Archive for the ‘Star Trek (1973-1975)’ Category

The Starlost: Space Precinct (1973)   2 comments

Above:  “A sun, a real star”

A Screen Capture

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EPISODE 16

Aired January 5, 1974

0:49:24

The episode is available here.

STARRING

Keir Dullea as Devon

Gay Rowan as Rachel

Robin Ward as Garth

GUEST STARRING

Ivor Barry as Rathe Mathers, Chief of the Intra-Ark Police

Nuala Fitzgerald as Reena, Chief of Planetary Police, Federation of United Planets

Richard Alden as Mike, the Pilot of I.A.P. Module Number One

Diane Dewey as “Tech,” Police Technician, Class A, Intra-Ark Police

William Osler as Computer Host and Voice

BEHIND THE CAMERAS

Series created by Cordwainer Bird (Harlan Ellison)

Episode written by Martin Lager

Story Consultant = Norman Klenman

Director = Joseph L. Scanlan

Producer = William Davidson

Executive Producers = Douglas Trumbull and Jerry Zeitman

Above:  Garth, “Tech,” and Rathe

A Screen Capture

THE INTRA-ARK POLICE (I.A.P.)

Where have the Intra-Ark Police (I.A.P.) been for the previous fifteen episodes?  They would have been helpful as early as the second episode, Lazarus from the Mist.

Diane Dewey’s character has no name.  The end credits list the character as “Technician.”  The character herself and all other characters who encounter her call her “Tech.”

Why do the Intra-Ark Police, who have long known about the impending doom of the Ark, tried to do nothing to save it?

Above:  I.A.P. Module Number One

A Screen Capture

The I.A.P. modules allow for mobility on the Ark, a large vessel.

Most members of the I.A.P. are “textbook-trained graduates of the Ark Academy,” as Chief Rathe Masters refers to them dismissively.

Where is the Ark Academy?

Who controls the Ark Academy?

Does Rathe answer to the Director of Security, mentioned in Farthing’s Comet?

The I.A.P. violate the already-broken concept of The Starlost.

Members of the I.A.P., except for mini-skirted women, wear uniforms identical to those of the Astro-Medics.  “Tech” dresses identically to Lethe, from And Only Man is Vile.

The I.A.P. knows much about the residents of the Ark.

The I.A.P. has been tracking Devon, Rachel, and Garth for seven months, since Voyage of Discovery.  This timeframe contradicts The Alien Oro.

Chief Rathe Masters’s base of operations is I.A.P. Module Number One.

The I.A.P. has at least twelve divisions.  We hear about yet never see Division 12.

Rathe has grand plans for the I.A.P.-F.U.P. police force.  The result will be a force that “will be able to handle everything from a burglary to a space shootout.”

The Solar System of the Federation of United Planets

A Screen Capture

THE FEDERATION OF UNITED PLANETS (F.U.P.)

The name “Federation of United Planets” is terribly derivative of the United Federation of Planets, from Star Trek (1966-1969) and its successors.

The F.U.P., contained in one solar system of ten planets, consists of nine inhabited worlds.  The habitable zone in that solar system is extremely unlikely, to understate the case.  But recall, O reader, that The Starlost is the series that mentions a “solar star,” “radiation virus,” and “space senility.”  Are you expecting science?

The worlds of the F.U.P. orbit what Rathe describes as “a sun, a real star.”  I hope they do not orbit a “solar star”!

The F.U.P. is about to go to war over the mining rights on the uninhabited world of Apor.  The two main planets, leaders of competing alliances, are Arak and Accombra.  Arak passed on the opportunity to mine on Apor until Accombra staked its claim.  Now Arak threatens to wage war and Accombra threatens to secede.  The hijacking of Accombran ore freighters is increasing tensions.

Above:  Federation Headquarters

A Screen Capture

The headquarters of the F.U.P. is an orbiting space station.

The F.U.P. and the I.A.P. have been in contact for five years.  Now that the Ark is close to the solar system, a launch window is about to open.  The next launch window will open in about a year.

Above:  Reena

A Screen Capture

Reena, the Chief of Planetary Police, F.U.P., seeks Rathe’s help in preventing an interplanetary war.  She says she needs his advanced police techniques in the F.U.P.

Reena’s uniform reminds me of clothes in Gallery of Fear and The Beehive.

Above:  Chief Rathe Masters, I.A.P.

A Screen Capture

SUMMARY OF THE EPISODE

As Space Precinct opens, Rachel is consulting a sphere projector while Devon and Garth look on.  The members of the trio are wearing their usual clothing from Cypress Corners, also known as M124.  Rachel is gathering information about biosphere M71, a scientific, experimental, agrarian station.  The last reported contact with M71 was in 2386, in the year after the Ark‘s accident.  M71 was high-tech in 2386.  The regular access routes are sealed, but access may be possible via service channels.  The sphere projector provides directions.

Devon and Rachel are enthusiastic about going to M71, but Garth is not.  He says goodbye and heads back toward Cypress Corners.  Garth does not get far before Rathe Masters, Chief of the Intra-Ark Police (I.A.P.), detains him for questioning and takes him to I.A.P. Module Number One, docked in its assigned place.

Meanwhile, Rachel and Devon don spacesuits before entering a freight elevator with little air in it.  They are en route to M71.  The elevator gets stuck, and the supply of air in the space suits is limited.

At Module One, Rathe learns more about Garth than Garth may have known about himself.  Rathe offers Garth a job as a detective in the I.A.P.  Garth accepts the offer.  Rathe is convinced that Garth can help him prevent a war in the Federation of United Planets (F.U.P.).

Rathe calls Reena, the Chief of Planetary Police in the F.U.P.  He tells her that Module One will leave in a few minutes, when the launch window will open.  Yet Module One can never leave because someone is jamming the system.  “Tech,” Rathe’s trusted aide, tells him that the jamming signal comes from the F.U.P.  He believes her.  Yet she is lying; she keeps jamming the system.  “Tech” spends most of the episode casting blame onto innocent people, mainly Reena and Garth.

Garth suspects that Reena may have a traitor on her staff.  This turns out to be correct; he is Ragar, whom we never see.  Ragar and “Tech” are working together.  Ragar, responsible for protecting the ore ships, is orchestrating the hijacking of them and getting rich.  He, planning to win the F.U.P. war and have Reena killed, has offered “Tech” Reena’s job in one year.

Poor Garth!  Mike suspects him of being a traitor.  Rathe suspects.  Even Reena suspects him.  Then she reveals that “Tech” is a traitor.

Back in the freight elevator, Devon removes his helmet then the helmet of the unconscious Rachel.  The air in the elevator is all the air they have left.  Reena calls in Division 12 to rescue Devon and Rachel.  Then, when alone, she calls off Division 12.  Next, she tells Garth that Devon and Rachel have died.

Soon, however, Garth overhears “Tech” speaking with Ragar.  He knows that she is a liar and a traitor.  She tries to kill him by stunning him and leaving him in an airless elevator.  But one of his boots prevents the elevator door from closing completely.  “Tech” tells Rathe that Garth is dead.  He is alive, though.

Rathe sends Division 12 to rescue Devon and Rachel.  Division 12 rescues them, off-screen, of course.

Until nearly the end of the episode, Reena suspects Garth of being a traitor.  Then she tells Rathe that “Tech” is a traitor.  “Tech” goes to the Ark jail.  The plot ended, tensions in the F.U.P. begin to cool.

Reena says,

Garth, we’ll make a detective out of you yet.

Garth replies,

Well, I’ll let you know.

Le fin.

Above:  Mike, Pilot of Intra-Ark Police Module Number One

A Screen Capture

OTHER UNANSWERED QUESTIONS

Where is the laundry in the tubes and corridors of the Earth Ship Ark?

Where are the bathrooms and showers in tubes and corridors of the Earth Ship Ark?

How does Garth maintain that early 1970s haircut while on the run in the tubes and corridors of the Earth Ship Ark?

Given that Devon, Rachel, and Garth have been to the Bridge, why do they need to find the backup Bridge?

Why are so many people on the Ark fatalistic?

Why does Devon not invoke his authority as the Ark commander?  (The Return of Oro)

Why does Devon’s level of interest in saving the Ark vary from episode to episode, and sometimes within an episode?

How many zoological laboratories are on the Earth Ship Ark?

What is M71 like in 2790?

Will Devon and Rachel go to M71 after all?

Will Garth rejoin Devon and Rachel?

Is the Ark doomed to collide with the “Class-G solar star”?

Above:  “Tech”

A Screen Capture

OTHER COMMENTS

For the record, Garth, Identification Number 774833-BXL-871, was born to Rebecca and Old Garth on May 22, 2767.

Space Precinct was the final episode of The Starlost filmed.  However, there were scripts for episodes #17 and 18:  God That Died and People in the Dark.

The full season run would have been twenty-four episodes.  However, NBC chose not to order the final eight episodes.  Good riddance to bad rubbish!

KENNETH RANDOLPH TAYLOR

SEPTEMBER 17, 2021 COMMON ERA

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All images in this post are screen captures from a series that is freely available at archive.org and YouTube.

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The Starlost: Astro-Medics (1973)   5 comments

Above:  Astro-Medics

A Screen Capture

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EPISODE 10

Aired December 1, 1973

0:49:21

The episode is available here.

STARRING

Keir Dullea as Devon

Gay Rowan as Rachel

Robin Ward as Garth

GUEST STARRING

Stephen Young as Dr. Christopher Trask

Budd Knapp as Dr. Martin Trask

Meg Hogarth as Dr. Jean Pelletier

Bill Kemp as the Captain of Medical Module 7

David Mann as the Astrogator of Medical Module 7

Michael Zenon as the Commander of Galactic Ship Seer D221

William Osler as Computer Host and Voice

BEHIND THE CAMERAS

Series created by Cordwainer Bird (Harlan Ellison)

Episode written by Paul Schneider and Martin Lager

Story Consultant = Norman Klenman

Director = George McCowan

Producer = William Davidson

Executive Producers = Douglas Trumbull and Jerry Zeitman

Above:  Medical Module 7

A Screen Capture

BACKGROUND

The Starlost had many problems.  One of these was the abandonment of the premise of the series.  Astro-Medics marked the first time an episode featured characters who have known for a long time that the Earth Ship Ark is on a collision course with a star and have consistently done nothing even to try to resolve that problem.  This, however, was not the first episode to raise the question, “Who trained and credentialed these people?”  The first episode to do that was And Only Man is Vile.

The writing career of Paul Schneider was uneven.  He wrote Balance of Terror (1966) and The Squire of Gothos (1967) for Star Trek (1966-1969), as well as The Terratin Incident (1973) for Star Trek (1973-1975).  Schneider also wrote The Satyr (1981) and The Guardians (1981) for Buck Rogers in the 25th Century (1979-1981).

The aliens in this episode are idiots, objectively.  These humanoid reptiles hail from a planet where the temperature is even.  These aliens, a spacefaring species, need a human doctor to tell them to turn down the thermostat, for medical reasons.  Really?

Above:  The Power of Green:  The Flight Crew of Medical Module 7

A Screen Capture

SUMMARY OF THE EPISODE

Devon, Rachel, and Garth are in a medical/scientific facility, Sector M16.  Garth enters Sonic Chamber IV, intended for the destruction of microorganisms.  Garth becomes trapped briefly.  Then Devon rescues him.  Yet Devon becomes trapped, unconscious, and injured.  Garth gets Devon out of Sonic Chamber IV.  Rachel consults the nearest sphere projector, which notifies Medical Module 7.

Unbeknownst to anyone in the series to date, a few small crafts, Medical Modules, are constantly in orbit of the Earth Ship Ark.  There used to be more of them, and the crews and medics are overworked, but they are there.  Drs. Christopher Trask and Jean Pelletier arrive with an extra to take the trio to Medical Module 7.

Dr. Christopher Trask holds his father, Dr. Martin Trask, in contempt.  Christopher, an emotional bully, regards Martin as a “senile old man.”  Yet Martin is not senile; he is a doormat.  This story is mainly the tale of the father and the son developing a healthy, mutually respectful relationship.

Garth spends most of this episode feeling guilty for causing Devon’s life-threatening injury.  Dr. Christopher Trask spends most of this episode not trying to save Devon’s life–only making Devon comfortable before the supposedly-inevitable death.

Dr. Christopher Trask becomes fixated on the challenge of saving the lives of the crew of Galactic Ship Seer D221.  The crew is in mortal danger, for reasons they cannot understand.  The alien commander contacts Medical Module 7, which leaves the Ark and heads toward the alien vessel.  Garth aborts that trip, causing Medical Module 7 to drift and possibly to lose the opportunity to return to the Ark.  But he does force surgery on Devon.  Dr. Martin Trask begins that surgery.  Meanwhile, Galactic Ship Seer D221 sets a course to rendezvous with Medical Module 7.

The alien commander knows that the Ark is on a collision course with a “Class-G star”–not a “solar star,” at least.  That commander also proposes to help restart the reactors aboard the Ark in exchange for medical aide.  Dr. Christopher Trask tries to understand the cause of the aliens’ problem, to no avail.

The Doctors Trask switch tasks; Christopher completes the surgery and saves Devon’s life while Martin saves the aliens.  Martin tells them, in so many words, to turn down the thermostat.  That works.  The alien commander gives the captain of Medical Module 7 the coordinates of the Ark.  The alien commander also declines to help save the Ark; he has to go, for some reason.

Medical Module 7 returns Devon, Rachel, and Garth to the Ark.  Then Drs. Trask, Trask, and Pelletier have to leave for Biosphere M23, for a medical emergency.  Devon, Rachel, and Garth, like the idiots they are, do not ask to ride shotgun with them.

Above:  Galactic Ship Seer D221

A Screen Capture

UNANSWERED QUESTIONS

Where is the laundry in the tubes and corridors of the Earth Ship Ark?

Where are the bathrooms and showers in tubes and corridors of the Earth Ship Ark?

How does Garth maintain that early 1970s haircut while on the run in the tubes and corridors of the Earth Ship Ark?

Given that Devon, Rachel, and Garth have been to the Bridge, why do they need to find the backup Bridge?

Where have the Astro-Medics been in the previous episodes?  They would have been useful more than once.

Above:  The Alien Commander

A Screen Capture

OTHER COMMENTS

This episode is tedious.

The green uniforms of the flight crew of Medical Module 7 match the green egg crate foam.  The green egg crate foam in The Starlost is notorious, in my mind, at least.

Next Episode:  The Implant People

KENNETH RANDOLPH TAYLOR

SEPTEMBER 10, 2021 COMMON ERA

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All images in this post are screen captures from a series that is freely available at archive.org and YouTube.

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The Chronicle: News from the Edge–Episode 12: Pig Boy’s Big Adventure (2001)   2 comments

Above:  Monica, Sarcastic Savage Simian

All images in this post are screen captures.

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Pig Boy’s Big Adventure

Canadian Television Rating = PG

Hyperlink to Episode

Aired January 11, 2002

Production Number = 5009-01-116

Starring

Chad Willett as Tucker Burns

Jon Polito as Donald Stern

Reno Wilson as Wes Freewald

Rena Sofer as Grace Hall

Curtis Armstrong as Sal the Pig-Boy

Sharon Sachs as Vera

Main Guest Cast

Lizette Carrion as Monica, the “Savage Simian”

Jim Chovick as Dr. Harcourt Fenton

Christopher Hoffman as Dr. Elias Fenton

Behind the Camera

Writer = Javier Grillo-Marxuach

Director = Michael Grossman

Above:  Fiendish Fentons, Dastardly Doctors

Brief Summary

For at least five weeks’ worth of issues, the World Chronicle has been publishing front-page stories about the “Savage Simian.”  Headlines have included, “Savage Simian Spotted in Schenectady,” “Savage Simian Stuns Scientists,” “Savage Simian’s Sinister Spree,” “Savage Simian Startles Schoolyard,” and Simian Sauvage Sieges Sous-Chef.”  Publisher Donald Stern enjoys speaking in alliteration.  He says, “This savage simian is a sensation.”  He informs the staff of his new money-making venture, 1-900-GOT-CHIMP, which collects tips about the Savage Simian while charging callers $4.95 a minute.  He tells the reporters, “I want the Chronicle to be one-stop shopping for Savage Simian scoop, speculation, and scandal.”  His goal is publish a story with the headline, “Savage Simian Speaks.”

Pretenders to the title of that precocious primate populate the area around the reception desk.  Vera the receptionist rebuffs one would-be Savage Simian, who, dejected, departs.

Grace Hall departs for two weeks of vacation in the Mediterranean.  She arrives at the beginning of a revolution.  She calls Donald Stern for help.  He calls in favors, for he has influence at the U.S. Department of State.

Wes and Tucker, investigating the story of the Savage Simian, keep seeing a sinister man, supposedly from Animal Control.

Sal and other hybrids prefer the term “manimal,” a term in use prior to the infamous, short-lived series from 1983Manimal (1983) was “unabsolvably inaccurate,” according to Sal.

Wes and Tucker encounter the Savage Simian and the sinister, sneaky fake Animal Control man at an empty theater.  The intrepid investigative reporters retrieve the Savage Simian’s dog tag and a device the faux-Animal Control agent used to inject the Savage Simian with a tracking microchip.  Wes and Tucker give the dog tag to Donald, who immediately swears them to secrecy.  He has a similar, secret dog tag for Sal.  Now the publisher begins to understand the importance of that object.

Wes and Tucker rescue the Savage Simian from the sinister, sneaky faux-Animal Control man at a park.  They take the sarcastic simian to the archives of the World Chronicle.  Donald Stern is stunned to see the snarky simian, who snaps about the negative press the World Chronicle has created about her.  The Savage Simian’s moniker is Monica, and she bemoans people trying to feed her bananas.

Twenty years prior, one Dr. Harcourt Fenton went to prison for fifteen years.  He had transplanted animal organs into the children of impoverished, desperate parents.  Sal learns that his mother was not a sow, but that he spent time in Dr. Fenton’s laboratory.  Monica, a militant anti-human activist, encourages Sal to leave the World Chronicle.  The two manimals wear fedoras and move about in Manhattan until agents of Dr. Ellis Fenton, Harcourt’s son, capture them and take them to a laboratory at the Elias Center for Advanced Animal Medicine.  Wes and Tucker are already there.

Dr. Harcount Fenton, a sinister surgeon, transplanted a porcine kidney into the young Sal, still dressed in diapers.  This operation caused Sal’s transformation into a manimal.  Furthermore, the fiendish Fenton deceived Sal’s destitute parents by telling them that their son had died.  Sal eventually went to live on a farm, where Donald Stern found and hired him.

Wes and Tucker rescue Sal, in mortal danger from the two fiendish Fentons, and liberate the other manimals from their menageries.  Sal is the sole manimal who does not want to kill the dastardly doctors.  The dastardly doctors die off-screen.  The other manimals manage to flee then to scatter around the world.  Sal returns to the safety of the World Chronicle.  Donald Stern publishes one last alliterative headline about Monica:  “Savage Simian Storms Science Sanctuary.”  Sal wants to find his parents.  Donald Stern states his support.

Marines escort Grace Hall into the offices of the World Chronicle.  She expresses how much she enjoyed their company on the aircraft carrier.  Donald Stern thanks them for returning her safely.  The Marines express their gratitude for what the publisher did for the Marine Corps in Grenada in 1983.  They salute Donald Stern, who returns the salute.

Wes, Grace, Tucker, Donald, and Sal eat out at a Chinese restaurant.  Each of the humans wears a pig snout.  Donald orders vegetarian food, pleasing Sal.

Above:  Simulated Savage Simians Sitting

Character Beats

Sal the Pig-Boy does not eat out (until the end of this episode.)  The mask takes an hour to put on and is uncomfortable to wear.

Wes frequently quotes Star Wars movies.  He quotes Episodes IV and V in this episode.

Dr. Harcourt Fenton’s name is mud.  He seeks to learn from his “mistakes,” who have pulses.

Above:  Manimals Moving About Openly in Manhattan

Great Lines

On a front page of the World Chronicle:  “Woman Gives Birth to Porcelain Geisha Doll.”

On a front page of the World Chronicle:  “Al Sharpton Wins ‘Dartboard of the Decade” Award.”

Vera, to a faux-Savage Simian:  “Get your filthy paws off me, you damn dirty ape.”  (Obviously, this is a reference to Planet of the Apes, 1968.)

Tucker Burns, to Grace Hall:  “I can’t believe it.  We have to go play Marlin Perkins and Jim Fowler with ape monsters, and you get to go on a Mediterranean vacation?”

Later in the episode–Sal, to Wes Freewald and Tucker Burns”  “Didn’t you guys ever watch Mutual of Omaha’s Wild Kingdom?”

Wes Freewald, after the fake Animal Control man disappeared the first time:  “Who was that masked man?” (Obviously, this is a reference to the Lone Ranger.)

Monica:  “What good is it being a half-woman, half-animal if you can’t make a joke?”

Tucker Burns, to Wes Freewald:  “You know, one of these days, you’re going to be stuck in a situation without a Star Wars quote.”  Wes Freewald, in reply:  “I find your lack of faith disturbing.”

Above:  Simian Sauvage Sieges Sous-Chef

In-Universe

Due to the video quality of the episode posted at archive.org, few dates on front pages of the World Chronicle are clear.  However, the date on the issue with the headline, “Simian Sauvage Sieges Sous-Chef,” is clearly February 6, 2001.  This episode, therefore, occurs after that date.

Donald Stern has a photograph of himself standing beside Pope John Paul II in his office.

What did Donald Stern do at Grenada in 1983 that won him the admiration of the U.S. Marine Corps?

Above:  Sympathetic Sapiens in Snouts

Comments

The passage of time within this episode is problematic.  At the end, Grace proclaims that she spent two weeks on an aircraft carrier.  If we take her word for it, this episode plays out in between two and three weeks.  That is possible, but improbable.

I am gob-smacked.  This great episode is full of geeky goodness.

“Dr. Harcourt Fenton” is, of course, a reference to confidence man Harcourt “Harry” Fenton Mudd, whom Roger C. Carmel played with roguish delight in Mudd’s Women (1966), I, Mudd (1967), and Mudd’s Passion (1973), in the live-action (1966-1969) then the animated (1973-1975) Star Trek series.  I prefer to ignore that bastardization, Star Trek:  Discovery, as much as possible.

Yes, I enjoyed writing this post.  The main alternative was watching the world go to hell in a hand basket.  Escapism has its place, I concluded years ago.

KENNETH RANDOLPH TAYLOR

JUNE 1, 2020 COMMON ERA

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Meh.   Leave a comment

I despise all new Star Trek programming since the first episode of Star Trek:  Discovery.  The story-telling is awful, designers have no idea how vessels, sets, and uniforms should work, and show runners have no idea what the level of technology should be.  Star Trek:  Picard is another disappointment that, visually, continues from Discovery and not from The Next Generation.  Recent news of the third series, Star Trek:  Strange New Worlds, leaves me unimpressed.  I know how the uniforms and the interiors and exterior of the Enterprise should look, for I have watched The Cage (1964).    I have that pilot on blu-ray.  These recent series occur in a universe parallel to that of the original series (1966-1969), the animated series (1973-1975), The Next Generation (1987-1994), Deep Space Nine (1993-1999), and Voyager (1995-2001).  These recent series also occur in a universe parallel to Star Trek:  Enterprise (2001-2005), itself parallel to the original series-Voyager.  (How many of the writers of Star Trek:  Enterprise watched Star Trek:  The Motion Picture?)

Enterprises

Above:  The Previous Enterprises in Star Trek:  The Motion Picture (1979)

A Cropped Screen Capture

I do not see the NX-01.

I have actual, proper Star Trek on physical media.  I choose to watch that and refrain from watching this new content, a big ball of no.

KENNETH RANDOLPH TAYLOR

MAY 15, 2020 COMMON ERA

Flagrant Disregard for Continuity   2 comments

I am an old-school Trekkie.  I remember a time when available Star Trek consisted of the 1966-1969 episodes in reruns on local stations, a handful of movies in VHS format, and, when the gods smiles, reruns of the 1973-1975 animated series on cable television.  I recall possessing a large library of VHS cassettes full of episodes I recorded.  My earliest memory of Star Trek is the classic episode Metamorphosis, which originally aired in 1967.  I can recite Star Trek II:  The Wrath of Khan (1982) word-for-word and, when I listen to the soundtrack, know exactly what is happening.  I know that Prime timeline stories ended with the lamentable Star Trek:  Nemesis (2002), and that, regardless of what anyone says, the events of the equally lamentable Star Trek:  Enterprise (2001-2005) exist in a parallel universe created in Star Trek:  First Contact (1996) and do not precede the original series in universe.

I also know that Star Trek‘s Prime Timeline is a sequence of period pieces.  Each incarnation of the Enterprise is a given size and looks a certain way.  The level of technology is what it is.  The uniforms are what they are.  The bridge design is what it is.  Continuity matters.  Maintaining it is a matter of respect for the franchise.

I have no use for the open contempt for human dignity that many critics of Star Trek:  Discovery and other series (notably Series 11 of Doctor Who) spew.  The misogyny, sexism, and homophobia of these individuals is wrong.  These critics also seem not to grasp that socially progressive politics have been part of Doctor Who since 1963 and Star Trek since 1964.  Do these critics forget A Private Little War, classic Star Trek‘s critique of the Vietnam War?  The Daleks, who debuted in one the earliest First Doctor serials, are an unveiled allegory of fascism in general and of Nazism in particular.  I also remember Patterns of Force, a classic Star Trek episode that used reproductions of Nazi uniforms.  In a related matter, I remember that, when news of the recasting of Starbuck (renamed Kara Thrace) in the reimagined Battlestar Galactica broke in 2003, many people complained about political correctness.  I also recall that Katee Sackhoff played that role brilliantly.

My main critique of Star Trek:  Discovery is that it openly shows disregard for continuity in both visual style and story content.  If one is going to film a prequel series to the original series, one should reproduce the look of the technology and uniforms, and mind the chronology meticulously.

My comment to all those is responsible for this abomination of a series is,

I hope your series fails miserably and ends as soon as possible.  Stop insulting those of us who care about our franchises. Don’t let the door hit you where the dog should have bit you.  If you want to take such liberties with details, create your own fictional universe in which to set your stories.

KENNETH RANDOLPH TAYLOR

APRIL 12, 2019 COMMON ERA

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Brief Reviews: Star Trek Movies VII-X   2 comments

Above:  The U.S.S. Enterprise, NCC-1701-E, from Star Trek:  First Contact (1996)

A Screen Capture

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Preliminary Statements

A few preliminary statements will prove helpful before I get into the meat of this post:

  1. I have been a fan of Star Trek for a long time.  I used to watch the original series in reruns–sometimes on weekends and, when possible, weekdays–and record episodes.  I remember stumbling upon an occasional episode of the animated series (1973-1975) on cable television in the early 1990s.  I recall when I could count the number of movies on one hand and have fingers left over.  I remember watching The Next Generation (1987-1994) in first run.  I have watched every Star Trek movie and most episodes.  I watched every episode all the way through Voyager (1995-2001).  I abandoned Star Trek:  Enterprise (2001-2005) early in the third season, for I was tired of subjecting myself to that series after two years.
  2. Certain Star Trek fans are fanatical to the point of leaving vicious comments online.  I have no use for such behavior.  This is entertainment, not a matter of life and death.  William Shatner’s “Get a life” sketch from Saturday Night Live (1986) rings true for many people.
  3. One can find many podcasts and videos regarding Star Trek episodes and movies.  Unfortunately, many of the creators of these media (A) swear enough to embarrass even the most profane sailors, (B) are hyper-critical, to the point of pettiness, and/or (C) speak out of their ignorance.  All of this irritates me.  I respond by ceasing to watch such videos and listen to such podcasts.
  4. On the other hand, many reviewers, working in written, audio, and audio-visual media, do speak and write out of their knowledge.  I am especially fond of the reviews at tor.com, for example.
  5. My intention in this post is neither to write all that I know regarding four Star Trek:  The Next Generation movies nor to replicate the work of others.  (I know far more about these movies than I have written here.)  No, I plan to be concise and to contextualize these films according to each other.  My most basic standard regarding any of the Star Trek movies is whether I want to place the disc in my Blu-ray player, press the “play” button on the remote control, and watch the movie from beginning to end without skipping any scenes.
  6. No work of human beings is perfect, of course, but it can be enjoyable and well-crafted.  I seek to find the good and praise it, imperfect as it might be.

Star Trek:  Generations (1994)

A screen capture

I recall reading Federation (1994), a novel by Judith and Garfield Reeves-Stevens, in which two Enterprises–those of Kirk and Picard–encounter each other.  I acknowledge that this was years ago, so my memories of the plot are sketchy, but I assert without a shadow of a doubt that a movie closer to that novel would have been superior to Star Trek:  Generations.

Next Generation writers Ronald D. Moore and Brannon Braga wrote the screenplay for Generations over a period of a year and a half.  Toward the end of that time they also wrote All Good Things… (1994), the series finale of The Next Generation, in a handful of weeks.  The latter work, they have admitted on their commentary track for Generations, was superior to the former.  Moore and Braga had a difficult assignment, one which came with a studio-issued list of plot elements to include.  Paramount Pictures contributed to the lackluster nature of this movie.  The Nexus, for example, never worked well.  Neither did the death of Captain Kirk.  Furthermore, Kirk and Picard scrambling eggs was an anticlimax.

My main complaint, however, pertains to the destruction of the U.S.S. Enterprise, NCC-1701-D, a capital ship.  The Enterprise-D being vulnerable to an antiquated Klingon Bird of Prey is beyond ridiculous.  But at least we have the scene in which Data, with his emotion chip installed, swears once as the saucer section falls toward Veridian III.  That is entertaining, but the previous scene in which he sings a ditty about scanning for lifeforms is better.

In Dr. Soran we have a villain whose plans do not make sense.  What is to stop him from flying a ship into the Nexus?  Instead he destroys stars and, by extension, solar systems, to alter the course of the Nexus.  I do not emphasize the irrationality of Dr. Soran too much, for I know from history and current events that people are frequently irrational.  I know what has happened, but cannot make logical sense of those events because they are illogical.

All things considered, I have no desire to watch this movie from beginning to end, without skipping scenes.

Star Trek:  First Contact (1996)

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Star Trek:  First Contact, the best of the Next Generation movies, according to conventional wisdom, is a film I have difficulty watching.  The movie is too intense for my comfort, due to the Borg, in their silver screen budget incarnation.  They creep me out.  I tend to skip scenes in First Contact, therefore.

First Contact does have its great merits, however.  The black-and-gray uniforms are superior to the immediately preceding uniforms.  Also, the Sovereign Class Enterprise-E is gorgeous.  The characters are in fine form, with Picard having his Captain Ahab phase and Worf being a full Klingon, as when he tells Picard,

If you were any other man, I would kill you where you stand.

I do, however, have a quibble regarding the Borg Queen.  She exists because of a directive from someone at Paramount Pictures.  The Borg are better without a queen, for putting a face on the Collective raises certain difficult questions in universe.  Does she follow the will of the Collective or does she direct it?  And how is it possible that she was on the Borg cube that blew up in The Best of Both Worlds, Part II?

Star Trek:  Insurrection (1998)

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I have listened to podcasts and watched video reviews about Star Trek:  Insurrection.  The creators of some of these media have erupted in frustration and frequent profanity.  These have been overreactions.  I have never objected to the fact that some people do not like the film, but I have always insisted that one should express oneself in the style of an adult whose vocabulary is considerably larger than a collection of curse words.

This is my favorite Next Generation movie.  Yes, it feels like a two-parter from the Next Generation series, but it feels like a good two-parter, specifically what Journey’s End (1994), in which Picard presides over the forced relocation of Native Americans, should have been.  In Insurrection Picard occupies what screen writer Michael Piller called “the moral center of the universe.”  Besides, why is the Federation in league with the Son’a, allies of the Dominion (which is trying to conquer the Federation) in the Dominion War?  The answer comes from an earlier draft of the script:  Admiral Dougherty is affiliated with Section 31.

Of all the Next Generation movies, this is the only one I choose to watch from beginning to end, without skipping scenes.

Star Trek:  Nemesis (2002)

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Star Trek:  Nemesis, to quote Marina Sirtis, “sucks.”  The best Star Trek stories are character-focused.  In this movie, however, the best character moments are absent from the theatrical cut and are available in the deleted scenes section of the second disc of the set.  Those facts contribute to the poor critical reception of the movie at the time and the disappointing box office results.  This is the movie that, along with Star Trek:  Enterprise, killed the prime universe of Star Trek on screen.

Above:  The Enterprise-E and the Scimitar, after the Enterprise-E rammed the Scimitar

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This was, according to the trailer, the final voyage of the Next Generation crew.  Data died, Riker and Troi married and transferred to the U.S.S. Titan, and Crusher left to lead Starfleet Medical.  However, the downloaded memories of Data began to surface in the primitive android B-4 by the end of the movie.  According to Countdown, the comic book prequel to Star Trek (2009), B-4 became Data (Mark II) and the Captain of the Enterprise-E in time.  There might have been subsequent prime universe movies with characters from various series (The Next Generation, Deep Space Nine, and Voyager), but the failure of Nemesis prevented that.

The plot of the movie depends too much on coincidence.  What is the probability that Romulan agents would plot to clone Picard?  What are the odds that the Enterprise-E would detect the disassembled B-4?  And what is the likelihood that Starfleet would send the Enterprise-E to Romulus?

The script of Nemesis, like that of Generations, tackles ponderous themes ambitiously and fails.  The fault does not reside in the purview of the main Next Generation cast.  Patrick Stewart, for example, is so great an actor that he elevates subpar material.  The fault falls upon the writer, John Logan, whose script does not give the characters a proper send off.  Maybe he should take lessons from Nicholas Meyer, co-author of The Undiscovered Country (1991).

I choose not to dwell too much on the illogical plans of Shinzon, the clone of Picard.  Shinzon, for a man who is dying, wastes plenty of time.  Furthermore, why would the destruction of Earth cripple the Federation?  For an explanation of why I am not making more of the irrationality of Shinzon, consult my remarks about Dr. Soran in Generations.

Above:  The Enterprise-E, Undergoing Repairs

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Nemesis gives me no satisfaction; I watch only parts of the movie.

Rankings

Ranking these four movies is relatively easy for me:

  1. Star Trek:  Insurrection
  2. Star Trek:  First Contact
  3. Star Trek:  Generations
  4. Star Trek:  Nemesis

The original series movies, taken together, are superior to the Next Generation movies, taken together.

My overall rankings of movies I-X are here.

Special Note:  Abramsverse Movies and Contemporary Star Trek 

Nevertheless, the Next Generation movies, taken together, are superior to the Abramsverse reboot movies #1-3, taken together.  (Movie #4 is in development as I write this.)  Of the three Abramsverse films so far, Star Trek Beyond (2016) is the best and Star Trek Into Darkness (2013) is the worst.

Furthermore, the U.S.S. Enterprise, NCC-1701-A, from the end of Star Trek Beyond, is ugly.  I like the Constitution Class refit from the first six Star Trek movies.

I agree with Simon Pegg that prime Spock and Nero entered the past of another parallel universe, not that of the prime universe.  This is obvious to me due to the technology and uniforms.  Besides, the existence of a multiverse in Star Trek has been part of canon since Mirror, Mirror, in the original series.  One might even argue convincingly that Star Trek:  Enterprise occurs in a parallel universe.

Regardless of what CBS/Paramount says, the trailer for Star Trek:  Discovery (2017-) makes the setting of that series look like the Abramsverse.  As Doug Drexler, who knows more about Star Trek than most people, says, Star Trek is a period drama.  A particular era of Star Trek has a certain look.  Why not, therefore, just state plainly that this is an Abramsverse series?

KENNETH RANDOLPH TAYLOR

JUNE 20, 2017 COMMON ERA

Brief Reviews: Star Trek Movies I-VI   3 comments

Above:  The Starship Enterprise, NCC-1701, from Star Trek:  The Motion Picture (1979)

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Preliminary Statements

A few preliminary statements will prove helpful before I get into the meat of this post:

  1. I have been a fan of Star Trek for a long time.  I used to watch the original series in reruns–sometimes on weekends and, when possible, weekdays–and record episodes.  I remember stumbling upon an occasional episode of the animated series (1973-1975) on cable television in the early 1990s.  I recall when I could count the number of movies on one hand and have fingers left over.  I remember watching The Next Generation (1987-1994) in first run.  I have watched every Star Trek movie and most episodes.  I watched every episode all the way through Voyager (1995-2001).  I abandoned Star Trek:  Enterprise (2001-2005) early in the third season, for I was tired of subjecting myself to that series after two years.
  2. Certain Star Trek fans are fanatical to the point of leaving vicious comments online.  I have no use for such behavior.  This is entertainment, not a matter of life and death.  William Shatner’s “Get a life” sketch from Saturday Night Live (1986) rings true for many people.
  3. One can find many podcasts and videos regarding Star Trek episodes and movies.  Unfortunately, many of the creators of these media (A) swear enough to embarrass even the most profane sailors, (B) are hyper-critical, to the point of pettiness, and/or (C) speak out of their ignorance.  All of this irritates me.  I respond by ceasing to watch such videos and listen to such podcasts.
  4. On the other hand, many reviewers, working in written, audio, and audio-visual media, do speak and write out of their knowledge.  I am especially fond of the reviews at tor.com, for example.
  5. My intention in this post is neither to write all that I know regarding the first six Star Trek movies nor to replicate the work of others.  (I know far more about these movies than I have written here.)  No, I plan to be concise and to contextualize these films according to each other.  My most basic standard regarding any of the Star Trek movies is whether I want to place the disc in my Blu-ray player, press the “play” button on the remote control, and watch the movie from beginning to end without skipping any scenes.
  6. No work of human beings is perfect, of course, but it can be enjoyable and well-crafted.  I seek to find the good and praise it, imperfect as it might be.

Star Trek:  The Motion Picture (1979)

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Star Trek:  The Motion Picture exists in various versions, all of which suffer from the same problems, with their origins in the story itself.  The story, such as it is, is an adaptation of a pilot for a television series Paramount never made.  The movie also overextends the plot and focuses more on special effects than on characters.  The best Star Trek stories have to do with characters.  In this movie, however, characters in pastel pajama-like uniforms gaze at special effects for long periods of time.  Speaking of the story, I like the concise version of it–The Changeling, an episode of the original series.

Nevertheless, The Motion Picture does have its virtues.  The overture, Ilia’s Theme, is gorgeous, the soundtrack by Jerry Goldsmith is majestic, and the Enterprise receives all the respect due such an august vessel.  I enjoy looking at the Enterprise, so I like the sequence in which Kirk, Scotty, and, by extension, the audience members, look at the refit ship’s exterior for six minutes.  This is a movie for people with long attention spans, not individuals with the attention spans of fleas with ADHD.

I rank The Motion Picture near the bottom of the first six Star Trek movies, for, after the ship leaves the orbit of Earth, I start skipping scenes.  To paraphrase George Lucas from a Star Wars documentary from the 1980s, a special effect without a story is boring.

Star Trek II:  The Wrath of Khan (1982)

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I thrill to play this movie from beginning to end, without interruption.

The Wrath of Khan also exists in various editions.  I prefer the director’s cut, for that version includes nice character moments and background information absent from the theatrical edition.

The Wrath of Khan, the first installment in the accidental trilogy, is a movie I have memorized.  I can anticipate every line of dialogue while watching it.  Also, whenever I listen to the soundtrack, I can visualize the germane scene.  This is my favorite Star Trek film.  It is the favorite Star Trek movie of many people.  It is so popular and influential, in fact, that Paramount Pictures has released remakes and bastardizations of it, namely Star Trek:  Nemesis (2002) and Star Trek Into Darkness (2013), both of which I consider barely watchable.

The stars align in The Wrath of Khan.  Ricardo Montalban is excellent as the poetic and insane Khan, the “majestic maroon” uniforms are wonderful, the theme of aging resonates well, the death of Spock is gut-wrenching, and Admiral Kirk realizes the truth of his statement that

How we deal with death is at least as important as how we deal with life.

I cannot heap enough praise on this film, for its flaws are minor.

Star Trek III:  The Search for Spock (1984)

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Leonard Nimoy’s debut as a cinematic director is a wonderful story of self-sacrifice for a friend.  Admiral Kirk and the other heroes from the original series risk their careers and destroy the decommisioned Enterprise to reunite Spock’s body (regenerating on the Genesis Planet) with his katra (resident in Dr. McCoy).

Here is another movie I enjoy watching from beginning to end, without skipping any scenes.  Yes, Star Trek III is not as good as Star Trek II.  Yes, the leisure wear is horrid.  Yes, the chairs on the bridge of the U.S.S. Grissom are pink.  Nevertheless, the Excelsior and Oberth Classes of starships debut in this film.  They, in combination with the Miranda Class (from Star Trek II) add up to three new classes of starships, thereby expanding the Starfleet on-screen.  Furthermore, the enclosed Spacedock makes its first appearance in Star Trek III.

My favorite aspect of Star Trek III is the character work.  Out of friendship Kirk and company make themselves criminals to rescue Spock, who had sacrificed himself to ensure that the Enterprise could escape from the Genesis Wave in Star Trek II.  Star Trek III has plenty of heart.

Star Trek IV:  The Voyage Home (1986)

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The Voyage Home, for all of its plot holes and a few pointless scenes, is fun.  I have no difficulty watching it from beginning to end, without skipping scenes.

Much of the appeal of Star Trek IV is the fish-out-of-water plot for our heroes.  Watching Admiral Kirk and company in San Francisco in 1986 is hilarious.  Spock discovers profanity and curses badly, inserting “the hell” awkwardly into sentences.  (“They like you very much, but they are not the hell your whales.”)  Kirk does not know the difference between LSD and LDS.   (“He did too much LDS in the Sixties.”)  Scotty speaks to a computer.  Chekov and Uhura seek “nuclear wessels” during the Cold War.  All of this is fun.

“Home” has a double meaning.  “Home” refers to Earth, which the crew saves from an alien probe with a warped sense of logic.  The probe, having lost contact with humpback whales, proceeds to begin to vaporize oceans.  Huh? (Whales are aquatic lifeforms.) “Home” also refers to the Enterprise-A, presumably the Yorktown (the ship whose chief engineer rigged a solar sail at the beginning of the movie), Kirk’s new command after demotion to the rank of captain.

Kirk’s demotion to Captain makes sense.  In The Motion Picture he seizes command of the newly refit Enterprise awa from Willard Decker, who goes off to merge with V’Ger.  In The Wrath of Khan both Spock and McCoy tell Kirk that he ought to be a starship captain.  Kirk is bored when he is not commanding a starship. His demotion from Admiral to Captain is not a punishment, but a reward.

The Voyage Home‘s financial success is the reason Paramount Pictures greenlit The Next Generation (1987-1994), thereby launching a period of 18 years during which at least one Star Trek series was in production at any given time.  That is a fine legacy.

Star Trek V:  The Final Frontier (1989)

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I know that The Final Frontier makes plain that the Enterprise-A is a new, poorly constructed ship, but I refuse to consider this movie to be part of Star Trek canon.  The film tramples continuity, makes a mockery of the Enterprise-A (until it ceases to do so, without explanation), and portrays most of our beloved characters in inconsistent and unflattering ways.  How is it that characters who were prepared, in universe, less than a year prior to this movie, to throw away their careers to rescue Spock, betray Kirk so casually in Star Trek V?

This is cinematic excrement with an occasional nice character moment.  But who are these characters?  They are certainly not the Kirk, Spock, McCoy, Uhura, Sulu, Scotty, and Chekov I have come to know via episodes and movies.

“All I ask is a tall ship and a star to steer her by.”–John Masefield

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At least the Enterprise-A, being a refit Constitution Class vessel, has graceful lines.  (The refit Constitution Class is my favorite starship design.)  However, the vessel, according to deck plans, has 21 decks, with the Bridge being on Deck A, at the top of the saucer.  In the movie the ship has at least 84 decks.  That is quite an error in the The Final Frontier.

Furthermore, Kirk and crew have been to the center of galaxy.  In The Majicks of Megus-Tu, an episode of the animated series, the Enterprise journeyed to the center of the galaxy, where Kirk and crew met Satan, who seems to have been a horribly misunderstood character, according to the story.  In this movie they just met a disgruntled and imprisoned spirit vulnerable to Klingon weapons.  Both stories were garbage.

Star Trek VI:  The Undiscovered Country (1991)

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Star Trek VI gives our heroes a proper send-off, complete with a warmongering Klingon general who quotes Shakespeare, sometimes in, as Chancellor Gorkon puts it, “in the original Klingon.”  Kirk and crew save the day and the life of the President of the United Federation of Planets, but not before events force them to confront their own prejudices first.  Even the best of us harbor nasty prejudices, after all.  The difference between the best of us and the worst of us is that the best of us acknowledge and resist those prejudices.

Change is frequently difficult, even when the change in question is necessary and proper.  In this case the change is the end the Federation-Klingon Cold War, in parallel to the Cold War of the twentieth century.  When we define ourselves according to who our enemies are, the question of how we will define ourselves when our enemies cease to be our enemies becomes a psychologically difficult one.  Some individuals become so frightened of change in Star Trek VI that they conspire to assassinate.

Above:  The Enterprise-A and the Excelsior

Sulu is wonderful as Captain of the Excelsior, a ship he would have commanded since Star Trek III, except for William Shatner’s behind-the-scenes machinations in the 1980s.  I wonder how different certain preceding movies would have been with Sulu aboard the Excelsior.  I am convinced that the supporting characters, such as Sulu, always deserved more to do in the original series and in the first six Star Trek movies.

I have no difficulty watching Star Trek VI from beginning to end, without skipping scenes.

Rankings

As I have pondered these movies again during the last few days, I have changed my mind several times regarding the relative rankings.  I have arrived at the following rankings, from best to worst:

  1. Star Trek II:  The Wrath of Khan
  2. Star Trek VI:  The Undiscovered Country
  3. Star Trek IV:  The Voyage Home
  4. Star Trek III:  The Search for Spock
  5. Star Trek:  The Motion Picture
  6. Star Trek V:  The Final Frontier

Nicholas Meyer directed my two favorite Star Trek movies and partially wrote the top three.  He was a great asset to this series of films, after all, so this ranking has not proven to be accidental.

My overall rankings of movies I-X are here.

Looking Ahead

Next I plan to ponder and rank the four Next Generation movies.

I choose make one point of comparison plain here:  The original series movies were, taken together, superior to the Next Generation films, taken together.

KENNETH RANDOLPH TAYLOR

JUNE 19, 2018 COMMON ERA

Star Trek–More Tribbles, More Troubles (1973)   2 comments

EPISODE #1A (PRODUCTION ORDER)

STARDATE 5392.4

The original Star Trek series ran for three years (1966-1969) on NBC.  The network cancelled the series the first time at the end of the second season, but a letter-writing campaign led to the third season.  Then NBC cancelled the series and never brought it back in live action.  The producer during the final season was Fred Freiberger, not Gene Roddenberry.  Freiberger, by the way, went on to kill Space: 1999 and The Six Million Dollar Man in the 1970s.  Roddenberry had planned to have a tribble episode in the third season, but Freiberger forbade such a comedy concept on his watch.  This is odd, given that he permitted Spock’s Brain, arguably the worst episode of the original series.

The Enterprise, Animated

Then the original series entered syndication and found new audiences after the 1969 Moon landing.  Demand for more programming grew, and NBC decided that a Saturday morning cartoon was in order.  So the animated Star Trek series ran from 1973 to 1975.  The first episode produced and fifth aired was More Tribbles, More Troubles, based on an episode planned for the third season of the original series.

Robot Ships Containing Grain for Sherman’s Planet

The Enterprise is escorting two robot ships full of containers of grain–quintotritocale, to be precise–to Sherman’s Planet, where there is a severe famine.  Quadrotriticale used to be the only Earth grain capable of growing on Sherman’s Planet (The Trouble with Tribbles), but that fact seems to have changed.

Klingons Fire on a Scout Vessel

The Enterprise breaks away from its escort duties to investigate a Klingon battle cruiser’s pursuit of a small scout vessel.  Kirk orders Scotty, who is manning the main Transporter Room, to beam the small vessel’s pilot aboard.  This is a good plan, for the Klingons destroy the scout vessel.  The Klingons also fire their new, mysterious weapon, a disruptor, at the Enterprise, interfering with the transporter, the engines, and all weapons temporarily.

Captain Koloth

Captain Koloth, last seen in The Trouble with Tribbles, demands that Kirk hand over the scout ship’s pilot, whom he claims is guilty of “ecological sabotage.”  Kirk refuses.  Besides, we the viewers know the pilot has not materialized yet.

A Damaged Robot Ship

Kirk, his weapons disabled momentarily, decides to use the robot ships to ram the Klingon battle cruiser from different sides.  The battle cruiser uses its new weapon until the ship’s power proves insufficient, so the Klingons fire conventional weapons at one robot ship, disabling it.  Then the battle cruiser veers off for a few hours, until its power builds up again.

Cyrano Jones and Tribbles

Scotty is finally able to materialize the pilot, who turns out to be Cyrano Jones.  And Jones has tribbles with him.  These tribbles, as McCoy confirms later, do not reproduce.  Jones has genetically engineered them so that they merely become fat when they eat too much.

Unfortunately, these tribbles are also pink.  Many items were pink in the animated series.  This fact made for unintentional comedy.  In a subsequent episode, for example, there were fierce alien warriors–in pink uniforms, flying around in a pink ship.  There is a simple explanation for these mishaps; the person in charge of assigning colors was colorblind.

The Glommer

Cyrano Jones was able to rid Space Station K-7 of its tribbles in far less than 17.9 years because he used the glommer, a predator.  (The glommer did its predation offscreen, for this was a Saturday morning cartoon.)  But Jones was still in violation of multiple Federation laws, so Kirk confined him to quarters until the end of the mission, at which point Kirk promised to turn Jones over to the appropriate authorities.

Containers of Quintotriticale in the Corridors

With one robot ship disabled, its cargo is now aboard the Enterprise.  There is so much grain involved that there are containers in corridors.  This is bad news when tribbles are on board.

Tribbles in the Quintotriticale

The Klingons attack again, disabling the other robot ship before targeting the Enterprise and knocking over containers of grain.  So tribbles begin feasting–and growing.

That is a Very Large Tribble.

The Klingons plan to board the Enterprise, but Kirk thwarts them.

That is Still a Very Large Tribble.

Tribbles in the Klingon Engine Room

Kirk orders Scotty to beam tribbles into the Klingon engine room, thereby filling it up.

Koloth contacts Kirk and reveals that the glommer is a genetically engineered tribble predator, the only one of its kind.  The Klingons want the glommer back; Jones is unimportant.  So Kirk orders Scotty to beam the glommer over to the Klingon battle cruiser.

The Glommer, Fleeing a Giant Tribble

But the glommer flees upon the sight of a giant tribble.

McCoy has learned that these new, sterile tribbles are actually colonies of tribbles.  He can inject a giant tribble with a chemical and reduce the colony to its component parts, truly harmless tribbles.  But the Klingons do not know this.  So Koloth fires at a giant tribble and…

…this results.

And, back on the Enterprise, a tribble colony buries Kirk.  But, as Scotty says, it is good if all your tribbles are little ones.

More Tribbles, More Troubles is a fun episode, one of the best of the twenty-two installments of the animated series.  Tribbles are always entertaining, as are the puns of the word “tribble.”  Yet some of the dialogue rehashes The Trouble with Tribbles awkwardly.  Why are Kirk and Jones repeating what both of them know, except to fill in young viewers who had not seen the live action episode?

The greater sequel to The Trouble with Tribbles is the subject of the last installment of this series of posts.  Trials and Tribble-ations (1996), from Deep Space Nine, is a note-perfect visit to the events of the original episode, as well as a technological wonder.  And its writers did not have work within the confines of a seven-year-old’s mentality.

KENNETH RANDOLPH TAYLOR

MARCH 10, 2011 COMMON ERA

The images are screen captures.  Star Trek is property of Paramount Pictures and CBS.  The animated series is available in its entirety via DVD and other means consistent with U.S. copyright laws.

Posted March 10, 2011 by neatnik2009 in Star Trek (1973-1975)

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