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Star Trek – My Enemy, My Ally by Diane Duane (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.

1984 was a hell of a year of Star Trek tie-in novels. John M. Ford’s The Final Reflection was published in May 1984. It was followed by a tie-in adaptation of Star Trek III: The Search for Spock, but the very next original novel would by My Enemy, My Ally by Diane Duane. Both novels feel like kindred spirits, really pushing the boundaries of what you could do with Star Trek tie-in novels.

In particular, both works devoted considerable time to developing some of the iconic and memorable aliens of Star Trek. Ford’s The Final Reflection extrapolated an entire Klingon culture, while Duane’s My Enemy, My Ally dared to imagine a complex Romulan Empire, so distinct and well-defined that it isn’t even known as Romulan (apparently the term outsiders use for the species), but Rihannsu.

myenemymyally

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Star Trek – Charlie X (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.

It really is incredibly difficult to divorce Star Trek from the sixties. I know that this has become something of a (very obvious) theme in these daily reviews, but Charlie X is the kind of Star Trek episode that could only have been produced for television in the sixties. It isn’t necessarily the presence of a single factor, it’s more the package as a whole. While the general concept (“The Day Charlie Became God”, to quote Roddenberry’s succinct synopsis from his 1964 Star Trek Is… pitch) could easily be adapted for any of the spin-offs (and Hide & Q clearly plays on the same idea), the execution is so firmly anchored in the sixties that it’s very hard to separate and parse.

Part of it is the weird use of coloured lighting on the mostly grey Enterprise sets, something that Inside Star Trek suggests was down to the fact that NBC was owned at the time by RCA, a major manufacturer of colour television sets. Part of it is the somewhat confused sexuality that is a weird mix of liberated and outdated. Part of it is the fact that the show features an impromptu musical and dance number. The idea of Charlie X might be fairly simplistic, but the execution is very clearly and very distinctively Star Trek.

Screaming to the Evans...

Screaming to the Evans…

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Star Trek – The Naked Time (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.

Star Trek is, by its nature, an inherently optimistic television show. I seem to keep mentioning that in these reviews, as the first season of the show subverts and plays with the notion of an idealised future. However, despite the suggestion that evil is necessary in The Enemy Within or the death of the last of a species in The Man Trap or the suggestion that man’s next evolutionary phase would be truly horrifying in Where No Man Has Gone Before, Star Trek is still a hopeful vision of a possible future. It’s a story about a world where mankind hasn’t wiped each other out and where we can go (relatively) peacefully among the stars. It’s a world without racism or classism. There is sexism in Star Trek, but I’ll give the producers the benefit of the doubt and assume it’s not intentional.

So The Naked Time feels a little weird, being – as it is – a story about the collapse of civilisation at the end of a world. Not our world, mind you, but there’s a very clear sense of social collapse mirrored in the literal collapse of planet Psi-2000.

How logical...

How logical…

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Star Trek – The Corbomite Manoeuvre (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.

Again, The Corbomite Manoeuvre is one of those early episodes of Star Trek that was shuffled around in the broadcast order. Not that there’s too much internal continuity to mess up or anything like that, but it is particularly noticeable when episodes at the start of a television show get shuffled around. The writers are establishing characters and concepts, so it feels strange to watch the first episode written with McCoy after we’ve already seen him established as the ship’s doctor.

(The first episode aired, The Man Trap, centres around McCoy, which makes it strange when the ship suddenly has a different Chief Medical Officer in the Where No Man Has Gone Before.)

Fortunately though, The Corbomite Manoeuvre is the last time that this really becomes a concern, as Star Trek seems to iron out all the difficulties and the nuances on a new television show. Effectively the first regular episode of the show produced after two pilots, a large part of the charm of The Corbomite Manoeuvre is really watching it all come together.

What a dummy...

What a dummy…

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Star Trek – Crew by John Byrne (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.

Majel Barrett Roddenberry was the first lady of the Star Trek franchise, in more ways than one. She was married to Gene Roddenberry and remained a part of the franchise after his death. She guest starred on the shows occasionally, continued to lend her voice to the computers and offered the occasional interview to the press. Although her actual influence on the television shows was relatively minimal (and she was occasionally prone to protesting various plot developments including the Dominion War on Star Trek: Deep Space Nine), she did remain involved in Star Trek until she passed away in 2008.

However, she was also involved from the start. She had the recurring role of Christine Chapel throughout the original television show, and appeared in the unaired pilot, The Cage, as Christopher Pike’s first officer. Identified only as “Number One”, this almost made her the literal “first lady” of Star Trek. I’m surprised that Number One hasn’t been used more often as a character, with her appearances in tie-ins generally restricted to her time on board Pike’s Enterprise.

John Byrne’s miniseries might have the title Crew, and feature supporting roles for Christopher Pike and Mister Spock, but it is very much the story of Number One. Published a year after her death, and dedicated to her memory, Crew feels like a fitting farewell to the actress responsible for one of the franchise’s earliest and most intriguing supporting characters.

Fate protects fools, little children... and ships named Enterprise.

Fate protects fools, little children… and ships named Enterprise.

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Star Trek – Where No Man Has Gone Before (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.

In a way, there’s a very clear divide between The Cage and Where No Man Has Gone Before. It’s clearer than the strange new actor sitting in the middle of the Bridge or the fact that Spock is suddenly a lot less casual. In a way, each is perfectly positioned in popular consciousness. The Cage was produced in late 1964, but wouldn’t be shown on television until 1988, after spending years touring the fan circuit. It remains a strange bit of Star Trek history, sitting simultaneously outside any of the five television shows, and simultaneously a completely inexorable part of the franchise’s evolution. It’s where it all began, but not where the first Star Trek began.

In contrast, Where No Man Has Gone Before feels more like the pilot episode of Star Trek. Sure, the fashion changes a bit in the episodes to come, the entire cast has yet to be assembled, but this is recognisably the same ship and the same show as The Corbomite Manoeuvre or The Man Trap. It’s more than the actors filling roles, the consistent characterisation of Spock or the fact that it actually aired on television in September 1966. This is what the next three years of Star Trek will be like. It’s an aesthetic or an approach to storytelling that is markedly different to the way that The Cage tackled many of the same themes and ideas.

While The Cage laid down many of the philosophical underpinnings of the broader Star Trek universe – including the classic show – it is also a lot less physical and visceral than the classic Star Trek. Indeed, The Cage featured the Captain of the Enterprise reasoning with an advanced bunch of god-like aliens, appealing to human virtues. The action sequences felt a bit extraneous. In contrast, Where No Man Has Gone Before sees the Captain of the Enterprise punching a god-like being repeatedly in the face while hitting on the same themes.

I think that’s perhaps the most dynamic difference between not only The Cage and Where No Man Has Gone Before, but between Star Trek and its spin-offs.

All the old familiar faces...

All the old familiar faces…

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Star Trek: Early Voyages #1 – Flesh of my Flesh (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.

In the late nineties, Marvel were publishing Star Trek comic books. One of those books, perhaps the book garnering the most critical praise, was Star Trek: Early Voyages. Written by Dan Abnett and Ian Edginton, the series was intended to follow the mission of the USS Enterprise under the command of Captain Christopher Pike. Published monthly, the comic is perhaps the best indication of what a Star Trek show starring Christopher Pike might have actually looked like. Although the series was cancelled suddenly after only seventeen issues, ending on a cliffhanger, it is still a fascinating look at what might have been.

Looks like they've hooked a Pike...

Looks like they’ve hooked a Pike…

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Star Trek – Vulcan’s Glory by D.C. Fontana (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.

I’ve never really felt too strongly one way or another about continuity. I never got too upset about Klingon forehead ridges, or the fact that Khan somehow remembered Chekov from an episode that took place before he joined the Enterprise. I’ve always found the use of the term “canon” to describe the shared continuity as more than a little indulgent or absurd. I consider some of the better tie-in novels I have read to be a worthy part of the Star Trek universe, regardless of the fact that they may not fit, or they may contradict what was depicted on-screen. I’ve never been too tightly tied to the notion that something is “important” or “in continuity” among this 700-episode franchise.

Still, I can’t help but feel like there’s something almost legitimate about Vulcan’s Glory. It is a novel from writer D.C. Fontana, who served as script editor and writer on the classic Star Trek show, and is regarded as one of the guiding lights of the franchise. She went on to write for both Star Trek: The Next Generation and Star Trek: Deep Space Nine. Given her importance to the show over its extended history, anything Fontana writes about it is worthy of note. Indeed, Vulcan’s Glory was originally published in 1989 and was reissued in 2006 for the franchise’s fortieth anniversary.

Even to somebody reluctant to consign “importance” or “worthy” to a tie-in based on outside factors, the story of Spock’s first mission on board the Enterprise, written by one of the strongest writers of the original Star Trek and a guiding influence on the franchise, still jumps out as a pretty important book.

vulcansglory

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12 Movie Moments of 2012: Shared Pop Culture History (Ted)

As well as counting down the top twelve films, I’m also going to count down my top twelve movie related “moments” of 2012. The term “moment” is elastic, so expect some crazy nonsense here. And, as usual, I accept that my taste is completely absurd, so I fully expect you to disagree. With that in mind, this is #2

When it comes to end of year “best of” lists, comedy seems to draw the short straw as a genre. Like some of the less earnest genres, comedy is far too easily overlooked in favour of something more “worthy” of attention. Seth MacFarlane’s Ted has been something of a contentious film this year. Depending on where you sit, the film is either the epitome of everything wrong with American comedy, or it was a refreshingly profane yet heartfelt breath of fresh air. I lean more towards the latter than the former, and I appreciated the way that it played to MacFarlane’s strengths – concealing a surprisingly sincere sentiment behind a cynical and glib exterior.

As such, it’s no surprise that the most effective sequence in the film – the opening credits – managed to play to both that side of MacFarlane and also to his wonderful ability to channel pop culture as something of a shared collective history. Call me sappy, but there was something wonderful about seeing Ted interact with Johnny Carson and watching Ted and John queue for The Phantom Menace in costume, that created a tangible sense of back story between the characters.

ted10

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Star Trek: The Next Generation – 11001001 (Review)

To celebrate the twenty-fifth anniversary of Star Trek: The Next Generation, and also next year’s release of Star Trek: Into Darkness, I’m taking a look at the recent blu ray release of the first season, episode-by-episode. Check back daily for the latest review.

Maybe it’s just because I’m delirious coming out of Angel One, an episode that managed to make Datalore look almost reasonable by comparison, but I quite like 11001001. Part of that comes down to the fact that it’s one of the few episodes in this troubled first season that manages to take the restrictions imposed on the show by Roddenberry and make them work. It helps that the aliens of the week – the Bynars – are among the more interesting creatures to appear on the show so far. And it finally makes for a nice Riker episode, finding a way to team up Riker and Picard, a duo that haven’t spent enough time together at this point in the series.

Base, the final frontier...

Base, the final frontier…

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