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 – Throw a Hat on Him!

***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.E26. “Assignment: Earth”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley
GUEST-STARRING: Robert Lansing
WRITERS: Art Wallace, Gene Roddeberry
DIRECTOR: Marc Daniels
ORIGINAL AIR DATE: March 29, 1968
SYNOPSIS: The Enterprise travels back to the year 1968 and encounters a mysterious interstellar agent.

By Rob Siebert
Trekkie-in-Training

Less than two minutes into “Assignment: Earth,” a man beams aboard the Enterprise without warning or authorization. He’s a dapper man and a business suit, who also happens to be carrying a cat.

I haven’t even been watching Star Trek that long. But even I know that’s one of the most Star Trek things that could possibly happen. Bravo to this episode for sheer campy brilliance.

Apparently this concept of Gary Seven, interstellar secret agent, was meant to be turned into its own TV series. One way or another it didn’t happen, but I’d say things worked out. Obviously, people still are still talking about “Assignment: Earth” more than 50 years later. In contrast, there’s a chance Agent Seven’s show could have come and gone with barely a notice.

Mere seconds into the episode, “Assignment: Earth” asks us to take a pretty big leap even by Star Trek standards. We’re told the Enterprise has traveled back in time to observe Earth in the year 1968 via something called the “Light-Speed Breakaway Factor.” We aren’t told what that is, or how it works. We simply start the episode in 1968, and it’s given to us as a bit of exposition.

From a story mechanics standpoint, I understand this. “Assignment: Earth” is less a time-travel story, and more about exposing us to Agent Seven and his world. But it all seems so abrupt. In two seasons it had never been established that the Enterprise was capable of time-travel. That certainly would have been a helpful detail in, say, “The City on the Edge of Forever.”

Apparently in the Star Trek Universe, all you need to do in order to time travel is pick up enough speed to artificially create a time warp. You also need to be moving toward a large enough gravitational body, such as a star, so that its pull serves to help you pick up enough speed.

So it’s that classic sci-fi theory: “If I drive fast enough and have fancy technology, I can travel through time.” Sure, why not? I just wish they’d have taken an extra minute or two to explain that in the episode.

I’ve consistently found it amusing how, when necessary, they always throw a big hat on Spock to hide his ears. These characters have technology that allows them to bend the laws of space and time to their will. But making a Vulcan look human?

“Uhhh…throw a hat on him!”

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.

Weekly Comic 100s: Black Widow, Batman, and More!

***”Weekly Comic 100s” keeps it nice and simple. Comic book reviews in 100 words or less. Straight, concise, and to the point.***

By Rob Siebert
Fanboy Wonder

TITLE: Black Widow #1
AUTHOR: Kelly Thompson
ARTISTS: Elena Casagrande, Jordie Bellaire (Colorist), Cory Petit (Letterer). Cover by Adam Hughes
RELEASED: September 2, 2020

This one’s fairly low on action considering it’s the debut of a Black Widow series. The issue tries to make up for it with intrigue, but there isn’t quite enough to wet my appetite for more.

This, despite some awesome art from Elena Casagrande and Jordie Bellaire. I found it had a slightly similar vibe to the Matt Fraction/David Aja Hawkeye stuff. And of course, yet another breathtaking Adam Hughes cover.

TITLE: Batman #98
AUTHOR: James Tynion IV
ARTISTS: Jorge Jimenez, Tomeu Morey (Colorist), Clayton Cowles (Letterer). Cover by David Finch.
RELEASED: September 1, 2020

As the cover suggests, there’s a big fight between Harley Quinn and Punchline in this issue. As obvious as her inclusion is given the nature of the story, “Joker War” has been a little too Harley-heavy for my taste. It feels like yet another case of DC shoehorning her into a story that’s not necessarily about her.

On the plus side, Jimenez and Morey are on their game here. So is Tynion, as as get a pretty powerful exchange between Batman and…Alfred’s memory? It’s not Alfred’s ghost, I know that for sure.

TITLE: We Only Find Them When They’re Dead #1
AUTHOR:
Al Ewing
ARTISTS:
Simone Di Meo, Mariasara Miotti (Color Assistant), Andworld Design (Letterer)
RELEASED:
 September 2, 2020

Spaceships that carve up space gods to mine humanity’s new resources? Alright book, you’ve got my attention…

This first issue is a little hard to follow, as we’re getting adjusted to how the book works and what’s going on. But by the end we get a decent hook to bring us back for next issue. Take into account how gorgeous this issue is, particularly from a coloring standpoint, and they’ve got me signed up for next time.

TITLE: Shazam #14
AUTHOR: Geoff Johns
ARTISTS: Dale Eaglesham, Scott Kolins, Michael Atiyeh (Colorist), Rob Leigh (Letterer). Variant cover by Dale Keown.
RELEASED: September 1, 2020

Ugh. What an awful final issue. It feels like they tried to cram in about two years worth of content. The resolution of the plot threads with Mr. Mind, Billy’s dad, and Black Adam. A pathetically condensed fight with Superboy-Prime. Then of course, they have to end the series on a happy note, though it’s hard to imagine this issue making anyone happy.

It’s not the creators’ fault, mind you. The book got cancelled. But still, the characters, the creators, and the series itself deserved better.

TITLE: Lonely Receiver #1
AUTHOR: Zac Thompson
ARTISTS: Jen Hickman, Simon Bowland (Letterer)
RELEASED: September 2, 2020

I’m not sure what I expected from Lonely Receiver, but it wasn’t what I got. And that’s not necessarily a bad thing.

This strikes me as a story with a lot of layers to it. It’s a story about a woman falling in love with a robot designed specifically to be her partner. But we’ve got undertones dealing with our needs as human beings that are really interesting. Thus far, this books is a little like I, Robot meets an old fashioned romance comic, with some more, shall we say, mature elements mixed in.

TITLE: Star Trek: Hell’s Mirror
AUTHOR: J.M. DeMatteis
ARTISTS: Matthew Dow Smith, Candice Han (Colorist), Neil Uyetake (Letterer)
RELEASED: September 2, 2020

What we have here is a look at the Khan Noonien Singh of the Mirror Universe. And with that in mind, the story and the characters are about what you’d think they’d be. In that sense, this one-shot almost writes itself.

The solicitation heralded the return of J.M. DeMatteis to Star Trek after almost 40 years. For what it’s worth, I can see why. This issue feels just like an episode of the original series. Definitely worth a look for fans.

TITLE: Young Justice #18
AUTHOR: Brian Michael Bendis, David Walker
ARTISTS: Scott Godlewski, Michael Avon Oeming, Gabe Eltaeb (Colorist), Wes Abbott (Letterer). Cover by John Timms & Eltaeb.
RELEASED: September 1, 2020

Had a nice Powers flashback looking at Michael Avon Oeming’s work. Seeing him work on the Spoiler is a little surreal.

This wasn’t quite the “Tim and Stephanie go on a date” issue that I was hoping for. That makes this one a disappointment for yours truly.

By the end of this issue Drake is back to being Robin. But is he actually Robin, or is he Red Robin? Just when we thought Tim had his identity crisis solved…

TITLE: Justice League #52
AUTHOR: Jeff Loveness
ARTISTS: Robson Rocha, Daniel Henriques (Inker), Romulo Fajardo Jr. (Colorist), Tom Napolitano (Letterer). Cover by Cully Hamner.
RELEASED: September 1, 2020

Way too much Batman to cap off a two-part filler story before the book starts to tie in with…*sigh*…Dark Nights: Death Metal.

We’ve seen all kinds of stories that dive into the psyches of various League members. It always seems like five or six issues is too long. But I’d have been happy to see “The Garden of Mercy” go another issue or two. What Loveness, Rocha, and Henriques turn in here is perfectly fine.

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: Bones Slaps Catwoman!

***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.E11 “Friday’s Child”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Nichelle Nichols
GUEST-STARRING: Julie Newmar
WRITER: D.C. Fontana
DIRECTOR: Joseph Pevney
ORIGINAL AIR DATE: December 1, 1967
SYNOPSIS: Kirk, Spock, and Bones are caught in the middle of a tribal dispute on Capella IV, and face a moral dilemma when a woman does not want her unborn child.

By Rob Siebert
Trekkie-in-Training

As someone who grew up with the ’60s Batman show, it’s difficult in reviewing these old Star Trek episodes to not draw comparisons between the two. As they were made around the same time, they already look and sound quite similar.

It’s even more difficult when familiar faces pop up. Julie Newmar, who for a time played Catwoman, has a central role in “Friday’s Child.” It’s also shockingly physical, given her character is pregnant…

If you’re ever looking for a Star Trek episode that holds up to today’s “woke” culture about as well as a wet paper towel, it’s this one. Look no further than when Bones, in trying to examine Newmar’s character, places his hand on her pregnant belly. Eleen tells him not to “touch me in that manner.”

Bones responds with, “Now you listen to me, young woman. I’ll touch you in any way or manner that my professional judgment indicates.”

An unnerving line by today’s standards. But not so bad when you consider he threw in the bit about professional judgment. He is a doctor, after all.

Far less excusable is, after she slaps him across the face twice, Bones responds with a slap of his own to the heavily pregnant Eleen. Not a good look for the good doctor. Even if his patient is Catwoman.

Then again, maybe Bones had the right idea. Mere moments after the slap, Eleen seems to come around. She later insists that only McCoy is allowed to touch her. As the culture on this alien world is very male-dominated, maybe the slap earned Bones some form of respect from her? Or maybe you just had to be there…

Kirk later proceeds to give the whole thing a borderline rapey vibe by asking, “How’d you arrange to touch her, Bones? Give her a happy pill?”

Bones’ cringe-worthy response?  “No, a right cross.”

None of this is meant to be offensive, of course. The episode even seems to understand that the slap was a big deal. So I credit it for that, while also taking into account when this was written. But that’s not an excuse. Even with the benefit of hindsight, this is bad writing.

So how do you fix it? How do you write this scene by today’s standards? Let’s assume you have to have some version of it in there. Some scene where Bones convinces Eleen that he has to physically examine her…

It’s only a short time later that Eleen actually gives birth. As this was written by a man, I think we can safely assume he wasn’t cognizant of the excruciating pain involved in childbirth. So maybe have Bones offer to see to her, but she only accepts his offer once she’s really in pain?

Of course, they could have avoided a lot of trouble by taking out the whole “men can’t touch Eleen” part of the story. But that’s a separate issue.

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

Rob Watches Star Trek: Meet the Parents

***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.E10 “Journey to Babel”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley
GUEST-STARRING: Mark Lenard, Jane Wyatt
WRITER: D.C. Fontana
DIRECTOR: Joseph Pevney
ORIGINAL AIR DATE: November 17, 1967
SYNOPSIS: As the Enterprise transports planetary delegates to a diplomatic conference, Spock’s father becomes the prime suspect in a murder investigation.

By Rob Siebert
Fanboy Wonder

There’s a moment in this episode that I absolutely love. It’s when we cut to a wide open common area and see all the various aliens that have come together on the Enterprise. We’ve got blue people with antennas, we’ve got pig men, we’ve got little people painted gold (shown below). And of course, we have a Vulcan.

For yours truly, this is a sort of gloriously campy predecessor to what we’d see 10 years later in the cantina scene in Star Wars. For a few brief moments, Star Trek does some world-building simply via the visuals. Those glorious ’60s sci-fi visuals.

The only thing missing was a Gorn. Though that particular alien race seemed, shall we say, less inclined toward diplomacy. And hey, maybe Kirk’s got hard feelings. You can’t blame him, can you?

In addition to a Gorn-less alien convention, we’ve got quite a bit else happening in this episode. A family reunion with Spock’s parents, Marek and Amanda. We then go into a murder investigation after one of the pig men is killed. Next we find out Marek is ill and needs a blood transfusion from his son. This leads to Bones having to perform the procedure as the Enterprise is rocked back and forth in a space battle with the Orion crime syndicate. There are so many plates spinning, and yet it somehow all seems to fit. That’s a credit to the writing.

So Marek is Vulcan and Amanda is human. The Vulcan mindset is that humans are emotional, thus irrational. Vulcans, on the other hand, are strictly logical. The idea, which we see played up in this episode, is that Spock gets his rarely seen emotional side from his mother.

I reject this notion.

MEANWHILE, IN NOVEMBER OF 1967: The satellite ATS-3 transmits the first color image of Earth’s entire disk (nearly all of the western hemisphere).

We’ve heard Spock discuss the Vulcans and their history before. As a race, they were once quite volatile even by human standards. Warfare was commonplace, to the point that it threatened their very existence. Their salvation came via the adoption of a philosophy that cast uncontrolled emotion as the root cause of all problems. Thus, the need to rigidly control all emotion, and conduct one’s self via an ethical and logical code.

So the Vulcan mindset is cultural, as opposed to being somehow biological. They are taught to be as cold and emotion-less as they are. This flies in the face of the show’s implication that Spock’s behavior is genetically influenced by either one of his parents. For all intents and purposes, humans and Vulcans are born with the same blank slate. The difference lays in nurture, not nature.

What I’d love to see is a new and budding romance between a human and a Vulcan. I’m sure the franchise has covered that at some point in its 50-year history. But thus far the closest we’ve seen (or at least the closest I’ve seen) is the strange dynamic between Spock and Nurse Chapel. Not exactly Romeo and Juliet, those two…

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