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Star Trek – For the World is Hollow and I Have Touched the Sky (Review)

This July and August, we’re celebrating the release of Star Trek Beyond by taking a look back at the third season of the original Star Trek. Check back every Monday, Wednesday and Friday for the latest update.

Well, at least it has a great title.

For the World is Hollow and I Have Touched the Sky is one of the great Star Trek titles, at once lyrical and pretension, poetic and absurd. It is a turn of phrase that nobody would ever use in conversation, but which so beautifully evokes the science-fiction concept that drives the episode. It is certainly a lot more memorable and compelling than the stock “The [noun]” naming convention employed all too readily in television production. (The Changeling, The EmpathThe SurvivorThe Battle, The Enemy, The Forsaken. And so on.)

Shockingly bad.

Shockingly bad.

Indeed, For the World is Hollow and I Have Touched the Sky seems to be the gold-standard of Star Trek naming. Earlier episodes like The Conscience of the King or Dagger of the Mind had quoted from Shakespeare, while Is There in Truth No Beauty? alluded to the work of Keats. However, it seemed like every subsequent Star Trek title would stand in the shadow of this third season instalment. Star Trek: Deep Space Nine would make a valiant effort with titles like … Nor the Battle to the Strong or Let He Who Is Without Sin…

Unfortunately, the title is very much best thing about For the World is Hollow and I Have Touched the Sky. Outside of that, the episode is a rather generic and conventional stew of old Star Trek standards thrown together with a bunch of half-hearted soap opera clichés. It is all rather hollow.

"I will love you forever. Or until the end of the episode. Whichever is sooner."

“I will love you forever. Or until the end of the episode. Whichever is sooner.”

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Star Trek – Shadows on the Sun by Michael Jan Friedman (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

It almost feels like sacrilege to fill in the gap left at the end of Star Trek VI: The Undiscovered Country. The film was such a perfect send-off that picking up a novel directly after the end credits role feels like it might undermine the perfect farewell story for the veteran crew. After all, director Nicholas Meyer suggested that the film was an attempt to capture the spirit of Fukuyama’s “end of history”, representing the “end of history” for the original crew.

Except, of course, it wasn’t the end. In terms of internal Star Trek chronology, episodes of Star Trek: The Next Generation had picked up on the later adventures of Scotty and Spock. Star Trek: Voyager would flashback to a Sulu story unfolding concurrently with The Undiscovered Country. Scotty and Chekov would appear in Star Trek: Generations, which would also serve as a disappointing farewell to one James Tiberius Kirk. It seems bitterly appropriate (if far from fair) that Uhura should remain the only major player whose story actually ends with The
Undiscovered Country
.

Still, despite his passing of the torch appearance in Encounter at Farpoint, you could make an argument that The Undiscovered Country was the end of the line for Leonard McCoy more than Kirk or Spock. And, as such, Michael Jan Friedman’s Shadows on the Sun serves as an effective (if flawed) reflection on the way that McCoy’s presence sort of faded from the 24th century spin-offs. startrek-shadowsonthesun

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Non-Review Review: Star Trek V – The Final Frontier

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Star Trek V: The Final Frontier is not a good movie. There’s really nothing that can be excavated from the film that might redeem it. It isn’t a misunderstood masterpiece. It isn’t an insightful diamond in the rough. It’s just a bad film, the one which forms the cornerstone of the “odd-numbered Star Trek films” curse. It’s indulgent, pretentious and narrow-minded. It tries to blend a world-weary cynicism with an ill-judged and mean-spirited sense of humour.

Despite being shorter than Star Trek IV: The Voyage Home, it feels remarkably longer. It feels like a rather halfhearted attempt to recapture the spirit of the television show – oblivious to the fact that the franchise has spent the past decade moving onwards. It confuses ponderous pretension for intelligent insight.

Feeling blue...

Feeling blue…

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Star Trek (DC Comics, 1984) #28 – The Last Word (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock and Star Trek IV: The Voyage Home form a trilogy that tells a single story, covering Spock’s death and resurrection, the loss of the Enterprise and the construction of its replacement and Kirk’s journey from washed-up old commander to saviour of the planet Earth. Although the three films weren’t planned as a single story, they worked out surprisingly well as a Star Trek epic told across three films and four years.

Four years is a remarkable turn-around for three franchise films, let alone three well-received franchise films. However, it’s worth conceding that the storyline had a fairly significant impact on the tie-in media. Books could be published set in the existing gaps in chronology, but DC’s plan for their first volume of Star Trek comics was to feature stories set in the contemporary film universe. Since that universe was in the middle of its own story, and the comic publishers had no idea how it would play out, the results are interesting.

Lighten up...

Lighten up…

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Non-Review Review: Star Trek II – The Wrath of Khan

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

In many respects, Star Trek II: The Wrath of Khan represents the franchise’s first true “reboot.”

There have been various points in the history of the franchise when the show has undergone a reinvention of some description, a radical shift from what it was into what it would be. The third season of Star Trek: The Next Generation represented such a dramatic update, a shift turn-around from the show’s first troubled two seasons. The third and fifth seasons of Star Trek: Deep Space Nine did something similar. Star Trek: Enterprise tried to affect some radical shift, but only managed to accomplish it in the third season. JJ Abrams’ recent summer blockbuster represented its own dramatic alteration to what Star Trek was or could be.

However, The Wrath of Khan represents the show’s first massive shift, the first point at which the franchise effectively evolved into something markedly different from what it had been before.

You Khan do it!

You Khan do it!

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Star Trek: To Reign in Hell – The Exile of Khan Noonien Singh by Greg Cox

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

I feel like I’m in the minority because I didn’t much care for Greg Cox’s The Eugenics Wars: The Rise and Fall of Khan Noonien Singh, Vol. 1 & 2. The books had an absolutely great premise, and Cox had a very clever way of explaining how the Star Trek universe could have had a major conflict between genetically-engineered supermen in the 1990s, despite the fact that their version of the 1990s looked a lot like ours. However, Cox became bogged down in shout-outs and continuity references and character cameos. Despite the seemingly epic scope of the story, it seemed like 20th century Earth was inhabited by twenty people who all knew one another.

In contrast, To Reign in Hell has a much less ambitious and exciting premise, but the novel also reigns in some of Cox’s excesses. While the author’s taste for continuity sometimes overwhelms the narrative, he is somewhat restrained in how heavily he cane lean on what came before. While Cox’s prose is still a little prosiac, and his narration a little ham-fisted, he at least has a bit more room here to develop Khan as a character. Without the crutch of feeling the need to reference every 20th century character ever to appear in Star Trek, Cox can focus on his leading man.

Well, mostly.

st-toreigninhell

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Star Trek – Crucible: Spock – The Fire and the Rose by David R. George III (Review)

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

The second part of David R. George II’s epic Crucible trilogy, The Fire and the Rose, can’t quite measure up to the charm and warmth of the first instalment in the series, Provenance of Shadows. George’s Crucible trilogy is a breathtakingly ambitious piece of work. Celebrating the fortieth anniversary of Star Trek with a trilogy of novels, each grounded in The City on the Edge of Forever and each based around a different member of the show’s leading trinity. The Fire and the Rose is still a very smart and well-constructed read, but it stands in the shadow of the first of George’s three books.

I suspect that at least part of the reason The Fire and the Rose doesn’t work as well is down to the subject. Leonard McCoy is a vitally important Star Trek character, but he was also a relatively under-developed one. While he was one of the leading trio on the original show, he was never as popular as Kirk and Spock, and never garnered the same amount of attention. (Notwithstanding solid work done by writers like Diane a Duane.) So McCoy was a relatively blank canvas for George to develop.

In contrast, Spock is the face of Star Trek. He was part of the first episode of Star Trek ever produced. He appeared in the most recent film released. Although DeForest Kelley christened Star Trek: The Next Generation with a cameo in Encounter at Farpoint, Leonard Nimoy’s visit to the spin-off earned a full two-parter in Unification. As such, Spock is a character who has been developed and explored and expanded by countless writers over the franchise’s long history.

Quite frankly, it’s hard to imagine there’s too much left to say about him. George tries quite hard, and find a nuance or two, but The Fire and the Rose feels more like an attempt to consolidate what we already know of Spock.

cruciblespock

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Non-Review Review: Star Trek – The Motion Picture

This August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

Star Trek: The Motion Picture has a lot to recommend it. It’s big, thoughtful science-fiction, ripe with ideas and high-concepts tying directly into the root of the franchise. It gives both Kirk and Spock clear character arcs. It looks and sounds amazing, demonstrating just how far special effects had evolved in the decade since the show went off the air. However, it suffers from a pace that might best be described as “glacial”, and a sense that – for all the grand ideas – we aren’t really boldly going anywhere that new. Elements of the film can’t help but recall both the 1968 science-fiction classic 2001: A Space Odyssey and even the show’s own episode The Changeling.

While it’s easy to admire The Motion Picture, it’s a lot harder to enjoy it.

Strange new worlds...

Strange new worlds…

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Star Trek – Leonard McCoy, Frontier Doctor by John Byrne (Review)

The August, to celebrate the upcoming release of Star Trek: Into Darkness on DVD and blu ray, we’re taking a look at the Star Trek movies featuring the original cast. Movie reviews are every Tuesday and Thursday.

We’ll be supplementing our coverage of the movies with tie-ins around (and related to) the films. We’ll be doing one of these every week day. This is one such article.

It’s fascinating how few stories take place around Star Trek: The Motion Picture. There’s a rake of tie-in material that exists to flesh-out the Enterprise’s five-year mission, and a large volume of material set during the period from Star Trek II: The Wrath of Khan straight through to Star Trek VI: The Undiscovered Country. However, the space around The Motion Picture has been somewhat overlooked by writers delving into the expanded world of Star Trek tie-in fiction.

To be fair, there are reasons for this. Although it was a box office success, looked stunning for the time, had a rake of big ideas and welcomed the crew to the screen, The Motion Picture isn’t generally considered to be one of the high points of the franchise. As such, it seems reasonable that it garners less attention, the affection shown by a few writers aside. There’s also the fact that The Motion Picture opens with the crew of the Enterprise broken up, scattered amongst the cosmos.

The Motion Picture sees Kirk putting the band back together after the universe seems to have forgotten about them, pulling them out of mothballs. Any story set in the lead-up to The Motion Picture would have to feature the ensemble all separated and going about their own thing. This limits the kind of stories that can be told in the setting, and makes it less appealing than other settings in Star Trek continuity.

John Byrne’s Leonard McCoy, Frontier Doctor gives us a glimpse of what a project set between the end of the Enterprise’s mission and the start of The Motion Picture might look like. It’s essentially a solo adventure series focusing on one member of the cast, and it’s absolutely fascinating.

These are the voyages of the Starship... Yorktown...

These are the voyages of the Starship… Yorktown…

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Star Trek – Season 1 (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.

That came together rather well, didn’t it? With the current success of Star Trek as a blockbuster movie franchise, it’s fun to speculate about the show possibly returning to television. Being honest, I would be nervous about that. In this cut-throat age where ratings need to solidify (or start rising) almost immediately, I wouldn’t trust the first season of a Star Trek spin-off to rope in viewers quick enough. None of the Star Trek spin-offs, from The Next Generation through to Enterprise, had what could be considered “strong” first years. Occasionally there were a few classic episodes buried in there, as with Deep Space Nine, but it always seems to take a Star Trek show some time to find its “space legs”, so to speak. Time that I am not sure it would be afforded in the current market place.

Which makes it all the more spectacular that Star Trek itself started out so phenomenally. The first year of the show (and the franchise) is not only the best first season of any Star Trek show ever, it’s also in the running for the best of the thirty seasons of television that the franchise has produced. Not bad at all, considering that it seems like nobody had any idea what exactly they were doing when they started out.

tos-miri18

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