Star Trek first aired on television. Fascinating.
Here we have another episode where the Cold War shows its influence on the series, in particular, on Gene Roddenberry who wrote this episode. Roddenberry considered using this script for the show's second pilot (after the network rejected "The Cage"). Of course in hindsight its easy to see that they chose the correct episode. "Where No Man Has Gone Before" is a more balanced, comprehensive representation of Star Trek, or at least of what the show was intended to be. I do have to wonder though how different this episode would have been had it been produced in 1965-66, at the very beginning of the series, and not more than halfway through Season 2.
The basic idea for this episode is actually quite compelling. The Enterprise encounters another Federation starship with its crew dead from a mysterious disease with only the last brief log entry from the ship's dying doctor to provide any clues. So, first of all, the Exeter has been missing for months and yet Kirk and the crew don't seem to be on a mission to find the ship. If the Enterprise is looking for the Exeter, it is not made at all clear from the episode's dialogue. Also, a disease that reduces a human body to a "few pounds of chemicals" seems a bit far-fetched. However, the story works better if the fate of the Exeter crew remains a mystery for at least a while.
Once Kirk and the landing party beam down to locate Captain Tracey, who is the only survivor from the Exeter, they soon discover that they have dropped into the middle of a local conflict between the Kohms and the Yangs with Tracy propping up the Kohms with the power of his phaser. This situation is a classic example of Star Trek's Prime Directive: Tracey has clearly violated the Directive with his self-serving interference in the planet's affairs.
Tracey, as a way of trying to convince Kirk that his actions were justified, explains that the immunity that the planet provides from the disease that killed the Exeter crew, also grants enormously long lifespans to those who live on the planet. Tracey believes that this can be isolated by McCoy and made into some kind of serum that will grant near-immortality to those who take it. Tracey thinks this will be his golden galactic ticket to fame and fortune; he also believes it will justify him killing thousands of people to get it.
Kirk of course doesn't buy into all this which sets up the conflict between the two captains. The episode actually works well until the end where it's revealed that the Yangs and Kohms are close parallels to Earth's America and Communist (China, I assume) rivalries. The story angle regarding Tracey trying to use the long life span of the locals to his own end is well done and the conflicts surrounding the Prime Directive work well. It just goes off the rails for me when Roddenberry uses such an obvious thing as making the two sides direct copies of Earth nations, right down to the USA flag. This reliance on familiar symbols and ideas that are SO similar to Earth is either a sign of laziness or believing, as Eric points out, that the audience needs to be spoon-fed the idea. The audiences in 1968 didn't need that and other Trek episodes managed to work in then-contemporary socio-political ideas without such brute force in the writing.
I believe this episode could have been one of the best in the series, had the script been written differently; the story idea is very good. The production quality and acting is also not a problem. Ron Tracey is a great character and a significant opponent to Kirk. In fact, Captain Tracey beats Kirk more than once. Tracey is also a character who, due to his personal nature or the effect of his entire crew dying while he stayed behind, is coldly determined to get what he wants and survive. Tracey is desperate to win at any cost. There is also great interaction between Kirk, Spock, and McCoy here. All of this makes for an episode that comes tantalizingly close to being a great show but is undone by the writing, in this case another "parallel Earth" story line. I think Trek is best when it stays away from this and doesn't get too literal with its commentary on the times.
The remastered episode I watched looked very good and it was fun to see the lettering on the hull of the Exeter where in the original effects shots (which were not at all bad), we just saw a mirror image of the Enterprise orbiting the planet.
And, Spock's mind meld from across the room was quite silly.
---
And here's Eric's review:
As with my previous review, sadly I need to preface my comments with the news that another Star Trek alumnus has passed away. William Windom, the actor who played Commodore Matthew Decker in "The Doomsday Machine," passed away on August 16th. He was 88.
Now on to "The Omega Glory," an episode I fondly remember. And I was pleased to find that, for the most part, it has held up well over the several years since my last viewing. There was, however, a significant flaw that never stood out before: the exact parallels to Earth and the Cold War, were so blatant as to be laughable. It didn't ruin the episode for me, but I do hate being jarred out of an otherwise good story by something so ridiculous. One would think that at least a little subtly, and a little less spoon feeding, would be possible. Also, Spock's long distance mind meld at the end of the episode really doesn't work for me.
But on the other hand, this episode has two of the best guest stars in the original series: Morgan Woodward as Captain Ron Tracey and Roy Jenson as Cloud William. Both characters were interesting and had surprising depth, and both were played quite well. I especially like the way Capt. Tracey comes off as a stone cold bad-ass.
There is also the good action sequences and character interaction I've come to expect from original Trek, but the one aspect of this episode that sets it apart for me is that we get to see another Constitution Class starship, the Exeter. There are just a few episodes from the original series that feature other Starfleet personnel, and even fewer that show other Starfleet ships. Seeing them gives us a broader context for the series and reminds us that the Enterprise, despite being unique and special, is just one part of a very large fleet.
Next time: "The Ultimate Computer"
Eric, Rob, and I recorded a podcast:
I write this on September 8, 2012; 46 years to the day that Star Trek first aired on television. Fascinating.
Here we have another episode where the Cold War shows its influence on the series, in particular, on Gene Roddenberry who wrote this episode. Roddenberry considered using this script for the show's second pilot (after the network rejected "The Cage"). Of course in hindsight its easy to see that they chose the correct episode. "Where No Man Has Gone Before" is a more balanced, comprehensive representation of Star Trek, or at least of what the show was intended to be. I do have to wonder though how different this episode would have been had it been produced in 1965-66, at the very beginning of the series, and not more than halfway through Season 2.
The basic idea for this episode is actually quite compelling. The Enterprise encounters another Federation starship with its crew dead from a mysterious disease with only the last brief log entry from the ship's dying doctor to provide any clues. So, first of all, the Exeter has been missing for months and yet Kirk and the crew don't seem to be on a mission to find the ship. If the Enterprise is looking for the Exeter, it is not made at all clear from the episode's dialogue. Also, a disease that reduces a human body to a "few pounds of chemicals" seems a bit far-fetched. However, the story works better if the fate of the Exeter crew remains a mystery for at least a while.
Once Kirk and the landing party beam down to locate Captain Tracey, who is the only survivor from the Exeter, they soon discover that they have dropped into the middle of a local conflict between the Kohms and the Yangs with Tracy propping up the Kohms with the power of his phaser. This situation is a classic example of Star Trek's Prime Directive: Tracey has clearly violated the Directive with his self-serving interference in the planet's affairs.
Tracey, as a way of trying to convince Kirk that his actions were justified, explains that the immunity that the planet provides from the disease that killed the Exeter crew, also grants enormously long lifespans to those who live on the planet. Tracey believes that this can be isolated by McCoy and made into some kind of serum that will grant near-immortality to those who take it. Tracey thinks this will be his golden galactic ticket to fame and fortune; he also believes it will justify him killing thousands of people to get it.
Kirk of course doesn't buy into all this which sets up the conflict between the two captains. The episode actually works well until the end where it's revealed that the Yangs and Kohms are close parallels to Earth's America and Communist (China, I assume) rivalries. The story angle regarding Tracey trying to use the long life span of the locals to his own end is well done and the conflicts surrounding the Prime Directive work well. It just goes off the rails for me when Roddenberry uses such an obvious thing as making the two sides direct copies of Earth nations, right down to the USA flag. This reliance on familiar symbols and ideas that are SO similar to Earth is either a sign of laziness or believing, as Eric points out, that the audience needs to be spoon-fed the idea. The audiences in 1968 didn't need that and other Trek episodes managed to work in then-contemporary socio-political ideas without such brute force in the writing.
I believe this episode could have been one of the best in the series, had the script been written differently; the story idea is very good. The production quality and acting is also not a problem. Ron Tracey is a great character and a significant opponent to Kirk. In fact, Captain Tracey beats Kirk more than once. Tracey is also a character who, due to his personal nature or the effect of his entire crew dying while he stayed behind, is coldly determined to get what he wants and survive. Tracey is desperate to win at any cost. There is also great interaction between Kirk, Spock, and McCoy here. All of this makes for an episode that comes tantalizingly close to being a great show but is undone by the writing, in this case another "parallel Earth" story line. I think Trek is best when it stays away from this and doesn't get too literal with its commentary on the times.
The remastered episode I watched looked very good and it was fun to see the lettering on the hull of the Exeter where in the original effects shots (which were not at all bad), we just saw a mirror image of the Enterprise orbiting the planet.
And, Spock's mind meld from across the room was quite silly.
---
And here's Eric's review:
As with my previous review, sadly I need to preface my comments with the news that another Star Trek alumnus has passed away. William Windom, the actor who played Commodore Matthew Decker in "The Doomsday Machine," passed away on August 16th. He was 88.
Now on to "The Omega Glory," an episode I fondly remember. And I was pleased to find that, for the most part, it has held up well over the several years since my last viewing. There was, however, a significant flaw that never stood out before: the exact parallels to Earth and the Cold War, were so blatant as to be laughable. It didn't ruin the episode for me, but I do hate being jarred out of an otherwise good story by something so ridiculous. One would think that at least a little subtly, and a little less spoon feeding, would be possible. Also, Spock's long distance mind meld at the end of the episode really doesn't work for me.
But on the other hand, this episode has two of the best guest stars in the original series: Morgan Woodward as Captain Ron Tracey and Roy Jenson as Cloud William. Both characters were interesting and had surprising depth, and both were played quite well. I especially like the way Capt. Tracey comes off as a stone cold bad-ass.
There is also the good action sequences and character interaction I've come to expect from original Trek, but the one aspect of this episode that sets it apart for me is that we get to see another Constitution Class starship, the Exeter. There are just a few episodes from the original series that feature other Starfleet personnel, and even fewer that show other Starfleet ships. Seeing them gives us a broader context for the series and reminds us that the Enterprise, despite being unique and special, is just one part of a very large fleet.
Next time: "The Ultimate Computer"
Monday, June 18, 2012
TOS Rewind #49: "By Any Other Name"
Up this time around: By Any Other Name (02/28/1968)
Here's the podcast:
There are two things that always come to mind when I think about this episode.
1. The scene where Scotty drinks an alien under the table.
2. The scene where the (female!) redshirt (redskirt?) is, to quote an old SNL sketch, "turned into a cube, and crushed."
Besides these two memorable moments, this episode is unfortunately uneven; I just get the feeling that the writers just didn't have the pacing and tone of the show balanced. Eric points this out well, but it bears repeating.
The first few acts of the episode are quite serious and, assuming an SNL sketch hasn't made it into a joke, the early scene of Rojan coldly killing the crew member to make a point has a dramatic impact. Once the Enterprise leaves the galaxy and Kirk has decided to not destroy his ship (more on that later), the tone shifts to a less serious insurrection. It almost feels like, "well, we can't beat these guys so we might as well have some fun messing with their minds." Hmm, okay. I can't fault the tone here too much as the scenes where our heroes are undermining their captors' new "human" natures are just too much fun. Kirk is clearly enjoying his alien seduction duties even more than usual and Spock totally knows when to strategically place the right button-pushing statement to push Rojan over the edge to jealousy. I am going to pause for a moment to ponder just what Kalinda's job on this colonization crew is exactly? I get that a long-time expedition might have couples aboard but only Rojan seems to have a, er...spouse(?). No one else seems to have any sort of relationship. Leadership has its privileges...
I suppose the main point is that all this setup at the beginning seems like a waste; it's easy to forget the seriousness of the opening acts when we're laughing at Scotty, who just twenty minutes prior, was ready to destroy his beloved Enterprise. And that's a shame really. The buildup to the point where Kirk has to make the call on whether or not to blow up the ship is nicely done with a tense buildup. The resolution, the Kelvans being undone by their choice of life form to morph into (good thing they didn't decide to become Vulcans!) has its problems, but at least Kirk and the crew get out of this situation on their own. There is no cosmic force that helps them out at the end. The resolution results in a, to quote Eric, "group hug," but the strategy of pissing their captors off and sleeping with the alien leader's lover is not without risk.
It's hard to imagine this episode without all the humorous character elements but I wonder if the pacing and tone would have worked better if the setup were somehow different. The material in this episode could have been made into two different and perhaps more successful shows.
As I have mentioned, the Kirk/Spock/McCoy/Scotty characters are all given plenty of good material. Despite the flaws in the story, if one were to compile a short list of original series episodes that really demonstrate the core characters of the show, this would have to be among them.
I did view the remastered version of this episode but there were minimal changes to the special effects. The space scenes in the original version were pretty decent.
...
And now we have Eric's review:
Before I get to my review, I want to note that Warren Stevens, the actor who played Rojan in "By Any Other Name," passed away on March 27th. He also played Dr. Ostrow in the 1956 classic SF movie "Forbidden Planet." He was 92.
Now for my comments on "By Any Other Name," an episode that has many things going for it, such as: a great title (gotta love the Shakespeare), some interesting intrigue by Kirk and company, and a healthy dose of great character scenes. Unfortunately, however, it also suffers from some glaring weaknesses: a jarring shift in tone halfway through the episode, an abrupt resolution that strains credulity, and a subtle but significant continuity problem that I address in my closing.
The title of this episode is from Shakespeare's "Romeo and Juliet" (Act 2, Scene 2): "What's in a name? That which we call a rose by any other name would smell as sweet." Lovely blank verse, but I'm not sure exactly how it relates to this episode. Perhaps it is meant to point out the familiar Trek theme that aliens are not so different from us (particularly when they take human form, as in this episode). Or it could simply be a reference to the scene where Kirk quotes that line to Kalinda. Your guess is as good as mine.
I also like the way the crew figures out how to defeat the Kelvans. No deus ex machina like we saw in "Return to Tomorrow." It's a logical, well-reasoned plan that is executed to delightful effect. Which brings me to the character scenes. All of the main characters (who were not turned into styrofoam tetrahedrons) got to have great scenes turning the Kelvans' newfound emotions against them: Kirk awakens the sex kitten in Kalinda (the hot alien, naturally); Spock brings out Rojan's jealousy while playing a nice, sedate game of chess; McCoy drives Hanar to distraction with some sort of stimulant; and best of all, Scotty drinks Tomar under the table. This last may be Scotty's best scene in the entire series, and it is certainly one of the funniest in original Star Trek. ("It's green" is a favorite quote among fans.)
The drawback to these great character scenes is that their onset signals a jarring shift in the tone of the episode. Before, on the planet, the situation is quite serious--no hint of humor--but as soon as we get back to the Enterprise, the crew starts having these amusing, often hilarious, interludes with the Kelvans. This is followed by a group hug resolution that is facilitated by an abrupt, diametric shift in Rojan's attitude. He goes from being a hostile invader bent on conquering the Federation to a friendly visitor looking for guest accommodations, and he does this while being held in a headlock by Kirk. Sorry, that just doesn't ring true. But in defense of the producers, I think they simply ran out of airtime for the episode.
So, as with many other episodes, "By Any Other Name" is a mixed bag--enjoyable but best not examined too closely. Despite that, I want to sign off by posing a question that's been nagging me: what happened to the incredible upgrades the Kelvans made to the Enterprise engines after this episode?
Next time: "The Omega Glory"
Here's the podcast:
There are two things that always come to mind when I think about this episode.
1. The scene where Scotty drinks an alien under the table.
2. The scene where the (female!) redshirt (redskirt?) is, to quote an old SNL sketch, "turned into a cube, and crushed."
Besides these two memorable moments, this episode is unfortunately uneven; I just get the feeling that the writers just didn't have the pacing and tone of the show balanced. Eric points this out well, but it bears repeating.
The first few acts of the episode are quite serious and, assuming an SNL sketch hasn't made it into a joke, the early scene of Rojan coldly killing the crew member to make a point has a dramatic impact. Once the Enterprise leaves the galaxy and Kirk has decided to not destroy his ship (more on that later), the tone shifts to a less serious insurrection. It almost feels like, "well, we can't beat these guys so we might as well have some fun messing with their minds." Hmm, okay. I can't fault the tone here too much as the scenes where our heroes are undermining their captors' new "human" natures are just too much fun. Kirk is clearly enjoying his alien seduction duties even more than usual and Spock totally knows when to strategically place the right button-pushing statement to push Rojan over the edge to jealousy. I am going to pause for a moment to ponder just what Kalinda's job on this colonization crew is exactly? I get that a long-time expedition might have couples aboard but only Rojan seems to have a, er...spouse(?). No one else seems to have any sort of relationship. Leadership has its privileges...
I suppose the main point is that all this setup at the beginning seems like a waste; it's easy to forget the seriousness of the opening acts when we're laughing at Scotty, who just twenty minutes prior, was ready to destroy his beloved Enterprise. And that's a shame really. The buildup to the point where Kirk has to make the call on whether or not to blow up the ship is nicely done with a tense buildup. The resolution, the Kelvans being undone by their choice of life form to morph into (good thing they didn't decide to become Vulcans!) has its problems, but at least Kirk and the crew get out of this situation on their own. There is no cosmic force that helps them out at the end. The resolution results in a, to quote Eric, "group hug," but the strategy of pissing their captors off and sleeping with the alien leader's lover is not without risk.
It's hard to imagine this episode without all the humorous character elements but I wonder if the pacing and tone would have worked better if the setup were somehow different. The material in this episode could have been made into two different and perhaps more successful shows.
As I have mentioned, the Kirk/Spock/McCoy/Scotty characters are all given plenty of good material. Despite the flaws in the story, if one were to compile a short list of original series episodes that really demonstrate the core characters of the show, this would have to be among them.
I did view the remastered version of this episode but there were minimal changes to the special effects. The space scenes in the original version were pretty decent.
...
And now we have Eric's review:
Before I get to my review, I want to note that Warren Stevens, the actor who played Rojan in "By Any Other Name," passed away on March 27th. He also played Dr. Ostrow in the 1956 classic SF movie "Forbidden Planet." He was 92.
Now for my comments on "By Any Other Name," an episode that has many things going for it, such as: a great title (gotta love the Shakespeare), some interesting intrigue by Kirk and company, and a healthy dose of great character scenes. Unfortunately, however, it also suffers from some glaring weaknesses: a jarring shift in tone halfway through the episode, an abrupt resolution that strains credulity, and a subtle but significant continuity problem that I address in my closing.
The title of this episode is from Shakespeare's "Romeo and Juliet" (Act 2, Scene 2): "What's in a name? That which we call a rose by any other name would smell as sweet." Lovely blank verse, but I'm not sure exactly how it relates to this episode. Perhaps it is meant to point out the familiar Trek theme that aliens are not so different from us (particularly when they take human form, as in this episode). Or it could simply be a reference to the scene where Kirk quotes that line to Kalinda. Your guess is as good as mine.
I also like the way the crew figures out how to defeat the Kelvans. No deus ex machina like we saw in "Return to Tomorrow." It's a logical, well-reasoned plan that is executed to delightful effect. Which brings me to the character scenes. All of the main characters (who were not turned into styrofoam tetrahedrons) got to have great scenes turning the Kelvans' newfound emotions against them: Kirk awakens the sex kitten in Kalinda (the hot alien, naturally); Spock brings out Rojan's jealousy while playing a nice, sedate game of chess; McCoy drives Hanar to distraction with some sort of stimulant; and best of all, Scotty drinks Tomar under the table. This last may be Scotty's best scene in the entire series, and it is certainly one of the funniest in original Star Trek. ("It's green" is a favorite quote among fans.)
The drawback to these great character scenes is that their onset signals a jarring shift in the tone of the episode. Before, on the planet, the situation is quite serious--no hint of humor--but as soon as we get back to the Enterprise, the crew starts having these amusing, often hilarious, interludes with the Kelvans. This is followed by a group hug resolution that is facilitated by an abrupt, diametric shift in Rojan's attitude. He goes from being a hostile invader bent on conquering the Federation to a friendly visitor looking for guest accommodations, and he does this while being held in a headlock by Kirk. Sorry, that just doesn't ring true. But in defense of the producers, I think they simply ran out of airtime for the episode.
So, as with many other episodes, "By Any Other Name" is a mixed bag--enjoyable but best not examined too closely. Despite that, I want to sign off by posing a question that's been nagging me: what happened to the incredible upgrades the Kelvans made to the Enterprise engines after this episode?
Next time: "The Omega Glory"
Friday, March 9, 2012
TOS Rewind #48: "Patterns of Force"
What, you guys are still doing this Star Trek thing?
Yes, the project still chugs along, just at a slower pace. We'll get there!
Up this time: Patterns of Force (02-16-1968)
We did a podcast for this episode:
Here's Eric's review:
I have been fascinated by history for as long as I can remember, and World War II has always been of particular interest. So it stands to reason that "Patterns of Force" would be one of my favorite original Trek episodes.
Yep, that certainly stands to reason, but after doing the podcast I got to thinking about it. In many ways it is a fun episode: there's lots of action and drama, and we get to see Kirk and Spock dressed up as Nazis. (As to this last point, however, both Bill Shatner and Leonard Nimoy are Jewish, so I have to wonder how they felt about all the Nazi trappings.) Still, there are two glaring flaws that I find hard to overlook.
My first issue is with Spock's improvised laser in the Ekosian cell. Yes, Spock is a genius scientist, but the notion that he could create even a crude laser using a couple of crystals held in a bent bed spring is beyond ludicrous. Even if he could construct a such a laser, an ordinary incandescent light bulb wouldn't begin to provide enough power for it to operate at a level sufficient to burn through an inch-thick bar of steel.
And if that isn't bad enough, the very premise of the story defies credulity. John Gill is said to be a noted professor of history who had taught at Starfleet Academy. One would think, then, that he would be rational, intelligent, and very well-educated. So how could such a man, let alone an historian, conclude that a governmental/social system modeled on the Third Reich could be something other than bigoted, brutal, and sadistic? Nazi Germany was an ultra-conservative, nationalistic, military dictatorship with some elements of socialism and fascism. And their unifying forces were unbelievably arrogant pride in their own pseudo-race and hatred of any person or group that Hitler and his sick, twisted cronies proclaimed to be impure. It is totally absurd that an historian of John Gill's stature could think that such a system could be run benignly--its very basis, everything that made it powerful, was corrupt, immoral, and malicious.
I hate to be so hard on an episode I've enjoyed through the years, but upon re-watching, discussing, and reflecting on it, I am forced to conclude that it is seriously flawed. Strangely, though, even as I write this, I know that I will be able to overlook those flaws and enjoy watching "Patterns of Force" sometime in the future. Chalk up another win for cognitive dissonance.
---
Ah, the "Nazi episode." Like Eric (and Rob), I had a great fondness for this one growing up. We were all into World War 2 stuff at the time (I used to build WW2 airplane models) and this combination was irresistible. The idea of the Enterprise encountering a planet so similar to Earth in the 20th Century is far better suited to contemporary storytelling and television budgets (you get to use the studio sets and backlot) than to any kind of sci fi credibility. At least in this one, they make an attempt to explain why this planet would bear any resemblance to our Earth; unlike an episode such as "Miri."
If you peel away the "let's make a society based on Nazi Germany without all the nastiness" ideas, you're basically left with an episode where we get to watch a 2 man commando mission (Kirk and Spock) infiltrate and take out the Nazis. That alone assures its attraction to 10 year old Eric, John, and Rob. There were many popular Hollywood movies in the 1960s that were centered around Allied heroes kicking ass on the Nazis ("The Guns of Navarone," "Where Eagles Dare," etc). I have to wonder if this had some influence on the writers of Star Trek. There were plenty of other times where there are influences.
The main premise, aside from commando Kirk and Spock, is interesting if flawed. As Eric pointed out on the podcast, Gene Roddenberry flew planes in WW2 and his experiences must have had some influence on his writing and ideas for Star Trek. The big problem with the kinder/gentler Nazi idea is that it seems hopelessly stuck in the 1960s, where apparently there was a popular theory among historians that National Socialism could have come out differently. I also think it would have been difficult to really address some of the seriousness of the Nazis on 1968 television. It occurred to me that an episode like this might have worked better with the style of Next Generation; more analytical, less censorship. However, it's hard to imagine this episode being made in the late 1980s...in the end though, the ideas are still fun and interesting. Sometimes even a failed story idea can have value. It certainly got all of us to think about it.
Yes, the scene in the jail cell where Spock makes his "laser" is very silly (I think I thought so at age 10) but I'm not sure it really hurts the episode for me. This scene fits in well with the idea of Kirk and Spock chewing bubble gum and kicking ass (and they ran out of bubble gum). Speaking of the jail scenes, how about the part where they whip Spock across his bare back? You can actually see his green blood on the whip marks. That's different and pretty graphic for Trek. As is typical for this kind of episode, things conclude leaving us to wonder what happened after the Enterprise left.
The writing for this episode is still very good. The script makes the most of the limits imposed on the subject and the main characters are given some very good dialogue. There are genuinely funny moments throughout the episode and the interaction between Kirk, Spock, and McCoy feels right to me. Another element that was done well here is the way that the John Gill character comes across as sympathetic. The scenes at the end where he confesses to Kirk how his best intentions and ideas went horribly wrong have real depth to them. I find the whole sequence pretty sad actually.
There wasn't much to really see as far as remastered effects in this episode. The quality of the image and sound continues to be outstanding. I am looking forward to the similar treatment they're doing to The Next Generation episodes.
Next time: "By Any Other Name"
Yes, the project still chugs along, just at a slower pace. We'll get there!
Up this time: Patterns of Force (02-16-1968)
We did a podcast for this episode:
Here's Eric's review:
I have been fascinated by history for as long as I can remember, and World War II has always been of particular interest. So it stands to reason that "Patterns of Force" would be one of my favorite original Trek episodes.
Yep, that certainly stands to reason, but after doing the podcast I got to thinking about it. In many ways it is a fun episode: there's lots of action and drama, and we get to see Kirk and Spock dressed up as Nazis. (As to this last point, however, both Bill Shatner and Leonard Nimoy are Jewish, so I have to wonder how they felt about all the Nazi trappings.) Still, there are two glaring flaws that I find hard to overlook.
My first issue is with Spock's improvised laser in the Ekosian cell. Yes, Spock is a genius scientist, but the notion that he could create even a crude laser using a couple of crystals held in a bent bed spring is beyond ludicrous. Even if he could construct a such a laser, an ordinary incandescent light bulb wouldn't begin to provide enough power for it to operate at a level sufficient to burn through an inch-thick bar of steel.
And if that isn't bad enough, the very premise of the story defies credulity. John Gill is said to be a noted professor of history who had taught at Starfleet Academy. One would think, then, that he would be rational, intelligent, and very well-educated. So how could such a man, let alone an historian, conclude that a governmental/social system modeled on the Third Reich could be something other than bigoted, brutal, and sadistic? Nazi Germany was an ultra-conservative, nationalistic, military dictatorship with some elements of socialism and fascism. And their unifying forces were unbelievably arrogant pride in their own pseudo-race and hatred of any person or group that Hitler and his sick, twisted cronies proclaimed to be impure. It is totally absurd that an historian of John Gill's stature could think that such a system could be run benignly--its very basis, everything that made it powerful, was corrupt, immoral, and malicious.
I hate to be so hard on an episode I've enjoyed through the years, but upon re-watching, discussing, and reflecting on it, I am forced to conclude that it is seriously flawed. Strangely, though, even as I write this, I know that I will be able to overlook those flaws and enjoy watching "Patterns of Force" sometime in the future. Chalk up another win for cognitive dissonance.
---
Ah, the "Nazi episode." Like Eric (and Rob), I had a great fondness for this one growing up. We were all into World War 2 stuff at the time (I used to build WW2 airplane models) and this combination was irresistible. The idea of the Enterprise encountering a planet so similar to Earth in the 20th Century is far better suited to contemporary storytelling and television budgets (you get to use the studio sets and backlot) than to any kind of sci fi credibility. At least in this one, they make an attempt to explain why this planet would bear any resemblance to our Earth; unlike an episode such as "Miri."
If you peel away the "let's make a society based on Nazi Germany without all the nastiness" ideas, you're basically left with an episode where we get to watch a 2 man commando mission (Kirk and Spock) infiltrate and take out the Nazis. That alone assures its attraction to 10 year old Eric, John, and Rob. There were many popular Hollywood movies in the 1960s that were centered around Allied heroes kicking ass on the Nazis ("The Guns of Navarone," "Where Eagles Dare," etc). I have to wonder if this had some influence on the writers of Star Trek. There were plenty of other times where there are influences.
The main premise, aside from commando Kirk and Spock, is interesting if flawed. As Eric pointed out on the podcast, Gene Roddenberry flew planes in WW2 and his experiences must have had some influence on his writing and ideas for Star Trek. The big problem with the kinder/gentler Nazi idea is that it seems hopelessly stuck in the 1960s, where apparently there was a popular theory among historians that National Socialism could have come out differently. I also think it would have been difficult to really address some of the seriousness of the Nazis on 1968 television. It occurred to me that an episode like this might have worked better with the style of Next Generation; more analytical, less censorship. However, it's hard to imagine this episode being made in the late 1980s...in the end though, the ideas are still fun and interesting. Sometimes even a failed story idea can have value. It certainly got all of us to think about it.
Yes, the scene in the jail cell where Spock makes his "laser" is very silly (I think I thought so at age 10) but I'm not sure it really hurts the episode for me. This scene fits in well with the idea of Kirk and Spock chewing bubble gum and kicking ass (and they ran out of bubble gum). Speaking of the jail scenes, how about the part where they whip Spock across his bare back? You can actually see his green blood on the whip marks. That's different and pretty graphic for Trek. As is typical for this kind of episode, things conclude leaving us to wonder what happened after the Enterprise left.
The writing for this episode is still very good. The script makes the most of the limits imposed on the subject and the main characters are given some very good dialogue. There are genuinely funny moments throughout the episode and the interaction between Kirk, Spock, and McCoy feels right to me. Another element that was done well here is the way that the John Gill character comes across as sympathetic. The scenes at the end where he confesses to Kirk how his best intentions and ideas went horribly wrong have real depth to them. I find the whole sequence pretty sad actually.
There wasn't much to really see as far as remastered effects in this episode. The quality of the image and sound continues to be outstanding. I am looking forward to the similar treatment they're doing to The Next Generation episodes.
Next time: "By Any Other Name"
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