Author: Emma

American desi near DC blogging re: movies, TV, & more.

“Star Trek”: Season 2, Episode 6 (“The Doomsday Machine”)

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This ep was nominated for a Hugo Award for Best Dramatic Presentation at the 1968 World Science Fiction Convention. Norman Spinrad recycled a short story of his called “The Planet Eater” which was heavily influenced by Herman Melville’s Moby Dick. He convinced Gene Roddenberry that the material would be suitable for his TV show. The U.S.S. Constellation and its crew were destroyed by a “miles long” robot which consumes planets for fuel, leaving only a guilt-ridden/nearly hysterical Commodore Matt Decker (William Windom) aboard the “wasted hulk.” Capt. Kirk, Scotty, and a few crewmen beam over to begin repairs while Decker beams aboard the Enterprise. Kirk loses radio contact w/ his ship. The Planet Killer suddenly attacks the Enterprise, so ship is thrown off-course from the Constellation‘s position. Next, Decker seizes command from Spock- the story takes off! Decker recklessly takes the Enterprise into battle against the seemingly indestructible weapon. Kirk attempts to get the Constellation moving again to come to the aid of the Enterprise.

All our main heroes get something to do here! We see the new Engineering set created for Scotty; he gets a prominent role. Kirk works to repair the other ship, even getting his elbows dirty. McCoy (concerned/frustrated) tries to stop Spock from handing control over to Decker. Spock explains that Starfleet regulations allow it, but notice his side-eye and micro-expressions. Also, McCoy didn’t give Decker a medical exam yet (so can’t qualify him as “unfit for duty”). Sulu is sweating up a storm while trying to figure out whose orders to follow.

According to Windom, he had Decker compulsively twiddle w/ data tapes in his hand as an homage to Humphrey Bogart, who did the same thing w/ ball-bearings as Captain Queeg in The Caine Mutiny (1954). Those data tapes are gold and green, reminiscent of the colors of his and Kirk’s uniforms and hint at the tension between the two starship captains. Windom did not enjoy working on the ep; Shatner and Nimoy weren’t getting along at the time (giving the set a tense atmosphere). He purposely overacted; many years later, Windom realized that his character was a reference to Capt. Ahab from Moby Dick.

This is the most effects-heavy episode of S2; if you’re watching on Netflix (like me), you’re seeing the remastered version. When the series was digitally remastered (for 2007 DVD release), the upgrade required nearly 200 new effects shots. This was one of very few episodes to have its own score composed specifically for it; Sol Kaplan’s music was later used in The Immunity Syndrome, Obsession, and The Ultimate Computer. Many fans have noted similarities between the “planet killer” theme and the “shark” theme in John Williams’ score for Jaws (1975).

[1] The Doomsday Machine is a war story at many levels. It is the story of war spun out of control exemplified by a self-sustaining ancient device which seeks, destroys and digests whole solar systems. It is a story about military conduct aboard Federation ships. And it is, of course, a parable connected to the development and proliferation of nuclear arms.

[2] We’re back to some overwhelmingly grim tidings with this episode, a jarring reminder that there are some very dangerous threats out there in space. In a way, this can be looked upon as a precursor to the entire Borg threat introduced on the TNG series; on that show, something like the Borg was needed to shake the Enterprise and the Federation out of their complacency – or, shake them to the core, as is done to Commodore Decker here.

[3] The cosmic threat of this huge alien weapon, while exciting in itself, takes on a much more darker tone thanks to the presence of Decker on the bridge of the Enterprise. The whole plot seems to take a back seat, for awhile at least, to the strange, awful relationship between our psycho-damaged commodore and this unfeeling machine. Everyone else becomes an incidental side player to the conflict between these two, but, of course, it’s Decker, in his insanity, who creates a relationship; he no longer sees it as just a machine, a programmed robot, but as his personal devil.

-Excerpts from IMDB reviews

“Star Trek”: Season 2, Episode 4 (“Mirror, Mirror”)

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During an ion storm over an alien planet, there is transporter malfunction on the Enterprise. The landing party of Kirk, McCoy, Scotty, and Uhura find themselves in a mirror (parallel) universe aboard a ship run by a ruthless crew. Their evil counterparts take their places on the real ship. Our heroes must find a way back before they’re discovered by a crew (where using treachery, violence, and seduction are common)! Kirk also must avoid destroying the peace-loving Halkans, who refuse to deal w/ the Empire (b/c of the power for destruction that their dilithium crystals would give them).

The Mirror Universe salute may remind modern viewers of the Nazis; however, it comes from Ancient Rome. One the first things you’ll notice is the clothing, accessories, and hair (esp. the mustache and goatee on Spock). TOS was usually not allowed to show women’s navels, but Uhura’s toned abs are visible. They filmed while a PA took the Standards representative to lunch- LOL! Sulu wears a red shirt as he has a different role in Security; he has a long scar on one cheek. Phasers are worn upside-down on the left hip; I only noticed this on my third viewing.

Kirk (to fit in w/ his environment) warns the Halkan commissioner: “We will level your planet and take what we want- that is destruction: you will die as a race.” Kirk is faced w/ more complication when he discovers a gorgeous woman waiting in his quarters- Lt. Marlena Moreau (Barbara Luna- an actress w/ Latina and Filipina heritage). She is clever, opportunistic and feisty; she desires to be “the woman of a Caesar” (another call-back to Ancient Rome). Marlena gets suspicious b/c this Kirk is a lot less brutal and insensitive. After filming had begun, Luna was diagnosed w/ strep throat. Since the script called for Capt. Kirk to kiss her, they had to postpone that scene for three weeks until she was well.

This is one the most popular TOS eps; also, The Mirror Universe was later depicted on Star Trek: Deep Space Nine and Star Trek: Enterprise. Ronald D. Moore (a writer/producer on later Trek series) cited this episode as one of his favorites; he is also the creator of the rebooted Battlestar Gallactica. The writers examine the negative side of the main characters, which is fun and unexpected. While Spock remains mostly true to the Spock we know/love, Sulu is a cunning schemer and young Chekov turns out to be a risk-taker. I also discovered that there is a second Vulcan serving on the ship (as Mirror Spock’s security guard).

[1] Instead of the usual prime directive and the overriding desire to do good, this anti-Enterprise world is just plain awful and a great counter-point to the sometimes saccharine-like world of Star Trek where everyone gets along a bit too often!

[2] …there’s something about tapping into the dark side of all our beloved characters here which makes this an irresistible mix of tension and adventure – an ultimate Trek, if you will.

[4] The acting takes it over the top. William Shatner’s Kirk displays the quick wits and cleverness that make the character so interesting. And notice how our good guy Kirk is not entirely uncomfortable in his new, dangerous environment. Leonard Nimoy’s evil version of Spock is genuinely menacing in a cool, calculating way. Nichelle Nichols’ Uhura shows us a cunning, wily side… But the acting prize goes to George Takei. …his evil Sulu is slimy, sleazy, scary, and wonderfully despicable.

-Excerpts from IMDB reviews

“Star Trek”: Season 2, Episode 1 (“Amok Time”)

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[1] One of the more iconic episode from TOS, and rightfully so. It’s also full of firsts. It the first episode to feature Walter Koenig as Chekov, the first to bill DeForest Kelley alongside William Shatner and Leonard Nimoy in the opening credits, and perhaps most importantly, the first to feature Gerald Fried’s iconic “battle music”.

[2] The episode… it examines the estrangement of arranged marriages by a traditional society, and the lengths the parties involved will go to to alter the bargain made in which they had no say. 

[3] Nimoy does a fantastic job in this episode showing off a wide range of emotion, something normally not asked of him.

-Excerpts from IMDB reviews

Even though it was not the first ep filmed for S2, it was the first one that was aired on TV. This also marks the first visit to the planet Vulcan, and the first time we get so see other Vulcans (beside Spock). Vulcans were named for Roddenberry’s concept for their planet being a “volcanic”, desert world. We hear the Vulcan phrases: “Peace and long life” and “Live long and prosper” accompanied by the hand salute (which Nimoy modified from a gesture made by Jewish priests).

Mr. Spock is NOT himself, as he is acting illogical and irate (even throwing the plomeek soup that Nurse Chapel brings him against a wall)! FYI: This soup stained the set for several weeks. He insists that the Enterprise be diverted to his home planet- Vulcan- for shore leave (which he never takes). Spock finally reveals to Capt. Kirk that these behavioral aberration happen every 7 yrs when Vulcans must mate (pon farr) or die! Nurse Chapel comes to see Spock in his quarters, worried about his condition (esp. b/c she is in love w/ him). They get a brief scene (where he probably senses that she has feelings for him) and we learn that Vulcans also dream.

In one of the best scenes of this ep, Kirk disobeys Starfleet orders out of friendship; as he explains to McCoy, Spock has saved his life many times. There is another great scene in the turbolift w/ where Spock requests Kirk to accompany him down to the planet, as a close friend; then here is a pause and he asks McCoy the same thing. Kirk and McCoy think they’re about to be be in roles of “best men” at the wedding ceremony, but there is much more involved. As a viewer commented, the final scenes are Shakespearean.

“Star Trek”: Season 1, Episode 27 (“Errand of Mercy”)

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The title comes from The Life and Adventures of Nicholas Nickleby by Charles Dickens: “It is an errand of mercy which brings me here. Pray, let me discharge it.” This ep is commonly known as “The Vietnam Story,” for its obvious allusions to Vietnam and its abuse by colonial powers. The Klingons and the Federation are poised on the brink, and then war is declared. Kirk and Spock visit Organia, a planet which lies on a tactical corridor likely to be important in the coming conflict. The Organian village was to be modeled on old English villages, w/ thatched huts and muddy back alleys. The simple/pastoral Organians are unconcerned by the threat of the Klingon occupation. Kirk has to hold in his anger when Kor interrogates him, as he is pretending to be passive like the Organians. Later in the street, Spock gets between Kirk and a Klingon warrior, so they don’t fight. Finally, Kirk and the Klingon commander Kor (Johm Colicos) learn why, and the reason will change Federation/Klingon relations!

Kor: Where is your smile?

Kirk [posing as an Organian]: My what?

Kor: The stupid, idiotic smile everyone else seems to be wearing.

This ep introduces the Klingon Empire; Klingons were named after creator/producer Gene Roddenberry’s friend, Bob Clingan. D.C. Fontana thought the Klingons were made the regular adversaries of the series b/c they didn’t need any special (and expensive) make-up like the Romulans, whom she thought to be more interesting. Colicos intended to reprise the role of Capt. Kor in a later, Day of the Dove, but he had a scheduling conflict. The role of Capt. Kang was written to take the place of Kor. The actor who played Kang, Michael Ansara, was of Arab descent and married to actress Barbara Eden (best known as Jeannie). Colicos reprised the role of an elderly Kor in a few eps of Star Trek: Deep Space Nine. The baldric that Kor wore was reused for Worf during S1 of Star Trek: The Next Generation. When it was exhibited at the Smithsonian Institution in the ’90s, the material could clearly be seen to be burlap sacking, painted gold. 

[1] This episode resides at the top of the heap of Trek. Here is a well-paced, tension-filled, logical plot with good characters and an intriguing riddle at its core. John Colicos gives a simply great performance… And he gets the all time great line in Trek: “I don’t trust a man who smiles too much.”

[2] Kirk describes their society as a military dictatorship and there are parallels to Nazi rule in Europe during World War II.

[3] The Organian’s prove to be more interesting than they first appear, although I’m sure most viewers will have guessed that they aren’t quite what they seem long before the reveal.

-Excerpts from IMDB reviews

“Star Trek”: Season 1, Episode 22 (“The Return of the Archons”)

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The Enterprise travels to Beta III to learn what happened to the U.S.S. Archon, which went missing a century earlier. A crewman in the landing party disappears, while another (Sulu) returns in a strange state. The word “Archon” was the title of certain Greek heads of state, incl. those in the Athenian Republic. It comes from Greek root “arch”, meaning “leader, highest, chief” (found in monarch, hierarchy, and anarchy).

Kirk beams down w/ another landing party just before the chaos of “Festival” (or “Red Hour”) begins at 6PM. They say they’re visitors from “The Valley,” escape the streets for a hotel, where the owner (Reger) and town elders ask if they are “Archons.” To learn more, Kirk has to convince some citizens to disobey Landru (who has ruled this society for 6,000 years). There are Lawgivers (wearing brown robes w/ long staffs in hand) everywhere; they are watching and waiting for those who disobey.

Spock: This is a soulless society, Captain. It has no spirit, no spark. All is indeed peace and tranquility – the peace of the factory, the tranquility of the machine, all parts working in unison.

Kirk: Mr. Spock, the plug must be pulled.

Spock: Sir?

Kirk: Landru must die.

Spock: Captain, our prime directive of non-interference…

Kirk: That refers to a living, growing culture. You think this one is?

This ep contains the first mention of the Prime Directive. This is also the first ep where Kirk, Spock, McCoy, and their landing party are disguised in the clothes of the native society. Nimoy looks a but more elegant than usual w/ a black cape (to cover up Spock’s Vulcan ears). Spock is seen sleeping with his eyes opens- another element of the alien side of his character. In the dungeon, Spock punches a guard in the face w/ his fist (first time we see) instead of using the Vulcan neck pinch.

This story is the inspiration for The Purge (2013) and its sequels; I haven’t seen those movies yet. Ben Stiller named his production company Red Hour; he is a huge fan of ST: TOS. The location scenes were filmed at the 40 Acres backlot in Culver City, CA. This is the same place where Miri and The City on the Edge of Forever were shot. The sets were featured prominently on The Andy Griffith Show and originally constructed to portray 19th century Atlanta for Gone with the Wind (1939). Westerns were very big in the ’60s, so it was cost-effective to use the sets, as well as the costumes.

[1] Some rather deep and sophisticated concepts were presented in this episode, quite sophisticated even for this show; the drawback was an unexciting narrative, even a drab pace. 

[2] This episode always makes me wonder if this was the inspiration for the Borg. The planet has 1 ruler/leader, who’s name is Landru. But he is really just a computer. This was a common theme in the original Star Trek… computers gone awry.

[3] There’s also Roddenberry’s intriguing symbolism of ‘the three’, those elder statesmen, who were immune to ‘absorption’. They were among the last remaining citizens who understood that ‘freedom is never a gift’.

-Excerpts from IMDB reviews