Post by Mighty Jack on Jan 16, 2013 2:27:28 GMT -5
Star Trek Original Series Season 2
Season 2 brings us a few new sets, a new crew member, the Beatlewigged Chekov (Walter Koening), who got a lot of screen time while George Takei was off filming the Green Beret’s. We are introduced to a new Vulcan greeting and hand sign and DeForest Kelly deservedly gets a starring opening credit.
The discs itself are sadly inconsistent and not as pretty or packed with as many wonderful extras as Season 1. For example: While Amok Time does earn the rare commentary option, the picture of the show itself isn’t sharp. In the scene where Kirk makes a request of an Admiral, the images are marked by grain, the colors muted and there’s softness to it all. But when it shifts over to Nurse Chapel it’s suddenly bright and crisply defined. Mirror, Mirror is another example of the jarring inconsistencies that pop up scenes to scene, lighting, clarity, picture quality are wildly variable.
As for the themes – there are still the Gods (Who Mourns For Adonais) and evil computers to destroy (The Changeling) but we also get show’s that focus on the ‘Prime Directive’ - What it means and the costs if you violate it... or adhere to it. It was a fuzzy directive at best. At times too strictly adhered too (Bread and Circuses), at other's, broken with ease (A Private Little War)
A new motif introduced this season was to have the crew beam down to a planet that mimicked Earth’s past. They visited gangster-land (A Piece of the Action), Nazi world (Patterns of Force) and Roman times (Bread and Circuses).
60s sexism is still present. There are few instances where the women are fully realized characters. Despite Treks progressive intent (and the so called sexual revolution of the 60s) the series could be old fashioned when it came to the subject. I had to remind myself that this was the way it was - the “talk” for example - the discomfort with discussing the birds and the bees was a often used as source of humor in television at the time. It’s odd to see it in a show set in the future, but explains the round about way characters speak of the act in episodes such as Charlie X and The Apple (and Amok Time - though that can be explained away as the Vulcan's being a very private people)
Season 2 has 4 classics, and a lot of middle area episodes – episodes that have excitement or drama but lapses in logic or whatnot (For example: The lack of back-story on Vaal in The Apple. Or By Any Other Name which started strong, but fell apart with an ending that rendered as pointless all that came before). It was difficult to find 10 highlights but here’s what I came up with...
My Top 10 from the Season
10. The Immunity Syndrome
It features a giant space amoeba. Nuff said! Oh, okay I'll say more. While the ep isn't the greatest, it does have several high water marks. It is well directed by Joseph Pevney (the man behind "The Devil in the Dark, "Arena", "The City on the Edge of Forever", "Amok Time", and "The Trouble With Tribbles"), and features some sharp interplay between Bones and Spock, who both clamor for the right to investigate the creature (from within the shuttle craft). Nimoy also has a nice scene at the start when he senses the death of the Vulcan crew of the Intrepid, which had been investigating the mysterious force.
Then there are the unintentionally funny bits of naughty dialog. Such as --
* “Notify the Starfleet that we’re going to attempt to probe the area of darkness to gain further information.”
* “Penetration of the zone in one minute, seven seconds, sir.”
* “That sound was turbulence caused by the penetration of a boundary layer, Captain.”
* “In that case, Captain, I would suggest we apply forward thrust.”
* “I don’t know how long we can keep this up.”
* “Keep applying thrust against the pull.”
* “Scotty, channel all the impulse and warp power into one massive thrust forward. That might snap us out of the zone.”
* “Perhaps with a protective shield .”
* “The thing evidently has reflexes. The unmanned probe we sent in must have stung it when it entered. The lurch we felt was the turbulence of its reaction.”
* “All right, so I’d know enough to go slow when we penetrated its vulnerable spots.”
* “We can maintain thrust for another hour and fifteen minutes.”
* “I am familiar with the equipment, Doctor.”
* “When do you estimate penetration?”
* “Brace yourselves. The area of penetration will no doubt be sensitive.”
* “We’re going to enter the body of the organism rather abruptly, I would think. Damage control parties stand by.”
Ah-um... I think need a cigarette after watching this one.
9. The Ultimate Computer
Overwrought, melodramatic and a premise that doesn't bear up under close scrutiny -- nevertheless it proves to be a nail biting examination of man replaced by machine and an intense character study of a creator's psychological break.
The story is about a genius that has been trying to live up to his reputation. He's put it all on the line by creating a computer than can do everything a man can do, and do it better. Things go awry as expected, as the computer has the Enterprise attacking everything in sight, and killing anyone who dares to try and turn it off.
Shatner does a good job here conveying a sense of loss and frustration (of losing his job, and in the loss of life when the computer kills). William Marshall (Blackula/The King of cartoons) is solid as Dr. Daystrom: The scientist who identifies too closely with his machine and eventually comes apart at-the-seems. These performances and the tension of the piece make up for a multiple of sins. Which Includes Kirk using logic to make a computer destroy itself (again). Also the idea that the machine would make man superfluous doesn't quite ring true, Yes computers and probes could do a lot of the heavy lifting and the Federation relies heavily on tech, but you still need men to go on planet, to negotiate face to face when needed -- to explore, interact and reason.
8. A Private Little War
Intended as an allegory about America's involvement in the Vietnam War -- In this episode, the crew of the Enterprise discovers Klingon interference in the development of a formerly peaceful planet and joins them in what becomes an arms race – Wiki.
While Trek admirably aspired to examine the social conscious, it some times bit off more than it could chew. The Nazi-based "Patterns of Force" for example, is an exciting Mission Impossible style adventure, boosted by well acted character interactions and a desire to explore the human condition. But the episode is hurt by its simplistic summation of a horrific issue. Private Little War also strolls down this sociopolitical path (though it is more directly about the prime directive and non interference in a culture), but is more successful because it doesn't try to offer a neat, pat answer. It instead simply slumps its shoulders in resigned shame: Civilized men brought serpents to paradise.
The acting and character development is a plus: Kirk is filled with zeal; Bones is trying to be the voice of reason. Spock has been shot and is in recovery on board the Enterprise. It was an interesting idea having him in a self-induced coma. I also liked the inclusion of another black character, Dr. M'Benga, a specialist on Vulcan physiology.
The script offers several highlights, as when a villager tells a Klingon that the once peaceful people have developed a taste for killing. That's dark material and a sad commentary on the situation as a whole. In the end, no good can come of this. Not even from the so-called heroes of the Federation starship Enterprise.
7. Friday's Child
The crew of the Enterprise beam down to a primitive planet to negotiate for mining rights, only to find the Klingon's have arrived before them. The baddies are stirring up the pot because they're in dire need of those rocks as well. When a Klingon instigates an uprising, Kirk, Spock, Bones and the pregnant wife of the murdered tribal leader wind up on the run.
DeForest Kelly is in the spotlight this week, the rapport and humor between he and guest star Julie Newmar (TVs Catwoman) make the episode for me. And the actor delivers one of his funnier signature lines ("I'm a doctor, not a escalator!") The dialog is general strong for all. Nimoy and Shatner have a funny exchange while building bow and arrows (which is almost as ridiculous as Ator's quick build of a hand glider… but what the hey, I went with it). And Kirk’s bubbling hatred of the Klingon’s is in evidence here (wanting ‘revenge’ for the Klingon's part in all this death and misery.)
There are rough spots; the Klingon's are uncharacteristically tame. Scotty's scenes are padded, which makes him look dull witted and slow to react (though it was nice to see Doohan with an important role - and he too has some bright moments). Also: While bad stand-ins have always been the norm, this ep has a pretty silly one, when the Klingon is killed. It's odd looking –truly hilarious- and unnecessary (what, you can't fall down by yourself?) Despite this I enjoyed the episode -- and McCoy's 'baby talk' and Spock's reaction to it was worth the price of admission alone.
6. Return to Tomorrow
This is a nifty little episode about a God-like race that has been reduced to pure energy and wish to borrow the bodies of Kirk, Spock and astrophysicist Dr. Mulhall (played by Diana Muldaur) so that they might build new robotic bodies that they can inhabit. At first this seems like it’s going to be the standard 'Gods take over the Enterprise' piece -- thankfully it shows more layers than that. The leader, Sargon is benevolent and allows the crew to decide for themselves wether they want to help. Sargon's main squeeze Thalassa is conflicted once she experiences life again. While Henoch, who has taken over Spock, plans to kill Sargon and keep the feeling, fleshy body for himself.
Nimoy is strong here, his Henoch is scheming and is frequently seen wearing a sly smirk. I also like the discussion between the primary crewmembers on whether to allow Sargon's request. There's a reasoned argument from each side, and Kirk's impassion plea establishes the goals of the Federation nicely. In addition there's the cool idea that these Gods might have seeded humanoid life throughout the galaxy (explaining why so many aliens look alike).
While the episode serves up several entertaining twists and turns, it also has a few hitches: If they are so advanced, why didn't these gods build bodies before they lost form? And why do Sargon and Thalassa abandon the 'robot body' plan and chose oblivion instead? That end felt off, -- like a cheap and easy out for a writer who got himself stuck in a corner. Aside for that this is a thoughful, thrilling as well as a good looking episode.
5. Journey To Babel
Babel is an important piece of world building for the series. It expands on Vulcan culture and gives us some back-story on Spock, as we meet his parents. The premise: The Enterprise is shuttling ambassadors from across the universe to a diplomatic meeting -- only murder and sabotage throws a monkey wrench into the works.
There's a lot of sub plot here. Kirk is stabbed, Spock's father, Sarek, is set up as a killer, Sarek is also dying and his estranged son is the only one that can save his life... except there is a crises, a mysterious foe is attacking the star ship and with Kirk out of play Spock can't give up command of he ship.
The show is interesting for the new and colorful aliens we meet on board, which expands the Trek universe (plus the blue skinned Andorian’s have antennae, which is neat-o). There's action and intrigue and the acting is good and I liked meeting Sarek (Mark Lenard) and Amanda (Jane Wyatt), exploring that relationship and learning a little about Spock’s youth.
4. Mirror, Mirror
A magnetic storm causes a malfunction with the transporter, which sends Kirk, Bones, Scotty and Uhura to a dark alternate reality -- where danger lurks around every corner and former loyal crewmembers have murder on the mind. Can they find a way to return home before someone sticks a knife in their backs?
Despite its call for change, this isn't really one of the deepest episodes. It's more like fan-fic, a ‘what-if’ geek-out. In this reality evil Spock (who is still level headed) is wearing a goatee; psycho Sulu sports a nasty scar and Uhura experiences a uniform change, which sees her belly exposed. The cast swaggers and sneer -- there are mad devices like the Tantalus field (how can that even work?) the agonizers and agony booths, and as absurd as it is, the episode is a total blast. Plus it inspired one of MST3Ks funniest sequence of host segments (see, Last of the Wild Horses).
Of note: Vic Perrin, the voice of Nomad in The Changeling, and the voice of the control voice in the original Outer Limits. Is seen here as the head of the ruling council of the planet Halka.
3. Amok Time
The season opener is one of the series finest - it expands on its mythology, deepens the relationship between our big three and offers up some back-story on Spock. All that and we get to visit the mysterious planet Vulcan
The story is about sex, Spock has hankering for it and if go doesn’t get to his home planet for some sweet loving he’ll die! Gasp! So he and his 2 best men (Kirk and Bones) head to Vulcan for a wedding. This being TV, things are never that simple or easy, and sacred vows turn instead into a battle to the death between Kirk and Spock.
Amok Times is a smartly written tale from the great Theodore Sturgeon. It’s a bittersweet drama filled with thoughtful characterization. And while some of the stuff with Nurse Chapel can lean on the soapy and the sexist, even those scenes have enough genuine warmth and heart to not be too embarrassing. Plus the rest of the character bits ring authentic and is well played by the talented cast.
Dialog is strong; I enjoyed jilted Spock’s parting exchange with T’Pring and the little shot he directed at her lover at the end. The music is particularly memorable and adds much to the drama and excitement. The remastered enhancements offer a cool look at the landscape of Vulcan, which includes a rocky bridge the trio crosses on rout to the wedding… er, death battle.
2. The Trouble With Tribbles
This enduring favorite is Trek’s first straight out comedy. The set up for all this jocularity starts with the Enterprise beckoned to a space station in order to secure an important grain. A trader named Cyrano Jones (played with gregarious flourish by Stanley Adams) introduces the Tribbles into the action. They immediately beguile Lieutenant Uhura, who takes one as a pet. The fly in the ointment is that Tribble’s are prodigious breeders and soon the lovable fur-balls are found everywhere. Throw a Klingon plot into this soup and comedy ensues.
The humor is cute, and thankfully not as farcical as what was had in A Piece of the Action: Spock seems briefly enchanted by the things, Kirks finds one in his coffee and in a famous scene where we see Shatner buried under a mountain of them – they inadvertently thwart the Klingon’s scheme. It’s so deftly played and spirited that you don’t really stop to ponder the ugly aftereffects of Scotty’s actions at the end. Sure, scores of Tribbles were starved to death and will later face slaughter by Klingon, but it’s all in good fun.
Everyone gets a moment in the spotlight (Scotty’s scenes are especially funny). The cast is loaded with pros, and MSTed actors, like William Schallert (Gunslinger), Whit Bissell (Teenage Werewolf) and Michael Pataki (Sidehackers) Of note: Charlie Brill, (looking rather Lennon-esque), was the comedy act who performed on Ed Sullivan after the Beatles played.
1. The Doomsday Machine
It starts off with a mystery – who, or what destroyed a starship, of which yields only one survivor? The acting from William Windom as that lone survivor is the shows strength. There’s a palpable sense of loss, fear and desperation in his performance. I felt a great dread of this thing and a big part of that is due to Windom’s convincing work. Even when he wrests command of the Enterprise from Spock while Kirk is stuck on the other ship, it’s understandable, his psychological break is understandable, and he never becomes a completely unsympathetic character.
I believe the enigmatic nature of the machine is also a plus. In exploration there are things that are unknowable and if addressed right -as it is done so here- it doesn’t come off as lazy, or as a writer who didn’t know how to end or explain his story. This feels right, and heightens –to quote another great show- the awe and mystery.
The driving score, and bombastic sound effects (especially in the enhanced versions) adds to the tension.
The new FX are a bit too plastic though it does give a better sense for the destruction caused by the planet killer. The wrecked “USS Constellation” is far more powerful an image than what there was originally.
My Guilty Pleasure...
The Gamesters of Triskelion
It’s the Hunger Games... In space!. "Gamesters" is well known - parodied and oft quoted. The story is about a trio of color-coordinated disembodied brains that have evolved beyond the need for bodies (LMAO thinking about the Observers). They have become so bored and hungry for any kind of stimulation that they capture and enslave innocents; then train them to do battle on which they wager. Three of their new ‘thralls’ -as they call them– include Kirk, Uhura and Chekov.
This ep is not well regarded and for good reason. For one, the brains are pretty laughable and not very imposing. I kept thinking that seeing giant floating gray matter surrounded by bolts of electricity would have made them more impressive (but maybe that’s missing the point: Being an unmoving lump of gelatin under glass doesn't lend itself to a thrilling existence). Also I'm a little fuzzy on exactly what a quatloo is... or how a talking mound of Jell-O spends it?
For another, McCoy & Scotty's continual arguing with Spock became redundant and felt like padding. And lastly Kirk’s brush-off of the green haired gal in the silver diaper came off disingenuous ("No you uh, can’t come with me, but uh... I'll call ya babe, honest I will.") Despite these nit picks I got a kick out of this one. I liked that 2 other crewmembers, other than Spock and Bones, got in on the action. It's a different relationship. Less friends than comrades and people Kirk feels responsible for, but that's an angle worth exploring for a change of pace.
Other Good Episodes:
The Apple * I, Mudd * Obsession * A Piece of the Action * Patterns of Force * Metamorphosis * By Any Other Name
The Worst:
The Omega Glory * Bread and Circuses * Assignment Earth * Wolf in the Fold
The Remaining Episodes:
Who Mourns For Adonais? * The Changeling * Catspaw * The Deadly Years