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Star Trek: Excelsior – Forged in Fire by Michael A. Martin and Andy Mangels (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.

I have to admit, when I first saw Star Trek VI: The Undiscovered Country, I was a bit surprised to be introduced to Captain Hikaru Sulu. This was a character who didn’t even have a first name before The Undiscovered Country. The name chosen – “Hikaru” – was taken from Vonda N. McIntyre’s 1981 tie-in The Entropy Effect. Still, I suppose it could be worse. Uhura didn’t get a first name on screen until the release of Star Trek in 2009.

So it seemed strange that this supporting character should find himself the commanding officer of a starship, let alone a state-of-art ship of the line which opened the fond farewell to the original series crew. Still, the character of Captain Hikaru Sulu remains one of the most interesting branches sprouting off the trunk of Star Trek. Takei would reprise the role on Star Trek: Voyager, hold down a couple of Simon & Schuster audio adventures and even feature heavily in tie-in novels and comic books. Takei is quite fond of recounting his campaign to launch a television show centred around the character.

It’s quite remarkable, as Sulu is probably the only major character who could credibly “spin-off” from the original Star Trek show, which is remarkable for a supporting performer whose most iconic moment in the classic Star Trek show was waving a sword through the corridors while practically naked.

excelsior-forgedinfire

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Star Trek – The Movies (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.

It’s interesting how radically different the Star Trek feature films were from the show that spawned them. All were anchored in the classic science-fiction series. Star Trek: The Motion Picture felt like it was heavily influenced by The Changeling. Star Trek II: The Wrath of Khan obviously drew on Space Seed. Star Trek III: The Search for Spock evoked The Menagerie. Star Trek IV: The Voyage Home featured the same plot device (and time travel technique) as Tomorrow is Yesterday. Star Trek V: The Final Frontier had Kirk defeating one final god-like being. Star Trek VI: The Undiscovered Country had the crew finally make peace with Klingons.

However, they were quite clearly a very different animal from the original television show. Which makes a great deal of sense. After all, there’s a world of difference between a fifty-minute adventure produced for weekly television and a big theatrical event. However, what’s interesting about these changes is that they weren’t necessarily in the direction you might expect. The television show was a collection of episodic adventures, but what’s really striking about the films is that most of them have a reasonably clear serialised arc.

startrek-themotionpicture

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Non-Review Review: Star Trek VI – The Undiscovered Country

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.

Whatever its faults, Star Trek VI: The Undiscovered Country is a fond farewell to the original cast of Star Trek, giving the ensemble one last epic adventure before heading off into legend. Chancellor Gorkon suggests that the “the undiscovered country” that lends the movie its title is “the future.” Most Shakespearean scholars would argue that it is “death.” Perhaps they need to – as Gorkon argues – “experience” it in “the original Klingon”, or perhaps there’s more to it than that.

Perhaps the undiscovered country can be both – the death waiting for all of us eventually, the “chimes at midnight” that Chang alludes to after a disastrous diplomatic dinner. Probably not. Still, The Undiscovered Country does represent a death. It’s the end of an era, the extinguishing of a torch that had already been passed. It’s the last adventure of Kirk’s starship Enterprise, and it feels appropriate that it serves to end the Cold War raging between the Klingons and the Federation.

It’s a beautiful farewell to the crew, to the extent that even the actors’ decision to “sign” the closing credits doesn’t feel over saccharine or manipulative. The movie has more than its fair share of narrative flaws, neither as tight as Star Trek II: The Wrath of Khan nor as energetic as Star Trek IV: The Voyage Home. However, it hangs together remarkably well, in no small part thanks to a solid premise, a strange honesty and a deep affection for the cast and crew.

We're having some old friends for dinner...

We’re having some old friends for dinner…

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Star Trek – Unspoken Truth by Margaret Wander Bonanno (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.

Saavik is an interesting character, for several reasons. Most obviously, there’s the behind the scenes manoeuvrings involving the new character. Everything from her origin to the recasting of the role between Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock. There’s the inclusion of a short scene in Star Trek IV: The Voyage Home, and the fact that the last time we see Saavik, she’s watching the reunited cast of the original Star Trek continue their galactic adventures.

There’s her complete absence from Star Trek V: The Final Frontier and then the weird pseudo-return of the character in Star Trek VI: The Undiscovered Country, where the role that would become Valeris was originally considered for Saavik, before being cast with Kim Cattrall, an actress who had originally been considered to play Saavik. It’s interesting to consider the conceptual history of the character, given what she was supposed to represent upon her introduction in The Wrath of Khan.

Margaret Wander Bonanno does an excellent job exploring Saavik’s life in the wake of her decision to remain on Vulcan in The Voyage Home, with Unspoken Truth doing an excellent job playing with the character in the grand scheme of the shared Star Trek universe.

startrek-unspokentruth

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Non-Review Review: Star Trek IV – The Voyage Home

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.

Up until the release of JJ Abrams’ Star Trek in 2009, Star Trek IV: The Voyage Home was the most successful of the Star Trek films. Indeed, it ranks alongside Star Trek II: The Wrath of Khan as the film which has most deeply dug itself into the popular consciousness. “I’m from Iowa; I only work in outer space” might not be as iconic a quote as “KHAAAAAAN!!!”, but a lot of people casually remember “the one with the whales.”

The fourth film in the series closes off an inter-connected trilogy of Star Trek films, wrapping up character development for the leads and tying up loose ends, but it’s also – somewhat paradoxically – the most accessible of the movies. If you’re looking for an introduction to Star Trek, it’s hard to think of a more welcoming entry than The Voyage Home. However, what’s really strangely charming about The Voyage Home is that it’s also probably the film truest to the franchise’s humanist values.

Ship off the starboard bow!

Ship off the starboard bow!

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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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Star Trek: Myriad Universes – Echoes and Refractions: The Chimes at Midnight by Geoff Trowbridge (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 death of Spock at the climax of Star Trek II: The Wrath of Khan is one of the definitive Star Trek moments. Pop culture has assimilated the moment, to the point where any half-decent nerd will identify “the needs of the many…” or “I have been and always shall be…” or maybe even “of all the souls I encountered…” It’s an absolutely massive moment for the franchise, where the film series dared to kill off the show’s most iconic and best-loved character.

It’s no wonder that the moment is such a strong focal point for those seeking to explore Star Trek. Star Trek: Into Darkness riffs mercilessly on that iconic scene, inverting it and counting on the iconography to generate enough emotional resonance for the film to get away with a fairly half-hearted homage. (The effects of The Wrath of Khan last until Star Trek III: The Search for Spock, while the consequences of the climax of Into Darkness don’t even last until the closing credits.)

So that famous sequence serves as an effective focal point of Geoff Trowbridge’s The Chimes at Midnight, which offers a parallel continuity of the Star Trek films in a universe where Spock died after the events of Yesteryear.

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Non-Review Review: Star Trek III – The Search for Spock

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.

I have a soft spot for Star Trek III: The Search for Spock. It’s a weird thing to admit, but it was really my first encounter with the crew of the original Star Trek television show. I was only eight or nine at the time, and I’d grown up watching and loving Star Trek: The Next Generation. Of course, this was in an era before DVD and blu ray made it feasible (and affordable) to collect the whole thing. So I branched out by trying the movies.

Being a young child in the era before the internet, I didn’t know that the second through fourth films formed a loose thematic trilogy. I just picked the film with the title that jumped out at me. Since “Spock” was an iconic part of Star Trek, and I knew him from his guest appearance on The Next Generation, The Search for Spock seemed the logical choice.

And it retains a special place in my heart.

"I have been, and always shall be, your friend..."

“I have been, and always shall be, your friend…”

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Star Trek – The Pandora Principle by Carolyn Clowes (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’s amazing to think how much tie-in material the character of Saavik has generated, considering that she only appeared in three Star Trek films. There are regular characters who have never attracted the same degree of attention as Saavik. There’s probably a reason for this. After all, Saavik was introduced as an important character in Star Trek II: The Wrath of Khan. There’s even some speculation that she might have been originally intended as a replacement for Spock, had Leonard Nimoy decided not to return to the franchise. As such, she was introduced as a surprisingly developed character with a background rife with storytelling potential.

It’s a bit of a disappointment, then, that she was first re-cast as Robin Curtis in Star Trek III: The Search for Spock and then she was quietly shuffled off-stage at the start of Star Trek IV: The Voyage Home, never to be seen again. Perhaps that squandered potential is at the root of the fascination with Saavik. The Pandora Principle, the only Star Trek novel from author Carolyn Clowes, offers us an origin and a history for the character, building off hints and character attributes that were never even mentioned on-screen.

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Star Trek (DC Comics, 1984) #7-8 – Saavik’s Story (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 comics are an interesting way of catching a glimpse at the franchise one-step away from the heart of production. While there are other forms of tie-in media, comics are produced on a monthly schedule. While scripts need to be written and art needs to be drawn, there’s less lead-in time required, meaning that contemporary Star Trek comics are often able to react dynamically to on-screen events. While novels might take up to a year from original pitch to the time they hit the stands, there’s something rather more urgent about tie-in comic books.

This is an issue for many tie-ins comics. For example, the syndicated Star Trek newspaper strip launched shortly before the release of Star Trek: The Motion Picture made a point to feature Ilia as a bridge officer on a relaunched USS Enterprise. She rather suddenly disappeared after those involved actually saw the movie and realised that she didn’t quite survive the adventure. Similarly, when it came to detailing the adventures of Kirk and company in the wake of Star Trek III: The Search for Spock, writer Mike W. Barr moved the crew over to the USS Excelsior, in accordance with writer Harve Bennett’s original plan.

That said, Mike W. Barr’s comic book origin story for Lt. Saavik holds up rather well, fitting quite comfortably with Carolyn Clowes’ origin for the character offered in the superb 1990 book The Pandora Principle. Of course, Barr’s origin sketches the broadest of outlines, and is clearly more preoccupied with crafting a pulpy space opera adventure.

Saving Saavik!

Saving Saavik!

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