Posted in Movies

Rob Watches Star Trek: It’s Never Goodbye…

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

TITLE: Star Trek VI: The Undiscovered Country
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley, Kim Cattrall, Christopher Plummer
DIRECTOR: Nicholas Meyer
WRITERS: Leonard Nimoy, Lawrence Konner, Mark Rosenthal, Nicholas Meyer, Denny Martin Flinn
STUDIOS: Paramount Pictures
RATED: PG
RUN-TIME: 110 min
RELEASED: December 6, 1991

By Rob Siebert
Fanboy Wonder

New Around here? Check out the “Rob Watches Star Trek” archive!

As we reach the final movie to feature the original Star Trek cast in its entirety, I have to take my hat off to everything the franchise had achieved circa 1991. By this point, it had been more than 20 years since the original show ended. Yet these characters and this universe were still able to sustain themselves through six films, not to mention a short-lived animated show, and a hit spin-off in Star Trek: The Next Generation. In the modern era, where Marvel has made expansive cinematic tie-in universes the “it” thing, can there be any doubt that Star Trek was ahead of its time? I think not. (On a side note, I never realized this movie did the whole autographs-on-the-credits thing so many years before Avengers: Endgame.)

I only wish these characters could have gone out on a higher note. Star Trek VI: The Undiscovered Country isn’t a bad movie. But it doesn’t have the same epic feel as The Wrath of Khan, the light-hearted throwback appeal of The Voyage Home, or even the infamous reputation of The Final Frontier. It exists on an awkward level somewhere above mediocre, but below good.

After the destruction of a moon throws their empire into chaos, the notorious Klingon race seeks to make peace with the United Federation of Planets. Much to his dismay, Captain James T. Kirk is chosen to escort Klingon ambassadors to Earth so that peace talks may commence. But when the Enterprise inexplicably fires on the Klingons from out of nowhere, Kirk is framed and imprisoned on a frigid planet with Bones in tow. Now they must survive their new, hostile environment as Spock and the rest of the crew search for the truth.

I can’t even tell you how happy I was to see The Undiscovered Country do something its predecessors all failed to do: Give the proper emotional weight to the death of Kirk’s son David. After some of the things we saw on the show, Kirk has every reason not to trust the Klingons. But remember, David was killed by a Klingon in Star Trek III. As such, Kirk has just cause to flat out hate the Klingons. You’re not likely to find better fuel for drama than that. It’s not explored very much, but at least the film remembered that David existed. Is it a coincidence that it happened in a film that was directed and co-written by Nicholas Meyer, who directed David’s first appearance in The Wrath of Khan? Probably not.

Star Trek VI is full of Shakespearean quotes and Cold War allegories. That’s all well and good. I actually like the them being about how people chose to deal with change. I just don’t know that it made the most of its premise.

For my money, the most interesting part of the movie is Kirk being framed for the murder of the Klingon ambassadors. If I’ve got the keys to Star Trek VI, I make that the core of the movie. We’d be with Kirk at the prison colony has he wrestles with Bones over whether the Klingons deserved to die for all they’d done. Meanwhile, Spock and the others work to solve the mystery of who did attack the ambassadors. They ultimately springing Kirk and Bones from the prison during Kirk’s fight with the big alien brute (Whose genitals are mysteriously on his knees…?). The Enterprise then brings the culprit to the peace talks between the Klingons and the Federation, clearing Kirk’s name. Thus, we have a more exciting and character-driven movie that’s a little more sleek in terms of its story structure.

Incidentally, is that Worf from Star Trek: The Next Generation that we see representing Kirk and Bones at their trial? *Googles it* Ohhhhhh, okay. So it’s Worf’s ancestor…who is also named Worf? Go figure.

So how does Star Trek VI fare as a swan song for Kirk, Spock, and the crew? Meh. Kirk’s quoting of Peter Pan was a nice little moment. But the Earth didn’t exactly move for me. But after more than 20 years, and all that had been done with these characters, how does one even begin to tell a farewell story that does justice to them all? What’s more, a story that definitively and convincingly says farewell? It’s a tall task by anyone’s standards.

Plus, one can argue it’s all for naught anyway. While this was indeed the last time the crew was all together, Kirk and a few others were in 1994’s Star Trek Generations. And of course, we’d see Spock many years later in the J.J. Abrams movies. 

That’s the thing about beloved and iconic characters like these. It’s never goodbye. Not really. There’s always another story to tell, and another adventure to go on…

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Movies

Rob Watches Star Trek: Back to Basics

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

TITLE: Star Trek IV: The Voyage Home
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei
DIRECTOR: Leonard Nimoy
WRITERS: Harve Bennett (Story), Leonard Nimoy (Story), Steve Meerson, Peter Krikes, Nicholas Meyer
STUDIOS: Paramount Pictures
RATED: PG
RUN-TIME: 122 min
RELEASED: November 26, 1986

By Rob Siebert
Fanboy Wonder

New Around here? Check out the “Rob Watches Star Trek” archive!

There’s a moment in Star Trek IV where Uhura looks to Kirk and says, “Admiral, I am receiving whale song!” Now that’s just wild and random enough to come from a classic Star Trek episode. And for yours truly, that’s where much of the appeal of Star Trek IV: The Voyage  Home is.

Months after the events of Star Trek III, an alien probe causes catastrophic effects on Earth. The global power grid fails, storms rage, and cloud formation threatens to block out the sun. But what is the probe’s purpose? A clue leads Kirk and the crew back to the year 1986 in pursuit of, believe it or not, humpback whales.

The Voyage Home made me feel like I was watching the original series again. In true original series fashion, they even found a silly way to disguise Spock’s ears. One can certainly argue it’s too derivative, as they did time-travel episodes numerous times on the old show. And of course, Kirk finds a love interest.

Star Trek IV is funnier than its three predecessors, which is frankly refreshing. Shatner is particularly strong when it comes to comedy. The other movies had their funny moments. But by and large they took themselves so seriously. Of course, Star Trek had that epic action and adventure feel when it needed to. But it also wasn’t afraid to have fun. Cast in point, The Trouble With Tribbles. It’s a perennial favorite, while being played almost entirely for laughs.

One major caveat: As someone just seeing these movies for the first time, I continue to be frustrated at the glossing over of the death of David, Kirk’s son. With the benefit of hindsight, it’s obvious they should have either kept him out of the third film, or scrapped the idea of giving Kirk a son altogether. My point from Star Trek III stands here in Star Trek IV: Kirk should be grief-stricken over the loss of David. Perhaps even a little resentful that Spock got to come back to life, but David won’t. Instead, the movie has the Saavik character pop in to mention him out of obligation if nothing else. Not developing or playing with the David character is the biggest missed opportunity I’ve seen in Star Trek thus far.

On the subject of casting, I love that they got Mark Lenard to come back as Spock’s father in both this film and the last one. The exchange he has with Spock toward the end is very satisfying, and feels like a pay-off from the show. As a bonus, we also get Jane Wyatt back this time as Spock’s mother.

In what wound up being an odd twist of fate, Kirk’s love interest Gilian is played by Catherine Hicks, who on 7th Heaven would play opposite Stephen Collins, who played Decker in the first film. Her scenes with William Shatner and Leonard Nimoy have a certain quaint charm to them. The fact that Hicks is 20 years younger than Shatner is a bit odd, but not unforgivable.

Not surprisingly, the one crew member who gets in trouble and slows them down is Chekov. I wish I could say I’ve come to like him. On the upside, Kirk, Gilian, and Bones have to rescue him from a hospital. That gives us a chance to see the Enterprise‘s resident doctor in a 20th century medical facility, which is kinda cool.

One thing I enjoyed about Star Trek IV is that almost every member of our crew has something to do, a role to play in the story. Everyone that is, except for Sulu. For whatever reason, after they go back in time, Sulu has a little exchange with a helicopter pilot, and then we don’t see him again until much later in the movie. What gives? Why couldn’t they have left friggin’ Chekov behind?

The story revolving around the acquisition of two Humpback in a time-travel science fiction film is unusual. But it’s that eccentricity that makes it work so well. After seeing the three previous films, you’d never be able to predict the third one being about, of all things, whales. It’s just weird enough to be a perfect fit for a Star Trek story.

Another cool pay-off the movie gives us from the show is that we actually get to see the “light-speed breakaway factor” alluded to in “Assignment: Earth.” That bit of expository dialogue definitely came back to beniefit them. The light-speed breakaway factor more or less becomes the Star Trek equivalent of the DeLorean from Back to the Future.

In my book, that’s this film’s biggest accomplishment. It took us four tries, but we finally got a movie that feels faithful to the Star Trek TV show. And after watching hours of doom, gloom, and lengthy shots of space vortexes in the previous movies, it’s damn good to have Trek back.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Movies

Rob Watches Star Trek: So Much to Do, So Little Time

TITLE: Star Trek III: The Search For Spock
STARRING: William Shatner, Christopher Lloyd, DeForest Kelley, James Doohan, George Takei
DIRECTOR: Leonard Nimoy
WRITER: Harve Bennett
STUDIOS: Paramount Pictures
RATED: PG
RUN-TIME: 105 min
RELEASED: June 1, 1984

By Rob Siebert
Fanboy Wonder

I’m in awe that Leonard Nimoy directed not only this movie, but the next one as well. Can you imagine that kind of thing happening today? Say they put Mark Hamill in the director’s chair for a Star Wars movie. Or Tobey Maguire in charge of a Spider-Man flick. They’d be hounded by toxic fans to the point of never wanting to touch the franchise ever again.

Fresh off the events of Star Trek II, Star Trek III brings us the revelation that Spock’s “living spirit” is in limbo, and has found a home in the mind of Bones. Thus, Kirk and the crew set out for Genesis to reunite Spock’s spirit with his body. But they do so against the will of the Federation, and must steal the now decommissioned Enterprise. All the while, the Genesis project has caught the attention of the Klingons, who want its power as their own.

A lot happens in Star Trek III. Like, a lot. Even when you set aside the fact that they’re trying to friggin’ resurrect the dead. Kirk’s son dies. The Enterprise blows up. We have all these big emotional moments between characters as they risk their lives and careers to save Spock. On paper, this movie is just as epic and impactful as The Wrath of Khan. If not more so.

So why is it strictly okay? Why doesn’t it hold up as a successor to The Wrath of Khan?

For my money, it’s the old “10 pounds of stuff in a five pound bag” metaphor. There’s so much going on that these big moments don’t necessarily have the impact they need and deserve. Chief among them is what happens to Kirk’s son David, who we met in The Wrath of Khan. The villain kills him off during the second half of the movie. Naturally, Kirk is grief-stricken. The Search For Spock does it’s best to give it proper weight. But in trying to wrap up all the film’s plot threads, there isn’t enough time. Yes, Kirk is distraught about his son. But this is the death of his child. He should be absolutely destroyed to the point that he needs the entire movie to bring himself to suit back up.

Furthermore, Star Trek III robs the premise of Kirk having a long-lost son of any story potential it may have had. How do father and son adjust to this new connection? What role do they play in each other’s lives? Does David become a liability for Kirk in the field? Granted, David wasn’t the most compelling character in the world. But Star Trek III removes the opportunity to make him compelling.

David’s death might have been more impactful had it come at the hands of a more interesting villain. Kruge, the lead Klingon, comes off as a hollow mustache-twirler. Yes, Christopher Lloyd is fun. But he’s also campy. That’s not what you want to follow The Wrath of Khan with.

Still, the movie isn’t without its fun elements. I love that Spock’s living spirit ended up with Bones. If anything, that should have been explored more. Actually, in hindsight, that should have been an episode of the series. It’s a fantastic way to not only contrast Spock and Bones, but give them insight into one another.

Star Trek III also continues something started in Star Trek II that I find very important: It emphasizes that these people are friends. Not just Kirk, Spock, and Bones, but the entire crew. That’s why they’re willing to risk their careers to steal the Enterprise and go after Spock.

I wish they could have had more fun with the stealing of the Enterprise. Sort of like a mini heist movie within the movie. Have Kirk, Spock, and Chekov do the grunt work while Scotty and Uhura work remotely. A Star Trek heist movie could have been fun, and a good way to make this story a very different animal from The Wrath of Khan.

But alas, Star Trek III feels like a younger sibling trying to live up to an older sibling’s achievements. It pales in comparison, of course. In hindsight, I wish Nimoy had been given a better script for his directorial debut. Thankfully he’d get another chance with Star Trek IV

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Television

Rob Watches Star Trek: Intergalactic Species Osmosis

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

SERIES: Star Trek
EPISODE: S3.E23. “All Our Yesterdays”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley
GUEST-STARRING: Mariette Hartley, Ian Wolfe
WRITER: Jean Lisette Aroeste
DIRECTOR: Marvin Chomsky
ORIGINAL AIR DATE: March 14, 1969
SYNOPSIS: Kirk, Spock, and Bones are trapped in the past on an alien world. Spock finds an unlikely romance.

I’m calling BS on “All Our Yesterdays.” This episode has been cited by some as one of the best for the Spock character. Don’t be fooled. It’s not.

The episode brings Kirk, Spock, and Bones to the planet Sarpeidon. There they find a strange library containing time portals to different points in Sarpeidon’s history. Shenanigans ensue and Kirk more or less winds up in 17th century England. Meanwhile, Spock and Bones are stuck in an arctic wilderness 5,000 years in the past.

It’s there they are rescued by Zarabeth, a woman marooned alone in this time period. A woman Spock suddenly and inexplicably becomes attracted to. We later learn that because they’ve traveled back to a time before the Vulcan race purged themselves of emotion, Spock is reverting to match the Vulcans of this era.

Nope. Sorry. Doesn’t work for me.

Giving Spock a love interest, even for just one episode, isn’t a bad idea. But his stoic demeanor is integrally woven into the fabric of the series. So if you’re going to do that story, you’d better make it good. They didn’t do that here. In addition, the mechanics of it are, as Spock would deem them, most illogical.

So the idea is that Spock is suddenly emotional and amorous because that’s how the other Vulcans in this time period are. But what kinda sense does that make? If I travel to Mars, then hop in a time machine and go 2.5 million years into the past, do I gradually become a caveman by intergalactic species osmosis? Probably not. Hell, the notion wouldn’t have even occurred to Spock if Bones, of all people, hadn’t brought it up.

Question: Why not give Bones the love interest? My understanding is the show had done a similar “Spock in love” plot like this before. Whereas the last time we saw Bones have romantic inclinations was way back in “The Man Trap.”

Obviously, they wanted Spock and Bones together in this episode so their conflicting personalities could rub up against each other, even as Spock becomes prone to the human emotion he so often frowns upon in people like Bones. But wouldn’t it work better the other way around? It would certainly seem more natural for Spock to be the cold (no pun intended), emotionless one thinking of ways to get back home, while Bones pines for they’re rescuer. Then in the end, Bones is forced to adhere to Spock’s logical methodology in order to survive.

The episode tries to give the two a poignant moment at the end, where Bones checks on Spock after they’ve returned and left Zarabeth in the past. It doesn’t necessarily work, as Spock has returned to his normal, emotionless self. But if the roles are reversed, Bones would be able to tell Spock he’s not okay. Spock, in a rare moment of human compassion, could then tell Bones he’s sorry for his loss. Thus, creating a special moment between the two.

Sadly, “All Our Yesterdays” is an episode ripe with missed opportunities. Even sadder is the fact that it’s the penultimate episode of the show. I couldn’t help but wonder if by this point, the Star Trek showrunners knew the show was likely to be cancelled and had themselves a case of Senioritis.

In actuality, the last day of filming on season three of Star Trek was January 9, 1969. The show was officially canceled the following month. It had hung on for three seasons. But despite the devotion of its fans, who’d launched numerous letter-writing campaigns in support of the series, Star Trek was finally gone…

Or so they thought.

For more “Rob Watches Star Trek,” check out the archives.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Television

Rob Watches Star Trek: Kirk as a Horse?

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

SERIES: Star Trek
EPISODE: S3.E10. “Plato’s Stepchildren”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley, Nichelle Nichols
GUEST-STARRING: Michael Dunn, Liam Sullivan
WRITER: Meyer Dolinsky
DIRECTOR: David Alexander
ORIGINAL AIR DATE: November 1, 1968
SYNOPSIS: Kirk, Spock, and Bones are taken captive by a group with telekinetic abilities, who take inspiration from the Greek philosopher Plato.

By Rob Siebert
Trekkie-in-Training

This episode is, of course, famous for containing television’s first interracial kiss. That moment between William Shatner and Nichelle Nichols is rightfully iconic.

That being said, not only has the kiss been discussed to death, but I’m hardly qualified to talk in depth about it. Plus, while I give it all the respect it deserves, it’s not what I came away from “Plato’s Stepchildren” thinking about.

The episode is about Kirk, Spock, and Bones becoming trapped on a planet that houses a group of very powerful telekinetics. So powerful they can manipulate people’s bodies against their will. When they want Bones to stay on world and be their resident doctor, he refuses. Thus their leader Parmen proceeds to use Kirk and Spock as his personal playthings until Bones acquiesces.

Naturally, this episode calls for Kirk and Spock to perform a bunch of demeaning tasks at the behest of Parmen. Initially, it comes off as the typical brand of camp you’d see from a classic Star Trek episode. Kirk hits himself in the face several times. Parmen forces Spock to laugh and sob uncontrollably. Later, Uhura and Nurse Chapel are brought in and forced to passionately kiss Kirk and Spock respectively. That’s obviously where we get our famous interracial kiss. It’s all territory you’d expect to venture through in a story like this.

But there’s also a moment that I’ll call “the horse sequence.” In the more than 25 episodes of Star Trek I’ve now seen, the horse sequence is the only point I’ve actually been made to feel uncomfortable. And I’m not even sure I should be uncomfortable.

Among the titular “stepchildren” is a little person named Alexander, who lacks the powers his taller brethren have. The horse sequence in question happens when Alexander climbs on Kirk’s back, and as Kirk is on all fours, proceeds to ride him like a horse. Quite literally, as Kirk actually whinnies (shown below).

It’s not that the act in itself is hugely offensive, though I’m sure little people aren’t overjoyed at it. But when I saw it, I went from laughing and enjoying a performance to feeling sorry for the performers.

And yet, that’s what the sequence is designed to do, isn’t it? We’re supposed to be aghast and hate the villain as we feel remorse for our hero. So what is it about this moment that breaks the illusion of the show? It’s tough to put your finger on…

My best guess? They got too silly. This might have looked right on paper. But on screen? Pass.

Here’s my question: Why not have Parmen force Kirk and Spock to fight like a child playing with toys? Yes, we’ve seen them fight before. But there’s a helplessness here that’s obviously very different.

I’ve got to hand it to William Shatner, though. They told him to be a horse, and he went for it. He turned into a by God horse. Maybe that’s why it was so uncomfortable. He believed. So I believed.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Television

Rob Watches Star Trek: A Broken Triad

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

SERIES: Star Trek
EPISODE: S3.E9. “The Tholian Web”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Nichelle Nichols
WRITERS: Judy Burns, Chet Richards
DIRECTOR: Herb Wallerstein
ORIGINAL AIR DATE: November 15, 1968
SYNOPSIS:
Kirk is presumed dead as an alien race builds a destructive web around the Enterprise.

By Rob Siebert
Trekkie-in-Training

“It’s the Stay Puft Marshmallow Man.”

Those are the exact words that came out of my mouth when I saw Kirk, Spock, and the others wearing those space suits in “The Tholian Web” (shown above). And in my head, they came out in Dan Aykroyd’s voice.

I couldn’t help it. It just popped in there.

I jest, but “The Tholian Web” is actually a really good episode. It tells a story that, in hindsight, it’s surprising we didn’t get much sooner. Kirk is presumed dead after slipping through a dimensional rift. Thus, the Enterprise crew must now accept that their captain is gone, while at the same time adjusting to Spock being in command. All the while, the random crew members, including Chekov, are going insane thanks to a condition spread to them from a doomed starship. As if that weren’t enough, the ship is facing hostility from the Tholians, an alien race that lays claim to this region of the galaxy. They are constructing a destructive energy web around the Enterprise. Oh, and by the way, Kirk might just be alive. The stakes are high and the pressure is on. This is good storytelling.

The core of Star Trek lays in the dynamic between Kirk, Spock, and Bones. Kirk is the centerpiece, with the other two essentially acting as conflicting voices in his ear. Spock offers cold, hard logic and facts. While Bones, in many ways, embodies the human emotion that Spock claims to reject. He’s the everyman (despite his impossible ability to reattach a human brain). With Kirk gone, those two voices are left to argue unchecked, and must learn to coexist peacefully.

The episode manages to serve all three characters well. None more so than Kirk, who is absent for most of the episode. Look no further than the scene where Spock and Bones view the recording Kirk left for them in the event of his death. He knows the two will be butt heads in his absence. But he urges them to lean on each other, listen to one another, and seek guidance from one another. 

While “Balance of Terror” showed us the the burden Jim Kirk bears as a starship captain, “The Tholian Web” illustrates the importance of Jim Kirk the human being. Why he is the best person to command the Enterprise.

One character this episode does not serve well? Chekov. Granted, it doesn’t help that I viewed this episode after “Day of the Dove,” another episode where he loses his mind temporarily. But every time I see him on screen, his face seems to get more and more smackable.

Chekov falls into that dreaded category of characters that were added so a show could appeal to a younger audience. Usually kids. Though in this case, teenagers. Legend has it Walter Koenig, who played Chekov, was cast because he looked like Davy Jones of the Monkees. (The resemblance is quite uncanny.) At one point, Gene Roddenberry apparently wrote in a memo that Kirk, Spock, and the others seemed “middle aged” compared to Chekov.

The reason that’s hilarious? Koenig is only about five years younger than William Shatner. As of this writing, Shatner is 89. Koenig is 84, and would have been in his early 30s when this show aired in 1968. Davy Jones, meanwhile, was about 10 years younger than Koenig.

Hey, wait…I’m in my 30s. Does that mean I can still appeal to teen audiences?!?

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Television

Rob Watches Star Trek Archive

The following represents the full archives of “Rob Watches <i>Star Trek</i>,” thus far, presented in the order the episodes originally aired….

Star Trek, Season One

Series Pilot: “The Cage”

“The Man Trap”

“Where No Man Has Gone Before”

“The Naked Time”

“Dagger of the Mind”

“The Menagerie”

“Balance of Terror”

“The Galileo Seven”

“Arena”

“Return of the Archons”

“Space Seed”

“Errand of Mercy”

“The Alternative Factor”

“The City on the Edge of Forever”

Star Trek, Season Two

“Amok Time”

“Mirror, Mirror”

“Journey to Babel”

“Friday’s Child”

“The Trouble With Tribbles”

“Private Little War”

“Bread and Circuses”

“Assignment: Earth”

Star Trek, Season Three

“Spock’s Brain”

“The Enterprise Incident”

“Day of the Dove”

“The Tholian Web”

“Plato’s Stepchildren”

“Let That Be Your Last Battlefield”

“All Our Yesterdays”

Star Trek Movies:

Star Trek The Motion Picture 

Star Trek II: The Wrath of Khan 

Star Trek III: The Search For Spock 

Star Trek IV: The Voyage Home

Star Trek V: The Final Frontier

Star Trek VI: The Undiscovered Country (Coming Soon)

Star Trek: Lower Decks, Season One

“Second Contact”

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Television

Rob Watches Star Trek: The Devotion of Leonard Nimoy

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

SERIES: Star Trek
EPISODE: S3.E2. “The Enterprise Incident”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley
GUEST-STARRING: Joanne Linville
WRITER: D.C. Fontana
DIRECTOR: John Meredyth Lucas
ORIGINAL AIR DATE: September 20, 1968
SYNOPSIS: Kirk and Spock embark on a secret mission to steal a Romulan cloaking device.

By Rob Siebert
Fanboy Wonder

One of the plotlines in “The Enterprise Incident” involves a female Romulan commander trying to seduce Spock. Both over to the side of the Romulans, and on a more…personal basis. It seems to nearly work, as passions erupt between the two.

Supposedly, Gene Roddenberry had added a moment to D.C. Fontana’s original script where Spock takes the commander in his arms and is “raining kisses on every square inch above the shoulder.” At the insistence of Leonard Nimoy and his guest co-star Joanne Linville, this was changed to something more befitting of the Spock character. At the presumed moment where the “raining” would have began, the two instead touch hands, with Spock’s fingers caressing hers. Subsequently, their fingers gently trace each other. His index and middle finger hover near her lips, as her left hand ventures around his right shoulder. Their dialogue, meanwhile, maintains they are indeed in some form of intimate embrace.

The more I see Nimoy perform as Spock, and the more I hear of how much he respected the Spock character, the more I come to respect him as an actor. Realistically, he didn’t have to put that kind of care into his performance. He could have simply followed the script. It was a Roddenberry addition after all. Instead, he pushed back, and even wrote Roddenberry a long letter of complaint.

I was soon delighted to find this was hardly Leonard Nimoy’s only creative contribution to the character, and by extension the Star Trek Universe at large. I went on something of a Nimoy kick after seeing this episode. I even sought out For The Love of Spock, the documentary produced by his son Adam Nimoy, which is available on Netflix.

A similar character-related assertion by Nimoy resulted in the creation of the Vulcan nerve pinch. In the early season one episode, “The Enemy Within,” Spock was to have punched out a evil version of Captain Kirk. Feeling that would be too violent for a Vulcan, Nimoy instead suggested the nerve pinch, attributing it to a combination of telepathic powers and the Vulcans’ knowledge of human physiology. He would credit William Shatner for “selling” the maneuver exactly as he wanted.

Nimoy is also responsible for the iconic Vulcan hand salute, which first appeared in “Amok Time.” Nimoy, who was Jewish, was inspired by a gesture he’d seen performed during priestly blessing in a Synagogue. In 1968, Nimoy told the New York Times the Vulcans were a “hand-oriented people.” A notion that certainly lines up with what we see in “The Enterprise Incident.”

As icing on this very Nimoy-flavored episode, we get to see Kirk made up with Spock-like features (shown above) to infiltrate the Romulans. Hilariously, they actually have Bones perform plastic surgery on Kirk to give him the pointy ears. That ship doctor position is pretty all-encompassing, isn’t it? Last week, the man literally had to reattach Spock’s brain. This week? The captain needs cosmetic surgery. No wonder DeForest Kelley was added to the opening title sequence…

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Television

Rob Watches Star Trek: A Brainless Episode?

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

SERIES: Star Trek
EPISODE: S3.E1. “Spock’s Brain”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan
GUEST-STARRING: Marj Dusay
WRITER: Gene L. Coon (as Lee Cronin)
DIRECTOR: Marc Daniels
ORIGINAL AIR DATE: September 20, 1968
SYNOPSIS: A mysterious alien woman beams aboard the Enterprise and surgically removes Spock’s brain.

By Rob Siebert
Fanboy Wonder

We now move into troubled waters with the third season of Star Trek

Star Trek consistently struggled with declining ratings, and was reportedly on the chopping block numerous times at NBC. To make matters worse, beginning with this episode, NBC began airing Star Trek Fridays at 10 p.m. Most certainly an undesirable time slot, particularly for the show’s younger fans. Fridays are a famously difficult night for television. Star Trek creator Gene Roddenberry would tell the Toledo Blade in 1968, “People who watch our show don’t stay home on Friday nights. They’re out to ball games and the like.”

Roddenberry would scale back his involvement in the day-to-day production of Star Trek as a result.  He added that if the network wanted to kill Star Trek, “it couldn’t make a better move.”

An unfavorable time slot, along with a significantly reduced budget, put a significant damper on the show, both in terms of writing and general production. This cutback on quality is, for many, exemplified with “Spock’s Brain.” Generally, it is considered one of the worst, if not the worst episode of the original series.

“Spock’s Brain” wasn’t originally on my list of episodes for “Rob Watches Star Trek.” But when I saw the title and synopsis, I couldn’t help myself. It sounded like the stuff of B movie glory. Something I could love in the same vein as Kirk’s fight with the Gorn. And indeed, I got excited early on when Bones starts saying things like, “Jim, where are you going to look in this whole galaxy? Where are you going to look for Spock’s brain?”

Then the episode progressed, and I got it. “Spock’s Brain” feels spread thin in a way that previous episodes don’t. There’s a decent amount of padding, along with dialogue that’s often repetitive and stupid. That initial exchange between our heroes and the women of Sigma Draconis, for instance, made me wish someone would surgically remove my brain.

As if that weren’t enough, the episode has so many plotholes it may as well be Swiss cheese. We also have plot conveniences that are almost laughable. Cast in point, a magic device (shown below) that can teach anyone how to remove, then later restore, a brain with no lasting damage to the individual. Then at the episode’s climax, Spock is suddenly and magically able to talk Bones through said restoration process.

In another, better written episode? All this might have worked. But in this one? Nope. Not even close.

Still, the episode has some guilty pleasure moments. Our genius machine that can apparently teach a child how to safely detach a human brain? It’s essentially a big fish bowl with needles sticking out of it, and I love it. William Shatner, DeForest Kelley, and James Doohan all seem to know they’re in a bad B movie, as they’re chewing the hell out of the scenery. Shatner especially. We even get to see Sulu take command of the Enterprise for a bit! Can’t say I expected that.

So does “Spock’s Brain” deserve the hate it gets? Does it deserve to be looked back on as one of the worst episodes of Star Trek? Yeah. It kinda does. But that doesn’t mean it can’t be enjoyed for the sheer over-the-top lunacy that it is. When even your bad episodes are enjoyable. That’s truly how you know you’ve made something that will endure.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.

Posted in Television

Rob Watches Star Trek: What We Forgive

***What happens when I, a 30-something-year-old fanboy, decide to look at the Star Trek franchise for the first time with an open heart? You get “Rob Watches Star Trek.”***

SERIES: Star Trek


EPISODE: S2.E25. “Bread and Circuses”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley


GUEST-STARRING: William Smithers, Logan Ramsey
WRITERS: Gene Roddenberry, Gene L. Coon


DIRECTOR: Ralph Senesky
ORIGINAL AIR DATE: March 15, 1968

By Rob Siebert
Trekkie-in-Training

It’s always interesting to see what we forgive for a good story.

“Bread and Circuses” is an episode that wonders what lengths humanity might go to in the name of entertainment. It does this by presenting us with what is essentially an alternate Earth where the Roman Empire never ended, and now has the all benefits of 20th century tech.

But what we’re presented doesn’t look much like a modernized version of ancient Rome. We’ve got a handful of costumes from what must have been a production set in that time frame. We’ve got a few sets that look very vaguely like what they’re supposed to be. And the peaceful faction of slaves that our heroes fall in with? They’re wearing gray sweatsuits. Which means before long, that’s what our heroes are wearing as well.

This is about as clear an example as you’ll find of sci-fi on a budget. Objectively, “Bread and Circuses” just doesn’t look very good…

And yet, it works. “Bread and Circuses” is better than a lot of sci-fi flicks made 50 years later with state-of-the-art CGI. Why is that?

Because everything starts with story, and “Bread and Circuses” is a good story. It’s a little weird, and perhaps even a bit contrived. But at its core, it’s an editorial about television and entertainment that asks viewers important questions that are still relevant after all this time. And because it’s such a good story, we’re willing to forgive the tacky packaging it’s delivered in. That theory doesn’t work in reverse.

Case in point, the Star Wars prequels. When they came out, they were filled with top-line CGI depicting some amazingly creative environments. We had a big robot factory complete with big smelting pots, a planet that was also a giant city, and a humongous hive filled with space bugs, just to name a few. But the story was largely hollow. So all the special effects were hollow as well.

I’m a huge Star Wars geek. But I don’t have a problem saying “Bread and Circuses” is better than any of the three Star Wars prequels. It’s better than Rogue One, that’s for damn sure…

The episode explains the existence of an alternate 20th Century Earth on another world across the galaxy with something called “Hodgkin’s Law of Parallel Planet Development.” That sounds precisely like the kind of BS a writer would make up off the top of their head. Yet it’s such wildly fantastical BS that it feels like it just has to be true. And in the end, isn’t that the best kind of BS?

Not according to Gene L. Coon. Reportedly, a disagreement with Gene Roddenberry over the tone of this episode was what led to Coon’s departure as the Star Trek showrunner. (Though he would submit scripts for season three under the pseudonym Lee Cronin.) Apparently Coon wanted the episode to have more of a comedic touch, while Roddenberry wanted a more serious tone. Ultimately, however, we’re better off for what we got.

The best thing in the entire episode? The exchange in the jail cell between Spock and Bones. After dancing around it for two seasons, Bones finally starts to shoot straight with Spock. It’s clear the two are opposites in almost every sense of the word, and would not be friends outside the bounds of the Enterprise. But they’re united two things: Their sense of duty, and their loyalty to Kirk in particular.

And of course, we love them for it.

Email Rob at primaryignition@yahoo.com, or check us out on Twitter.