Review

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.

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")

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!

“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.

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…

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.

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.

I’m torn.  Torn between my reaction to  the IDEA of this project and the final realization of it.  Also, I’m torn between knowing the dedication and talent that the people responsible for this obviously have, and my ho-hum reaction to the final product. Bottom line… Star Trek Remastered is ok.  But it is mostly a wasted opportunity. Why just ok?  I don’t know… honestly. After one episode, all I can think is that I hope it gets better… because right now, it isn’t justifying its existence.  Obviously, the new HD transfer is lovely… I just wish it were being broadcast that way.  The original film elements look excellent. The effects seem flat. I guess having those transfers paid for is reason enough to do this project, since theoretically all the new transfers will be made available in the future in their original form. But frankly, the new additions aren’t up to snuff just yet.