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: 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: 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: Lower Decks

***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
: Lower Decks
EPISODE: S1.E1. “Second Contact”
WITH THE VOICE TALENTS OF: Tawny Newsome, Jack Quaid, Noel Wells, Eugene Cordero, Dawnn Lewis

WRITER: Mike McMahan
DIRECTOR: Barry J. Kelly
PREMIERE DATE: August 6, 2020
SYNOPSIS: Ensign Brad Boimler is asked to keep an eye on the antics of Ensign Beckett Mariner aboard the on the U.S.S. Cerritos.

By Rob Siebert
Fanboy Wonder

I’m not old, am I? My father, who’s [age redacted], assured me the other day that 30-something is not old. So I can’t be old, right….? Right?!?

The reason I ask is because Star Trek: Lower Decks made me feel really, really old. Because I found myself saying things like, “Slow down!” and “You’re giving me a headache?” At least they weren’t walking on my lawn…

Lower Decks isn’t a bad idea. An animated series about a few low-ranking crew members and their adventures on the U.S.S. not-the-Enterprise. Our main characters are Beckett Bariner, an irreverent rule-breaker with an attitude, and the straight-laced Brad Boimler, who has eyes on becoming a captain one day. So far, so good, right?

The problem, however, is evident from the very first scene: The Beckett character is annoying. Her attempts at humor are loud and obnoxious, and she largely ruins the episode.

I understand the rules for character-building can be a little bit different in a comedy. But I still need something to latch on to, someone to care about, something to emotionally anchor the story. We kick off the episode with Brad fantasizing about being a captain. That’s a pretty good starting point. We’ve got a character with a dream and a goal. Most of us can relate to that, right?

But then Beckett comes in with clumsy, babbling, rapid-fire attempts at humor. She says something about being drunk on Romulan whisky, and then swings a Klingon weapon around for no real reason.

I recently watched the classic original series episode, “The Trouble With Tribbles.” I was inclined to compare the Tribbles to the Ewoks of Star Wars fame, given their cutesy nature. Whether that’s a justified comparison or not, if the Tribbles are the Star Trek equivalent to Ewoks, then Beckett just might be the  Star Trek equivalent to Jar Jar Binks.

The super fast-paced, fill-all-the-silence dialogue is what hurts the episode more than anything. Lower Decks simply won’t shut up. In the following scene, for instance, where Beckett and Brad meet new crew member D’Vana Tendi (the green-skinned girl pictured above), it’s like somebody pressed the fast-forward button. We don’t have time to breathe or digest anything, so nothing lands.

What might have helped this episode is a slightly tighter focus. We have three main characters in Beckett, Brad, and D’Vana, plus a few supporting characters. Instead of trying to cram so much into 20-some minutes, keep things zoomed in on Brad and Beckett. D’Vana is seemingly supposed to be Brad’s love interest, so maybe do a brief intro at the end where we establish that he thinks she’s cute. But that’s all we needed.

Beckett’s execution is a problem, so she definitely needs to be toned down. But how about a little heart? Why is she so boisterous? Does she have trouble making friends? We find out late in the episode that she’s related to someone high in the ship’s pecking order. Does that have anything to do with it?

Give me something human to latch on to. Then we can talk about Romulan whisky and slimy tentacle monsters.

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.

Rob Watches Star Trek: Uhura, MLK, and the Power of Storytelling

***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.E4 “Mirror, Mirror”
STARRING: William Shatner, Leonard Nimoy, DeForest Kelley, Nichelle Nichols, James Doohan
GUEST-STARRING: BarBara Luna
WRITER: Jerome Bixby
DIRECTOR: Marc Daniels
ORIGINAL AIR DATE: October 6, 1967
SYNOPSIS: A transporter malfunction sends Kirk, Bones, Uhura, and Scotty to a parallel universe. There, they meet twisted and evil versions of the crew.

By Rob Siebert
Trekkie-in-Training

Hindsight being 20/20 (50 years of it, no less), this should have been the episode to introduce the concept of alternate realities into the Star Trek universe. It has a hell of a lot more fun with it than “The Alternative Factor” did.

In that review, I’d pitched having Kirk and the crew meet alternate universe versions of themselves using body doubles and basic over-the-shoulder camera work. As it turned out, they simply had Kirk, Bones, Uhura, and Scotty switch places with their alt-universe counterparts. They didn’t even need to bother with  body doubles.

What I came away from this episode thinking about, outside of Spock’s beard of course, was Uhura. And not just because of her Mirror Universe uniform. That thing can’t be regulation, can it? Then again, it’s not like that leggy uniform she wears in the proper timeline is much better…

I’ve continuously been surprised at how physical Nichelle Nichols has been as Uhura. Whether she’s getting smacked across the face in “Space Seed,” or getting mixed up in the climactic fight in this episode, it’s jarring to see her physically combative with the male characters. Mind you, that’s coming from a 2020 perspective. I can’t imagine how it looked in 1968.

Still, she was a black woman standing her ground against a cast of white male characters. That counts for something. Let that serve as yet another example of the historical significance of the Uhura role. A role that, by her own admission, Nichelle Nichols wanted to leave during the show’s first year.

According to various interviews, Nichols originally had her heart set on broadway. Star Trek was simply meant to pad her resume. Thus, after the first season, Nichols told Star Trek  creator and producer Gene Roddenberry she wanted to leave the show.

Two nights later at an NAACP fundraiser, Nichols was introduced to someone identified to her as a big fan of the show: Martin Luther King Jr.

In a 2010 interview, Nicholls recalled that after mentioning her impending departure from Star Trek to King, he said, “Star Trek was the only show that he and his wife Coretta would allow their three little children to stay up and watch, because while they were marching, every night you could see people who looked like me being hosed down with a fire hose and dogs jumping on them because they wanted to eat in a restaurant. The civil rights marches were going on, and here I was playing an astronaut in the 23rd century.”

King added, “‘You’re part of history, and this is your responsibility, even though it might not be your career choice.’”

Nichols recalled when she told Roddenberry what King had said, he had tears in his eyes.

“I told him if he still wanted me, I would stay,” Nicholls said. “He took out my resignation, and it was all torn up where I had given it to him. And he put it in the drawer. I stayed, and I’ve never looked back. I’m glad I did.”

People have a tendency to overlook the great power characters and storytelling have in any medium. They shouldn’t. Stories can unite us in ways that few other things can. Now, more than ever, we need to remember that.

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.