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Harlan Ellison’s 7 Against Chaos (Review)

This June, we’re taking a look at some classic Star Trek movie tie-ins and other interesting objects. Check back daily for the latest reviews and retrospectives.

Star Trek: The Motion Picture went through a variety of iterations before settling on the version finally produced – a revised version of In Thy Image, the proposed pilot for the aborted Star Trek: Phase II television series. The story was devised by noted science-fiction author Alan Dean Foster, who had enjoyed a long relationship with the franchise – novelising episodes of Star Trek: The Animated Series earlier in the decade. Decades later, he would novelise the JJ Abrams films.

However, Foster was not the only noted science-fiction author who consulted on the development of what would become The Motion Picture. Theodore Sturgeon, who had contributed to the show, was among those contributing. Ray Bradbury, who Roddenberry had pursued to write for the show on several occasions but never did, also pitched. However, one of the more interesting ideas came from Harlan Ellison.

Ellison is a writer who will forever be associated with the franchise. He contributed the original teleplay for The City on the Edge of Forever, but was infamously displeased with how the episode turned out. He and Roddenberry had an acrimonious relationship after that point, with both sides prone to make cutting remarks and accusations across the aisle at one another. Roddenberry was fond to exaggerating or lying about Ellison’s original script, while Ellison was quite candid about his opinion of Roddenberry as a writer.

7againstchaos7

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Star Trek: The Next Generation – The Vengeance Factor (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

The Vengeance Factor is an ambitious little episode that never quite manages to follow through on its potential. Something of a Riker-centric romance to compliment the Troi-centric romance in The Price, the episode is an exploration of vengeance and generational strife – the cost of feuds that last decades, even centuries. It’s a story where Yuta’s thirst for revenge keeps her young, and one that opens with Crusher tracking the acts of piracy back to the Gatherers using a blood stain on a shard of metal. Subtle, it is not.

However, there’s something almost endearing about The Vengeance Factor, from its very eighties leather Mad Max reject space pirates through to the way that channels the optimism of Star Trek quite well. Although the ending is unbelievably forced, at least it is striking and effective. Far from perfect, and not among the high points of this third season, The Vengeance Factor still marks a sharp improvement from The Price.

There will be blood...

There will be blood…

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Star Trek – The City on the Edge of Forever (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

The City on the Edge of Forever stands as both on of the most troubled episodes of Star Trek ever produced, and one of the most brilliant. It’s a powerful science-fiction romance, cleverly constructed and smoothly executed. Everything in the episode seems to working smoothly, which seems all the more improbable given the difficulties occurring behind the scenes. Harlan Ellison’s teleplay differs significantly from the finished product, but it’s very hard to argue that the televised episode isn’t among the finest Star Trek stories ever produced.

The hole in things...

The hole in things…

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Star Trek – The City on the Edge of Forever by Harlan Ellison/Cordwainer Bird (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

The City on the Edge of Forever had a troubled history, not that you’d know it based on what appeared on screen. Like quite a few classic Star Trek episodes (The Enemy Within, The Doomsday Machine, Amok Time), it was developed from a script written by a giant of science-fiction. Harlan Ellison is a respected author with a considerable reputation. However, the version of The City on the Edge of Forever which eventually made it to screen at the end of the show’s first season is radically different from the version Ellison original wrote. “It’s not the vision I had,” Ellison quotes at the start of the paperback edition of his original screenplay, released in 1996.

The book is a fantastic read, and well worth a look for anybody with any interest in Star Trek or Ellison, or even good science-fiction or the craft of television writing. Reading the various drafts, there’s no denying that it is a phenomenal script, as good as the script that eventually went into production. At the same time, it’s also quite clear that it would not have made for as classic a Star Trek episode.

Into the vortex...

Into the vortex…

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Star Trek – The Enemy Within (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

One thing that I don’t think the original Star Trek gets nearly enough credit for is the quality of the writers that Gene Roddenberry recruited to contribute scripts. Television obviously operated under a different model at the time, but there’s an impressive selection of science-fiction literary giants who contributed scripts to the show. More than that, it’s impressive how many of those stories became truly iconic Star Trek stories.

The Enemy Within is the work of author Richard Matheson, best known for stories like I Am Legend or What Dreams May Come. It’s very much a high-concept science-fiction story, but it’s also notable because it establishes two of what would become the show’s favourite tropes: transporter accidents and evil duplicates. Indeed, the two devices would be reunited in the following season’s Mirror, Mirror. These narrative elements even featured in the last season of Star Trek: Enterprise to air, in episodes like Daedalus and In a Mirror, Darkly.

Perhaps it’s a demonstration of how important these outside writers were to the development of Star Trek as a franchise that Matheson would effectively codify two stock narrative devices that would still be in use four decades later.

Mirror, mirror...

Mirror, mirror…

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