Tag: Leadership

“Star Trek”: Season 2, Episode 20 (“Return to Tomorrow”)

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From a planet devoid of life for half a million years, the Enterprise hears the voice of a powerful being (Sargon- voiced by James Doohan), who can control ship. He transports the landing party (Kirk, Spock, McCoy and astro-biologist Ann Mulhall) to room miles underneath the planet. However, the security guards they planned to take along were prevented from coming along. Sargon is one of only three survivors of an intelligent race made of pure energy/pure thought. They started life on Earth and spread out to many other places, so refer to our heroes as “my children.”

Suddenly, Sargon possesses Kirk’s body! He requires Spock’s and Dr. Mulhall’s bodies, too, but promises they will be returned after they build advanced robots to house themselves. Sargon gives them time to freely make up their minds and beams them back to the ship. McCoy warns against hosting the lifeforms, but Kirk, Spock, and Dr. Mulhall (Diana Muldaur- Dr. Pulaski on ST:TNG) are intrigued. We soon see that the aliens can only survive in human bodies for short periods of time w/o killing their surrogates!

It must’ve been fun for Shatner and Nimoy to take on two roles as aliens inhabiting the bodies of Kirk and Spock. Shatner as Sargon goes from over-the-top dramatics to being dignified and caring. His scenes w/ his wife Thalassa (in the body of Dr. Mulhall) are sweet and touching. Nimoy gets to play Henoch, who seeks to remove Sargon from the equation and take over. Nimoy has an excuse to play w/ different emotions; he creates a twisted (yet smooth-talking and smiling) villain. Henoch tries to trick Nurse Christine Chapel, who we know loves Spock.

This ep and its writer, John T. Dugan, earned a WGA Award nom in the category Best Written Dramatic Episode in 1968. Dugan wrote the original script after he had read an article about highly sophisticated robots. In his original draft, Sargon and Thalassa continue their existence as spirits w/o bodies, floating around the universe. However, Roddenberry (as he often did) re-wrot the script to change the ending (w/ the aliens fading out into oblivion). This is the reason Dugan put his pen name (John Kingsbridge) in the credits.

[1] Dr. McCoy’s objections are warranted and well expressed, but a final centerpiece speech by Kirk explains the risks and rewards of flight, space flight, sciences and alien encounter. He states “Risk is our business” in a well written and delivered plea.

[2] It’s haunting, tragic, deeply romantic, dream like, and sensual. The idea that god like aliens long to be human, to have all the feelings and emotions we take for granted, is deeply inspiring.

I loved how the “temptation” of Thalassa was so Biblical, with the suave Henoch in the role of the serpent.

-Excerpts from IMDB reviews


“Star Trek”: Season 2, Episode 17 (“A Piece of the Action”)

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The Enterprise visits a planet that had previously been visited by the U.S.S. Horizon 100 years earlier, before the issuance of the Prime Directive. The Enterprise received an old radio-style message before that starship was lost, which reported an intelligent, developing alien species prone to imitation. The Horizon left behind a book about gangs of 1920s Chicago which became the Iotians’ bible. They are divided into a series of criminal gangs, two of which are headed by Bela Oxmyx (Anthony Caruso) and Jojo Kracko (Vic Tayback). After beaming down, Kirk, Spock, and McCoy find themselves in the middle of a turf battle. Both sides take turns holding our heroes hostage and demanding “heaters” (guns) from the Federation in order to take control of the planet. Kirk must do his best to fix the wrongs of the Horizon w/o interfering too much with the development of the planet’s evolution.

This ep has one of several “parallel Earth” plots in TOS, contrived in part to save money, by avoiding “alien” sets, costumes, and makeup. Kirk and Spock get to wear flashy pin-stripe suits, hats, carry machine guns, and speak in gangster accents. Even the women wear guns on their garters (which you probably wouldn’t see in reality)! It’s esp. funny to see Spock try to fit the situation. Kirk makes up the rules of the card game “fizz bin” as he goes along. Shatner ad libbed the rules, so his pauses to think and the other actors’ confusion are genuine. The scene when Kirk puts his feet up on Krako’s table and declares that now the Federation is “taking over the whole ball of wax” is reminiscent of a scene in the gangster film Little Caesar (1931).

After filming wrapped, the studio received a letter from Caruso. “Oxmyx” thanked the crew of the Enterprise for creating the “syndicate” and noting that things were proceeding nicely on Sigma Iotia II. As he goes on in the letter, it is now the 1950s and he is sporting a crew-cut. He also mentioned wanting to visit Las Vegas which “seems like my kind of town.” LOL- what a creative guy!

[1] If you’re a fan of “The Godfather” and “Goodfellas,” then you’ll love this amusing episode… which plays like an eerily prescient parody of the original “Godfather.”

[2] There are great scenes as Kirk, and even more ridiculously, Spock try to mimic the dialect and nomenclature of the time. There is the priceless scene the two attempting to drive. Kirk jerks along, not quite getting the hang of the clutch, and Spock tells him he is a great captain, but a horrible, dangerous driver.

[3] I couldn’t stop laughing every time poor Scotty tries to decipher the gangster speak, with Kirk having to go from the mob language to Federation speech across the communicator to help him out.

-Excerpts from IMDB reviews

“Star Trek”: Season 2, Episode 10 (“Journey to Babel”)

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The Enterprise is transporting several diplomatic delegations to a conference on Babel re: the future of the mineral-rich planet, Coridan. This ep introduces the Andorians and the Tellarites; later in the series, we learn that they are two of the four founding members of the United Federation of Planets. Among the passengers are Mr. Spock’s parents, the Vulcan ambassador, Sarek (Marc Lenard), and his human wife, Amanda (Jane Wyatt from Father Knows Best). There is obviously a chill between father and son. It turns out that Sarek is very ill w/ a heart condition; Dr. McCoy wonders if/how he can be saved. To add to the drama, there tension among the delegations; a spy is transmitting messages to a hostile ship which is following closely. When Capt. Kirk is wounded in an attack, Spock takes command just as his father needs a transfusion (that only he can provide)!

In the first ep ever to feature Spock’s parents (who are fan faves); Lenard received more fan mail than Nimoy for two weeks after this aired. We learn that Vulcans have a longer lifespan than humans. Being new to the show, Lenard and Wyatt asked Nimoy for advice on how the two of them could display their love in a subtle way. Nimoy suggested Sarek and Amanda touch and stroke each other’s hand by the index and middle finger. In S1 of TOS, Lenard (who was only 6 yrs older than Nimoy) played the unnamed Romulan commander in another terrific ep- Balance of Terror. Lenard had been a potential candidate for the recasting of Spock (when salary negotiations w/ Nimoy were going on at the end of S1).

Writer D.C. Fontana chose the name “Amanda” for Spock’s mother b/c it means “worthy of love” in Latin- how cool! She had become curious about past references to Spock’s background and fully fleshed them out here. Fontana also thought this would be an interesting way to reflect issues of the Generation Gap. Roddenberry wanted Kirk to be more involved with the story, so he wrote the scene where Amanda explains to Kirk about the rift between her son and husband. However, Fontana felt that it would be inappropriate for Amanda to discuss this w/ someone she had just met.

[1] …though there are some humorous moments, it’s mostly an episode driven by intrigue, suspense and interesting drama on the Vulcan side, where even more backstory is revealed on Spock…

Nimoy gives another subtly excellent performance; his demeanor is slightly different when speaking with his mother about the situation between himself and his father. Despite the Vulcan reserve, you sense his discomfort and sadness.

[2] The presence of Spock’s parents allows writers D.C. Fontana and Gene Roddenberry to further their character development of Spock as a man half-Vulcan and half-human. There are a number of wryly humorous moments between Spock and his father, who we learn not only have the normal Vulcan unemotional relationship, but who have some bad feelings towards each other. Maybe because they’re feelings, they don’t talk about it, and just ignore the situation as best as they can. Amanda… proves to be a surprising fulcrum balancing the two.

-Excerpts from IMDB reviews

“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