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Star Trek – Wolf in the Fold (Review)

The first Star Trek pilot, The Cage, was produced in 1964. To celebrate its fiftieth anniversary, this December we are reviewing the second season of the original Star Trek show. You can check out our first season reviews here. Check back daily for the latest review.

Wolf in the Fold is Robert Bloch’s third and final contribution to Star Trek.

In keeping with What Are Little Girls Made Of? and Catspaw, the result is intriguing, bizarre and more than a little bit dysfunctional. More than any of the other writers drafted in to write for the science fiction show, Bloch’s fingerprints remain all over his script. Writers like Gene L. Coon and D.C. Fontana generally do a good job reconciling the work of science-fiction writers like Ray Bradbury, Theodore Sturgeon, Norman Spinrad or Harlan Ellison to make their stories fit within the frame work of Star Trek. However, even after re-writes, Bloch’s voice remains his own.

Knife to see you...

Knife to see you…

Of course, it’s quite clear that Wolf in the Fold has been through the standard re-write process. The script is a mess, struggling to tie together two basic plots (Scotty is accused of murder; the Enterprise is possessed by Jack the Ripper) in ways that don’t always work. There’s a really long and awkward expositional scene in the middle of the episode that consists primarily of Majel Barrett reading off weird-sounding words in order to assure viewers that Jack the Ripper really could be an immortal hate-fueled killing machine, given the rules of the Star Trek universe.

The are very serious problems with Wolf in the Fold. On a storytelling level, the pacing is a mess and the tone is all over the place. Bloch’s scripts continue to be even more problematic than usual when it comes to issue of gender – “Star Trek does slasher horror” is as borderline misogynistic as you might fear. However, there is something endearingly bizarre about the whole thing, as Bloch once again forces Kirk and his crew to confront an irrational universe that doesn’t necessarily conform to their understanding of it.

Flame on...

Flame on…

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Star Trek – Catspaw (Review)

The first Star Trek pilot, The Cage, was produced in 1964. To celebrate its fiftieth anniversary, this December we are reviewing the second season of the original Star Trek show. You can check out our first season reviews here. Check back daily for the latest review.

Catspaw was the first episode to enter production for that second season of Star Trek. However, it was not the first to air. Amok Time served as the season opener. Instead, Catspaw was produced as something of a rarity – a Star Trek holiday special. Produced in May, it was eventually broadcast during the last week of October. Given the subject matter and trappings of the episode, that seems highly appropriate.

We are, after all, looking at what amounts to a Star Trek Halloween Special.

Bones joins the cast...

Bones joins the cast…

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Star Trek: The Next Generation – Embrace the Wolf (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.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry. This is actually supplementary to the episode Elementary, Dear Data.

The concept behind Embrace the Wolf is quite ingenious. The execution is slightly less so. Recognising that Star Trek: The Next Generation had a recurring interest in Victorian London, in Data’s interest in Sherlock Holmes, it seemed quite logical to drop Redjac into that scenario. Redjac was the non-corporeal serial killing entity introduced in Wolf in the Fold, one of Robert Bloch’s contributions to the second season of the classic Star Trek. As part of Wolf in the Fold, and playing into Bloch’s fascination with the notorious serial killer, Redjac was explicitly identified as the spirit of Jack the Ripper. As you do

So, pairing up Data’s Sherlock Holmes with Redjac’s Jack the Ripper should make for a decidedly pulpy adventure. Unfortunately, the end result is a little generic and unsatisfying.

Wolf in the holodeck...

Wolf in the holodeck…

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Star Trek – What Are Little Girls Made Of? (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.

What Are Little Girls Made Of? is the first episode from a script written by Robert Bloch, perhaps best known as the author of Psycho. Interestingly, it wasn’t the first script Bloch wrote for the show. Apparently Bloch contributed Catspaw first, when the show asked him for a Halloween special, even though it wouldn’t be produced until the series’ second year. And, to be fair, you can sense that What Are Little Girls Made Of? is a bit more comfortable with the Star Trek conventions than Bloch’s other two episodes. An uncredited re-write from Gene Roddenberry probably helped.

With Bloch’s third script, Wolf in the Fold, serving as a loose adaptation of (or spiritual successor to) his celebrated short story Yours Truly, Jack the RipperWhat Are Little Girls Made Of? stands out among Bloch’s contributions to the show. It’s an iconic episode, one that has undoubtedly influenced the way that we remember Star Trek, serving as the source for all manner of Star Trek memes like Kirk overwhelming a hot android with his sexual charisma, and defeating a less physically attractive robot with a logic puzzle. It features some of the most iconic costuming of the original Star Trek show, and also serves as the root of the whole “what constitutes life?” philosophical strand that would find itself embodied by Data on Star Trek: The Next Generation.

It helps that, like so much of this first season of Star Trek, it is just good pulpy fun.

A cold reception...

A cold reception…

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Non-Review Review: Hitchcock

As a bit of a film fan (and a bit of a Hitchcock fan), Hitchcock had me interested. After all, Hitchcock’s Psycho is arguably among the most important films ever made, both creating an entire subgenre (“the slasher”) and imbuing it with artistic credibility at the same time. The production of Psycho was not only a huge gambit for Hitchcock, but it was also an incredibly difficult task for the auteur to accomplish. Hitchcock was sixty when Psycho was eventually released. It’s easy to imagine a director at that age resting on his laurels, and Hitchcock really works when it explores the drives of the talented film maker, willing to look at the implications of those drives and how the same things that made him one of the world’s greatest directors may also have made him a less-than-nice person.

Hitchcock occasionally gets a bit too cluttered with domestic drama, but it features two strong performances and a fascinating true story. It might not be as exceptional as it could have been, but it’s still a damn fine exploration of movie history.

Alma matters?

Alma matters?

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Non-Review Review: Psycho (1960)

Psycho is a masterpiece from Alfred Hitchcock, a uniquely American horror story that redefined and codified the horror genre. Even after one has already seen the film, and knows the twists and the plotting detours that Hitchcock’s adaptation of Robert Bloch’s novel might make, it’s still a powerful and compelling piece of cinema. Hitchcock laid a template here that would inform generations of horror films that followed, with the DNA of Psycho to be found even in the most unlikely of places.

“You can checkout any time you like, but you can never leave…”

Note: Hitchcock famously guarded the ending to this project. “Don’t give away the ending — it’s the only one we have!” he pleaded in advertisements. However, it has been fifty-two years, so I fear that the statute of limitations on potential spoilers has expired. After all, Psycho has been so massively influential it’s hard not to know what happens. If, by some fluke, you know nothing about the film… see it! See it now! We’ll still be here when you get back.

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