"The City on the Edge of Forever" is one of Star Trek’s finest hours. Harlan Ellison’s tale of personal sacrifice on behalf of others serves as the touchstone from which the lives of McCoy, Spock, and Kirk flow in David R. George III’s Crucible trilogy. These books, commissioned for the fortieth anniversary celebration, are unique in that they stand outside all other literary continuity. George limits himself to the original episodes, the animated series, and what we know of the original crew from references in later Treks. Also, while the stories can, theoretically, be read in any order, they really should be read in their order of release. The interweaving stories read better in order, and could serve to spoil the enjoyment of the other books. Sadly, reading the books in order may wind up leaving readers with a sub-par feeling at the end.
Didn’t like the finale of Star Trek: Enterprise? You’re not alone. Andy Mangels and Michael A. Martin (and, incidentally, Pocket Books) are counting on that as they present "The Good That Men Do." The book is the first in the ‘relaunch’ of the Enterprise series in novel form. Primarily it is an attempt to undo the damage that 24th century Trek imposed on Enterprise in "These Are The Voyages," while also setting up the arcs for where Pocket plans on taking the series (story here). The book adequately performs these duties, but not without running into its own problems along the way. NOTE: SPOILERS BELOW
Robert Bloch’s “Wolf in the Fold” is typical both of the horror writer’s contributions to the series (he also wrote “What Are Little Girls Made Of? and “Catspaw”) and of the show’s second season, in that in year two Trek often presented some fairly dark and outlandish plotlines but shook them up with humor. The story centers around Scott, who’s accused of murder while on shore leave on the hedonistic world of Argelius. Scott’s under suspicion because a head injury has apparently created a temporary feeling of paranoia and distrust of women, but as the female bodies start piling up and the investigation continues the culprit is revealed to be the ancient spirit of Jack the Ripper, in actuality a formless alien entity which thrives on fear.
This week issue 3 of Star Trek The Next Generation The Space Between hits the stores with a story set sometime during season 7. After reading issues 3 & 4 the narrative threads that IDW promised are now becoming apparent. One thematic is that each issue focuses on characters, often one character, with a "A" narrative, and there is a "B" narrative with other characters. The photo covers clue you in to this, with issue 3’s featuring Worf and Troi whose romance is set against the story of the Enterprise crew being challenged by a very cool ship that is a hybrid of a Romulan Warbird, a Borg vessel, and a Federation starship. The issue deals with how the crew must defeat this mystery ship while Worf has to figure out how to balance his romance with Troi with his obligations to Starfleet.
So here’s the pitch: The Enterprise is drawn to a lush, idyllic Class-M planet set in the path of an asteroid the size of Earth’s Moon. Kirk, Spock and McCoy beam down to the planet and discover a primitive culture in place that closely resembles several Native American tribes from Earth. Additionally, vegetation on the planet (pine trees, orange groves, etc.) is identical to Earth’s, despite being a half a galaxy away- the odds of which, according to Spock, are "astronomical." The party discovers an artfully designed obelisk set in the woods, evidence of an advanced species later revealed to have planted human life on the planet. In the show’s opening minutes, we are presented with a tantalizing mystery and a major clue. Archeologically speaking, this planet may answer the question of how humans appeared on Earth. On paper, this is one of Star Trek’s more appealing high-concepts. Unfortunately, "The Paradise Syndrome" wanders about, indulging in silliness instead of exploring its more ambitious themes.
Angry Red PlanetWarned by McCoy that Spock is acting a little "off," Kirk is forced to agree after the Vulcan assaults Nurse Chapel with a soup bowl. Spock awkwardly explains that he’s in the grip of an irresistible sexual urge and that he’ll die if he doesn’t mate Real Soon. Kirk can easily relate to this, so he defies Starfleet orders to return Spock to his home planet. Vulcan is the most PC planet in the cosmos: a world of unemotional, rational, pacifist vegans. It’s logical, therefore, that we are introduced in short order to: A masked executioner T’Pring, a betrothed woman who desires another man and enters into a murder conspiracy rather than be seen to defy conventional social mores Stonn, a co-conspirator so full of lustful rage that he can’t help blurting out unhelpful clues to his complicity ("No, I was to be the one!") T’Pau, a planetary ruler so smug and bigoted that she indulges in playing lethal "gotcha!" with naive strangers ("Des combad ees to de deat")
THERE WAS, BUT NOT ANYMORE: DOOMSDAY HAS ARRIVED! Before getting to my review of the new “Doomsday Machine,” let’s get through the preliminaries first. First up, let’s address why it’s sacrilege to screw with the original Star Wars Films (ok, really SW and ESB, I never really cared what they did with Jedi – although putting a new song in Jabba’s court was not really a step in the right direction) and not Star Trek. The answer: because George Lucas, for all intents and purposes, is supplanting the original Oscar nominated versions of Star Wars (which resides in the Library of Congress among other places) for all time and, frankly, making them worse. The Enhanced Star Trek, on the other hand, is an alternate version of the original episodes which continue to be in syndication and on DVD and are not intended to replace the original 1966-69 versions, but rather exist as a companion piece to them.
2007 is the 20th Anniversary of Star Trek The Next Generation, and IDW is planning to celebrate by setting their first Star Trek comic in Jean Luc Picard’s time. IDW is the latest inheritor of the Star Trek comics license (after being owned by both DC and Marvel over the years). The six issue series titled "The Space Between" spans the TNG era, with the first issue taking place in season 1 and the second during season 5. IDW have assigned an experienced team with writer David Tischman and Casey Maloney doing the artwork. Considering that IDW has experience with comics based on media items (such as Transformers and 24) it is no surprise that fans should be hopeful for the future of Trek comics. TrekMovie.com got a chance to speak to IDW editor Dan Taylor and see the first two issues and we like what we are seeing (and hearing).
For the last two reviews I’ve written for the site I deliberately took on Trek outings that I feel are a little undervalued by the community—not so here. Dorothy Fontana’s “Journey to Babel” is an acknowledged Trek classic and would be even if it had only conjured up Spock’s parents, Sarek and Amanda, in the flesh. But “Babel” offers much more than that—it’s a solid look at the Vulcan family relationship (albeit one somewhat disrupted by the presence of a human parent in the mix), an exciting tale of political intrigue, and an Agatha Christie-type murder mystery that also boasts satisfying action both onboard the Enterprise and in outer space.
"For The World Is Hollow and I Have Touched The Sky" is a rather typical 3rd season Star Trek episodes. The story generally can take place on a soundstage and is mostly character driven. The first point is simply a function of lower budgets of Trek’s last year and is one of the main complaints for Season 3. Therefore the lower budgets relied more on the the story to carry the load and "For the World is Hollow" does try to put some of the elements together for an interesting mission. There is the impending peril of the asteroid ship Yonada smashing into a densely inhabited planet, McCoy’s terminal illness, and of course, a computer for Kirk to disable.
“If I Ruled The World…”The Enterprise, leaving the galaxy, discovers the scarred and blasted recorder marker of the only other ship to do so, the Valiant. Upon reviewing the Valiant’s tapes, Spock discovers that the ship hit some kind of “unknown force” and as a consequence of some (inaudible) events involving (tape damaged) and ESP and such that ship’s captain ordered his vessel destroyed. Captain Kirk decides to forge on ahead, reasoning that since other ships will someday explore this region it’s important for the Enterprise to leave behind its own scarred and blasted recorder marker to warn them off. Turns out there’s a big Energy Wall around our galaxy, despite the fact that the only thing more scientifically ridiculous would be a big Energy Wall around the heart of our galaxy imprisoning a demon that claims to be God. The barrier (now given the full CGI treatment) zaps a number of Kirk’s crew, most notably his pal Gary Mitchell and Dr. Elizabeth “Hotlips” Dehner.
Imagine a race of aliens on a distant planet who exist in an accelerated state of being, moving so quickly in time that they are imperceptible to the ordinary world except for the insect-like buzzing of their sped-up voices. It’s an intriguing sci-fi concept with all sorts of dramatic and narrative possibilities, but the “Wink of an Eye” in this week’s Star Trek episode is from the writers to the audience telling them, “Yeah, we know this story makes no logical sense whatsoever but just ignore that and watch Captain Kirk bag another alien space babe."
While I’m curious as to why anything written by Dorothy Fontana would qualify as “underappreciated,” the second season episode “Friday’s Child” often produces a shrug of disaffection when you mention it to fans. I’ve never understood this and it’s always been a favorite of mine. Maybe it’s the patently ridiculous costumes, the mix of cyclorama “planet” sets and somewhat overused (but cool!) Vasquez Rocks location work, but I’ve always suspected that the chief thorn in many fans’ sides is one of the reasons I’ve always been drawn to the story: the unusual characterization of El’een, the pregnant tribal queen doomed to die by regime change. Despite being played by an actress known for her sex kitten roles, El’een is far from the usual green-skinned alien sexpot provided for Kirk to seduce. Pregnant, stubborn and disagreeable, she establishes her prickly personality early on by siding with the episode’s sneaky Klingon Kras (Mod Squad’s Tighe Andrews) when Kirk and company start their negotiations for the Capellans’ “rocks.” Even better, after Kirk valiantly sabotages her ritual execution after the coup, El’een asks for our hero to be put to death for daring to touch her!
part 3 of our series reviewing past Trek movies In the wake of 1982’s enormously successful The Wrath of Khan, and particularly before the universally despised Star Trek V: The Final Frontier, Leonard Nimoy’s directorial debut, Star Trek III, was the whipping boy of the burgeoning Star Trek movie franchise. On the face of it the movie was a success—feverishly anticipated, given extra buzz by Nimoy’s presence behind the camera, the mystery of the fate of Spock after his death in Trek II, and the “final mission of the starship Enterprise” tagline that teased the movie’s shocking destruction of the beloved space vessel at the movie’s climax. Reviews were good, if not as glowing as the ones for Nicholas Meyer’s Wrath of Khan (one of the few Trek movies to garner non-condescending raves from the mainstream press), and box office business was brisk.
This is the second of our series of looking back to past Trek films and seeing what they can teach us about how to make Trek work again on the big screen. In the wake of Star Trek: The Motion Picture (TMP), which did solid business but was very expensive, Trek’s future remained uncertain. At one point there was even a rumor (reported in the New York Times) that Trek would return to the small screen with a new series involving all the leads. In the end Paramount decided to keep going with feature films, but make some big personnel changes. They bought out Roddenberry’s remaining interest in the Trek property, and handed the reins over to veteran TV producer Harve Bennett (best known for producing The Mod Squad, The Six Million Dollar Man, and The Bionic Woman). Bennett tells the story about how Gulf+Western CEO Charles Bluhdorn gave him marching orders “to make a movie that isn’t boring for less than 45 f—ing million dollars.” Coming from the low budget world of TV, Bennett assured Bluhdorn he could make 3 movies for that amount, and he just about did. Bennett then set off to learn everything about Trek and got to work on what would be the first of a trilogy of successful Trek films.
The results of the Bethesda Software’s Star Trek: Legacy game are like the recent solstice. Depending on your perspective, it is either darkness or light. The game is one of the first official Trek video games in two years, and certainly the most anticipated. It is also the first Star Trek venue of any kind to feature performances by all five Trek captains (in the form of voice acting by Shatner, Stewart, Brooks, Mulgrew and Bakula). The question is what will Legacy’s legacy be with Star Trek fans and gamers? Is it darkness or light? Perhaps a bit of both.
For weeks without TOS-R episodes to review, TrekMovie.com will instead review a Trek film to see where it went right and where it went wrong, and what Trek XI can learn from it. The year: 1979. Ten years had passed since NBC cancelled “Star Trek” and in that time it had become a hit in syndicated reruns. A growing fan base began holding conventions and were continually teased with the posibility of a return of their heroes from the 23rd century. After a short lived animated series in the early 70s, Paramount Paramount greenlit a low-budget “Trek” film entitled “Planet of the Titans.” About two weeks before “Star Wars” exploded onto American movie screens in May 1977, Paramount pulled the plug and then a few months later committed to bringing back “Star Trek” as a TV show. “Star Trek II” (which would have included all the original stars except for Leonard Nimoy) would be the cornerstone of a new ‘Paramount Network’. No sooner did Paramount move on that project then they did a complete about-face, killing the new network, canceling “Phase II,” and transforming its two-hour pilot script “In Thy Image” into a big-budget motion picture. The script was heavily rewritten, Nimoy came back to the fold, and legendary Oscar-winning director Robert Wise took the helm. And the rest, as they say, is history.
“You are under our power…”
“Return with us now to those thrilling days of yesteryear…"Visiting the planet Talos IV is the only death sentence crime in the Federation. You land there, they’ll execute you. They just won’t tell anyone why. This raises some ugly questions about the Federation’s system of justice, but there’s no time for that now because Spock has stolen the Enterprise in order to return Fleet Captain Christopher Pike to Talos IV. Unable to control the ship, Kirk and Commodore Mendez spend the trip alternately watching a replay of the events of Pike’s first visit to Talos and court martialing Spock. The replay of events is the more interesting by far, particularly because some of Pike’s fantasies have been spruced up for the new "Star Trek Remastered" by the folks at CBS Digital.
You say ‘yes,’ I say ‘no…’The Enterprise visits Starbase 11, ostensibly because Spock has received a request from his former captain – Christopher Pike – to divert there. Right away we learn two important things: Uhura’s not a gossip. There’s been "subspace chatter for months" about the fact that Pike was crippled in an accident, yet she’s never passed that information on to anyone aboard the Enterprise (except, apparently, Mr. Spock) Morse code, binary digital computing, and the game "Twenty Questions" do not exist in the "Star Trek" universe. As a result, although the otherwise mute Pike can signal in two distinct ways – one beep for "yes" and two for "no" – it’s considered virtually impossible to get specific or complex information from him (like, say, the answer to the question "is Mr. Spock lying to us?"). McCoy, for one, considers Spock lying to be "absolutely impossible." Embarrassingly for him, then, Spock tells a few more whoppers and steals the Enterprise in order to return Fleet Captain Pike to Talos IV: "the one forbidden world in all the Galaxy." When Kirk and Commodore Mendez catch up and put Spock on trial, his defense consists of making them watch an old “Star Trek” rerun. Luckily for them, it’s a good one that they haven’t seen.
In addition to its place of honor as the inspiration for what is usually considered to be the best Star Trek movie ever made, the first season episode "Space Seed" displays many of the virtues that got me hooked on Trek in the early Seventies: cool spaceships, great music (albeit tracked from other episodes here), exciting action and most of all the match-up of Trek’s always interesting cast against guest stars who were their (and especially William Shatner’s) equals in magnetism and theatrical power–people like William Windom, Ted Cassidy, Morgan Woodward, and of course, Ricardo Montalban. Montalban’s Khan Noonien Singh is the quintessential Trek heavy: superpowered, superintelligent, but ultimately humbled by his own arrogance. His scenes opposite Kirk and Leonard Nimoy’s Spock are some of the most dramatically charged, well-written in the series, and his passionate romance with comely historian Marla McGivers (Madlyn Rhue) shows off the series’ full-bodied embrace of adult sexuality, something the latter-day Trek shows always shrank from.
We review the cult classic cartoon on DVD.
The original series episode “Mirror, Mirror” has proven itself to be an enduring chapter in Star Trek history, complete with an intriguing science fiction concept – the parallel universe – characters who are most interesting when not their normal selves, big hair, and barroom brawls. It’s not a particularly heavy visual effects show; there are no big space battles or phaser fights or glowing alien constructs or expansive matte paintings, but the remastered ship shots and gizmo animations are worth noting. I must say that I viewed the remastered episode off a VHS tape from a local Los Angeles broadcast, pulled down on my baby rooftop dish in compressed MPEG-2, so I can’t speak to what CBS might have done to the overall quality of the image as viewed on a better system. Maybe when the TOS eps are all on high-def DVD I’ll find out what all the fuss was about. Anyhow…
Trouble with Quibbles Working under a ludicrous schedule and forced to deliver unfinished work is no doubt a sore spot for the folks at CBS Digital. The first episodes of Star Trek: Remastered were uneven at best. Quality matte and live action replacement details were accompanied by poorly lit space shots, and a decidedly plastic looking Starship Enterprise. Such quality is usually only seen in test shots never meant to be seen outside the studio screening rooms. Years ago I had gone through the process of trying to find a style and look that was reminiscent of the original and yet still updated for the modern day. CBS Digital has been going through this same process as well, but with an audience watching their progression each week. We lived through the good, the bad and the mediocre. Now, at last, there is a lot more of the good in Star Trek Remastered.
Kirk and the gang find a planet where an alien odd couple has set up their own private house of horrors complete with spectral witches, a sinister castle, a black cat and zombified landing party members. All of this seems to be an elaborate ruse to discourage uninvited guests and/or evaluate their worthiness as a species, etc, etc. It’s a rare, Halloween themed episode of Star Trek with some fun and memorable moments, but mostly you’ll go home with a bag full of cheese instead of candy. With the new remastered ‘Catspaw’ you get more castle, more cat and no strings attached.
When I was about six my father sat me down to watch a show with a guy in a yellow and black uniform fighting it out in the desert with a big, ugly, green skinned lizard. He told me it was called ‘Star Trek’ and I was hooked. I voraciously devoured every episode and, in through my formative years, the show and its characters became a central part of my worldview. My childhood hero was Captain James T. Kirk, and few episodes of the original series epitomized who and what he was better than my first episode: “Arena,” Now the Remastered version brings back all those memories and created some brand new ones…if you are looking close enough.
Harcourt Fenton Mudd appeared in only two Original Series episodes and one episode of the Animated Series, but he is probably one of the best remembered and best loved supporting characters Star Trek has ever had. Harry Mudd was the prototypical rogue and scoundrel, a petty thief, an outrageous liar and a brazen conman with a rap sheet as long as Kirk’s service record. He was a walking, talking, conniving refutation of Roddenberry’s whole concept of “evolved” human beings, and all the more interesting for it, if you ask me.
Captain Kirk Meets The No-Win Scenario The Enterprise crew discovers an alien time machine on an uncharted, lifeless world. In a fit of drug-induced paranoia (it’s an accident, kids — I can’t stress this enough; don’t do drugs, stay in school), “Bones” McCoy leaps back into 1930s New York and alters history such that the “Star Trek universe” never happens. Kirk and Spock go back in time themselves in order to fix history; in a twist familiar to anyone who has read much of Harlan Ellison’s work, a blameless young woman who loves the protagonist has to be killed in order to make Everything Okay Again.
As a kid, Devil in the Dark was always one of my favorite episodes because it’s just about the closest thing Star Trek has ever done to a bona fide monster movie. It’s also one of the cheesier episodes in terms of paper mache rocks and tunnels, melodramatic performances and a monster that looks like an unholy union between a shag carpet and a giant pan pizza. It’s essentially a bottle show and most of it takes place down on the planet, but there are a few unique opportunities for updated visual effects.
I first started working on 3D models of the USS Enterprise in the early 90s when I was studying computer-aided design. I got hooked on the idea of updating those beloved but antiquated special effects using modern computer technology and I have continued to pursue it on my own ever since. Given my interest in updating the look of the show, you might think that I would be ecstatic at this development and I am for the most part, but I still haven’t decided exactly what to think about certain aspects of it. Somewhat to my own surprise, I have come to realize that my own unofficial tinkering and that of other much more accomplished 3D artists like Darren Dochterman is an altogether different thing than an official production by CBS. Theirs is the definitive version, after all, and will be remembered as such for good or ill. From what I’ve seen so far, the transfer to HD was a definite improvement even when viewed as an SD broadcast, but I daresay the replacement of the original effects shots is going to generate far more controversy, not only among purists but also among those who might have wished for something even more radical.