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.

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”

“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” (Coming Soon)

“Let That Be Your Last Battlefield”

Star Trek: Lower Decks

“Second Contact”

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

Continue reading “Rob Watches Star Trek Archive”

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.

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.

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.

Rob Watches Star Trek: “Shatner Moments” and Nancy Kovack

***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.E19. “A Private Little War”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley
GUEST-STARRING: Nancy Kovack, Michael Witney
WRITERS: Jud Crucis (Story), Gene Roddenberry (Teleplay)
DIRECTOR: Marc Daniels
ORIGINAL AIR DATE: February 2, 1968
SYNOPSIS: Kirk and Bones reluctantly become involved in an arms race among primitives on a once peaceful planet.

There’s a scene in “A Private Little War” where Kirk gets bitten and thus poisoned by a gloriously cheesy-looking monster. The scene calls for him to suffer and shiver as he struggles to tell Bones on how to save him. Given how William Shatner performs the scene, I felt compelled to type “chewing the scenery” into Urban Dictionary.

Fittingly enough, part of the definition you get is, “In reference to actors (William Shatner comes immediately to mind) …”

What I’ve found in watching these select episodes of Star Trek is the longer the series goes, the more of those infamous “Shatner Moments” we see. And having seen clips of the first two Trek movies, I know there are more to come.

I talked about this not long ago, but it bears repeating: I don’t think he was or is a bad performer. Heck, the he’s a trained Shakespearean actor. Does he have his “Shatner Moments?” Sure. But what he turned in works well in service of the show. “Rob Watches Star Trek” has brought me a newfound respect for him. Not just for what he turned in with Star Trek, but what he went through after Star Trek. He went from being a bona fide television star to losing his home and living in a trailer after the show was cancelled. And yet now, at the age of 89, he’s still chugging away. Imagine the life this guy has lead.

At the very least, Shatner’s performances as Kirk are still memorable after 50 years. There’s something to be said for that. Hell, you fight the Gorn and see what you turn in.

A Private Little War is a great episode, all the atrocious wigs notwithstanding. Nancy Kovack’s smoldering performance as Nona (shown below) is almost worth the price of admission on its own…

The only thing I found a little bit disappointing was that Bones didn’t get the spotlight I thought he would. He’s a perpetual fish-out-of-water. He’s constantly going on these field missions which, in theory, he’s not supposed to be on. That’s why one of his famous catchphrases from the show is, “Damn it, man! I’m a doctor, not a [whatever they’re asking him to be in that episode]!”

So when Kirk gets poisoned, Bones goes back to the encampment with the natives. Kirk is unconscious, and Spock is injured on the Enterprise. The big conflict in the episode is whether or not to give these primitives guns to combat an opposing tribe armed thusly. Instead of waking Kirk up, why not have Bones be the moral center of it all? As a healer, he’s obviously against the idea of introducing firearms even as a defensive response. Maybe some of the carnage he sees causes him to switch sides? But alas, instead we go back to Kirk.

That’s another thing about Shatner. We love the guy, but he tends to pull focus.

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

Rob Watches Star Trek: A Tale of Two Cities

***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: S1.E28. “The City on the Edge of Forever”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Nichelle Nichols
GUEST-STARRING: Joan Collins
WRITERS: Harlan Ellison, D.C. Fontana, Gene L. Coon, Gene Roddenberry
DIRECTOR: Joseph Pevney
ORIGINAL AIR DATE: April 6, 1967
SYNOPSIS: A freak accident sends Bones back to 1930s America, where he inadvertantly destroys the future. Kirk and Spock must restore the future, though at a great personal cost to Kirk.

By Rob Siebert
Trekkie-in-Training

If you’ve been following along, “Rob Watches Star Trek” was covering episodes far beyond this, the penultimate episode of the first season. But as I continue to learn more and more about the Star Trek franchise, I found out I skipped what many consider to be the best episode of the original series. So naturally, I had to backtrack.

Star Trek was bound to tackle time-travel especially. Specifically, time-travel into Earth’s recent history. The temptation to juxtapose these characters from the future with America’s recent past was simply too great. In fact, by this point in the series, the penultimate episode of the first season, they had already been to that well once before. In “Tomorrow is Yesterday,” saw the crew travel back to the 1960s, the same decade the show was made. I would also count “The Return of the Archons” as a time-travel episode. Even though it doesn’t take place on Earth, for all intents and purposes it takes place in our past.

The comic book science in this episode is a little weird, but via a planet that can send time ripples into space, a drugged Bones is sent back to Great Depression era America. By saving the life of a young woman, he accidentally changes the course of history. Naturally, Kirk and Spock have to stop him via a time portal. And of course, darn his luck, Kirk falls in love with the woman in question. Thus, now Kirk must choose between his own heart and what he knows to be the rightful future of humanity.

The episode is indeed one of the best I’ve seen so far. Show creator Gene Roddenberry, William Shatner, and Leonard Nimoy have all cited it among their favorites. But it’s been the subject of much controversy relating to its original writer, renowned science fiction author Harlan Ellison. Due to re-writes and cost prohibits, what wound up on screen was considerably different than what Ellison wrote in numerous drafts over a lengthy amount of time. The changes were a point of contention between Ellison and Roddenberry for decades afterward.

Reportedly, Ellison’s version of “The City on the Edge of Forever” would have introduced a crew member who we learn is involved in an illegal drug trade, and eventually kills another crewman. He’s thus sentenced to die on a nearby world. Said world was to have been the home of nine-foot-tall men, the Guardians of Forever, who are in possession of a time machine. The doomed crewman would steal the time machine and change history, thus necessitating Kirk and Spock’s pursuit. The altered reality would apparently have included an Enterprise manned by renegade space pirates.

But most notably, in Ellison’s version Kirk can’t bring himself to let the Edith Keeler, his love interest played by Joan Collins, die. In the end, Spock makes the choice for him. In the final product, the decision is taken out of both their hands as Edith dies when a truck accidentally runs her down.

This episode underwent re-writes from the likes of D.C. Fontana, Gene L. Coon, and finally Gene Roddenberry himself. I think the ending wound up better for it. Both Ellison and Roddenberry’s endings took the decision out of Kirk’s hands. But the big difference is I think Ellison’s ending makes Spock look needlessly cold. Is he saving a hell of a lot more people than he’s hurting in the process? Yes, absolutely. But intentionally letting someone die is still not a good look for one of your heroes.

In the end, we’re probably better off with the episode we got, as opposed to Ellison’s original vision for it. The only one of his ideas I might have kept in is the one about the space pirates on the Enterprise. But that’s just because I like alternate universe stories. Mechanically, I’m not even sure how you weave that into the episode when it already has so much to accomplish without it.

For those curious, the original teleplay for the episode is available on Amazon. Like City itself, it serves as a nice little peek into what might have been…

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

Rob Watches Star Trek: Tremendous Yet Terrible Tribbles

***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.E15. “The Trouble with Tribbles
STARRING: William Shatner, Leonard Nimoy, Nichelle Nichols, Walter Koenig, James Doohan
GUEST-STARRING: Stanley Adams, William Schallert, William Campbell
WRITER: David Gerrold
DIRECTOR: Joseph Pevney
ORIGINAL AIR DATE: December 29, 1967
SYNOPSIS: The Enterprise is overrun by small, fuzzy creatures called Tribbles.

By Rob Siebert
Fanboy Wonder

I’ve been waiting to do this episode for awhile, largely because a friend got my daughter and I a Little Golden Book based on the episode. Too Many Tribbles (cover shown below) by Frank Berrios and illustrated by Ethen Beavers. By God, it’s as good a children’s book based on an episode of a ’60s TV show that you’ll ever find.

The episode is suitably cute. Though to me the funniest thing is that the episode expects us to care about a dispute over space grain when the stars of the episode are clearly the Tribbles. It’s almost insulting to the actors, as the Tribbles are little more than inanimate multi-colored puff balls with an accompanying purring sound effect. As Spock says, there’s no practical use for them. Yet they’re the spiritual successors to Minions, Porgs, and the like.

Also hilarious? The Tribbles came closer to conquering the Enterprise than the Orion Crime Syndicate. Maybe the little puff balls should consider organized crime…

The Trouble With Tribbles, however, does realize it’s a comedy. In what I’ve seen of Star Trek thus far, this is the first episode I’ve seen played for laughs like this. William Shatner steals the episode. The entire scene in which Scotty tells him about how he started a fight with the Klingons not in defense of Kirk’s honor, but the Enterprise, is absolute gold. Shatner’s reactions to the Tribbles slowly taking over his ship are great too. His acting on this show has been mocked for decades. And while I will call it unusual at times, I don’t have it in me to call it bad. It works well in service of the show.

I continue to be fascinated by the relationship between Spock and Bones. After what we saw at Spock’s attempted wedding, I can’t not see them as friends. But as we see in Tribbles, they have an antagonistic relationship that’s fun to watch. Bones says he likes the Tribbles better than he likes Spock, and Spock pointedly says he appreciates that the Tribbles don’t talk too much. They’re not enemies. They just have a weird friendship. They were “frienemies” before that was a thing.

Spock also makes an interesting reference in that same scene…

“[Tribbles] remind me of the lilies of the field. ‘They toil not, neither do they spin.'”

Upon research, this is actually a biblical reference from both Matthew 6:28, Luke 12:27, and a portion of the Sermon on the Mount. The text from Matthew reads: “Consider the lilies of the field, how they grow; they toil not, neither do they spin:” How and why Spock is familiar with a religious text from Earth is a mystery. I suppose we can chalk it up to, “It’s Spock. He knows stuff.”

But to an extent it also works on another level. Stanley Adams, who plays the peddler that gives Uhura the first Tribble, starred in the 1963 film, Lilies of the Field. The reference must be unintentional. But low and behold, it’s there.

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

Rob Watches Star Trek: Bros in Space

***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.E1 “Amok Time”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley
GUEST-STARRING: Celia Lovsky, Ariene Martel

WRITER: Theodore Sturgeon
DIRECTOR: Joseph Pevney
ORIGINAL AIR DATE: September 15, 1967
SYNOPSIS: Spock returns to his home planet along with Kirk and Bones for a wedding ritual, which ultimately takes a violent twist.

By Rob Siebert
Fanboy Wonder

At the risk of gilding the lily, this episode further reinforces the point I made last week about Spock not being a lifeless robot with no concept of human emotion. Because he damn sure gets his emo on in “Amok Time.”

Come to think of it, maybe Spock’s “Vulcan cut” is simply an early version of an emo haircut. Or later, I suppose. This does takes place in the future.

Here’s one of the brilliant things about the original Star Trek series, at least in my book: It’s a bromance. It’s emotional core is the unlikely friendship between Kirk and Spock. It’s certainly at the core of the season two premiere, “Amok Time.”

But what about Spock and Bones? There’s an argument to be made, at least in my book, that the dynamic between those two is actually more interesting than that of Spock and Kirk.

Think back to the opening scene of “Where No Man Has Gone Before.” As Kirk and Spock play space chess, it’s they’re having fun.  Kirk seems to find Spock’s attempt at emotional detachment endearing. As if he knows Spock can’t ever fully detach from his feelings, and the Vulcan’s efforts are obviously in vain. He doesn’t say anything, however. As it’s not his place to tell someone how to live. Kirk respects Spock, both as a first officer and a comrade.

I’m not sure if it was an unintentional byproduct of how DeForest Kelley played the role, or if the scripts really were written with this in mind. But during season one (or at least the episodes I’ve seen from season one), Bones didn’t seem to fully trust Spock. Whether he was making cracks about his Vulcan blood, or being subtly cautious about potential connections to the Romulans, it seemed like something was always hanging in the air between those two.

I don’t know that Bones flat out disliked Spock. But have you ever been in a new workplace, and come across that one coworker you have to “earn it” with? The person who’s a little apprehensive about this new face, and wants to make sure you’ll contribute to the work being done? To me, that’s Bones. Although based on what we saw in “The Menagerie,” Spock has been on the Enterprise a lot longer than he has…

So I actually found it touching when, in choosing close friends to accompany him to this “pon farr” ceremony, Spock chooses not only Kirk, but Bones. Spock asking and Bones accepting speaks to a mutual respect, and dare I say a budding friendship between the two. And of course, it’s ultimately Bones’ ingenuity that allows both Kirk and Spock to survive their battle.

The whole “groomsmen” angle touched a personal chord with me too. Ever see, or perhaps been a part of, a wedding where the groom struggles to find groomsmen? That was me in my wedding. I was fortunate enough to stand up there with three fine gentlemen, as well as my brother. But I had to put myself out there to get them. Spock did that here. I can tell you from experience that’s not an easy thing to do.

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

Rob Watches Star Trek: Spock and the Liar

***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: S1.E27 “The Alternative Factor”
STARRING: William Shatner, Leonard Nimoy
GUEST-STARRING: Robert Brown
WRITER: Don Ingalls
DIRECTOR: Gerd Oswald
ORIGINAL AIR DATE: March 30, 1967
SYNOPSIS: Kirk and the Enterprise encounter an apparent madman whose actions carry implications of a parallel universe.

By Rob Siebert
Trekkie-in-Training

There’s a line in “The Alternative Factor” that I truly loathe.I actually surprised myself with how much I hated it.

It comes shortly after the crew meets Lazarus for the first time. No one’s quite sure what to think of this strange man whose beard is seemingly made of pubes. He’s ranting and raving about an enemy that can end all things. Given the lack of evidence to support his wild claims, Spock draws the “logical,” though ultimately false conclusion that he’s lying. Naturally, Lazarus takes exception.

Spock responds with, “I fail to comprehend your indignation, sir. I have simply made the logical deduction that you are a liar.”

Let’s unpack those two sentences, shall we?

I don’t claim to be a Star Trek expert. There’s a reason it says Trekkie-in-Training up there. But Spock is a Vulcan, right? By all accounts thus far, Vulcans do everything they can to live based on facts and logic. They attempt to purge themselves of all emotion. Certainly not the healthiest approach, but that’s what they do.

But this emotional purge is a matter of will, correct? It’s not like Spock is on space anti-depressants or anything. Plus, he’s unique in that he’s half-human. My point here is that Spock knows what emotions feel like. We even saw him get emotional at one point. He makes judgments about humans and their “Earth emotions.” But he’s not this cold, emotionless robot confused by the complexities of human behavior that he’ll never experience firsthand.

So I call BS on the notion that Spock is confused by Lazarus’ indignation at being called a liar. His culture may have trained him not to experience such feelings, but he understands what they are and why they occur. At the very least, he should understand that Earth culture deems lying to be morally wrong.

So now that we’ve established that this line sucks, how do we fix it? Can we doctor it to fit Spock’s character without slowing the momentum of the episode?

My problem isn’t that Spock accuses Lazarus of lying. It’s that he “fails to comprehend” why he’s upset. So why not change the line to eliminate that element, but still have Spock try to alleviate the tension? And how about we cut Spock flat out calling Lazarus a liar?”

How about we change the line to, “There is no need to become agitated, sir. But logic indicates you are not speaking the truth.”

Apparently I’m not the only one dissatisfied with “The Alternative Factor.” Decades after its release, it’s been consistently named among the worst episodes of the original series, citing low drama and underdeveloped ideas.

I’m not sure I’d complain about drama, per se. The fate of the friggin’ universe is at stake after all. But I wasn’t a fan of how they developed the multiverse concept. The whole matter vs. anti-matter idea, and the notion that the two universes will cease to exist if two counterparts from different worlds meet, takes a lot of the punch out of the concept.

Instead of this new character we don’t know, and don’t necessarily care about, how about an alt-universe version of Kirk and/or Spock? Have them come on board the Enterprise in pursuit of the universe-hopping fugitive Lazarus. In the process, they meet their counterparts (using body doubles and basic over-the-shoulder camera angles). Then at the end leave us wondering what other alternate universes might be out there to explore…

Hey, sounds like fun to me!

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