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Favorite TAS episodes not named Yesteryear

tomalak301

Fleet Admiral
Premium Member
I've been rewatching TAS lately (kind of attached it to the Star Trek rewatch I recently did) and was wondering how people here liked this series. This is my second time watching TAS and while it's just ok, it did have so,e decent episodes. I just saw a great episode tonight: Albatross.

This was a great episode. I love those race against the clock to prove ones innocence stories and that's what this episode did. It also gets into McCoys backstory a little, which TAS really didn't do in terms of character development. Also loved how the color pigmentations of the virus lead to actually determining what a cure was.

I have two more episodes left, and I think I can safely say Albatross is in my top 5.

My question still does remain though. If we ignore Yesteryear, what episodes of TAS would you recommend to a friend.
 
I was 16 when it original aired, and remember being glad to hear the voices and watch the interplay, even if animated.

If I were going to recommend an episode to a friend, it would be "The Infinite Vulcan", because Walter Koenig (Chekov) wrote it. Of course, I would bore the friend to tears, first, with the story of Walter getting left out of the voice casting because of "budgetary concerns", but return to write an episode. :) :techman:
 
Infinite Vulcan was interesting but really large Spock was a little weird. I think this episode introduced the screetching Pterodactyls though so that was a plus.
 
I finished TAS tonight. I think my top 5 not named yesteryear are these:

Albatross
Beyond the Furthest Star
The Terratin Incident
Once Upon a Planet
The Counter Clock Incident
 
Excluding "Yesteryear."

"Beyond The Farthest Star"
"The Infinite Vulcan"
"Albatross"
"Jihad"
"Pirates Of Orion"
"One Of Our Planets Is Missing"
"Slaver Weapon"


It's actually easier to exclude the ones I don't care for.

"The Practical Joker"
"The Counter-Clock Incident" (its one redeeming element is we finally meet Robert April)
"The Terratin Incident"
"More Tribbles, More Troubles"
 
"One of Our Planets is Missing": Some nice drama with the danger to the colony and Governor Wesley's sense of helplessness, and a good, classic Trek story of facing a "monster" and building understanding and peace with it rather than destroying it (also a perennial theme in Filmation's overall body of work). Although it's right up there with "The Changeling" in its parallels to ST:TMP (giant cloud endangering human planet, the ship traveling through it to its brain, Spock melding with its brain).

"Once Upon a Planet": A neat "Shore Leave" sequel that fleshes out the workings of the amusement-park planet and gives Uhura a chance to shine.

"The Time Trap": The "cooperate with the Klingons" story is a neat idea, and the diversity of the Elysians is interesting. Kor's return is welcome, though I regret that they couldn't get John Colicos. It's good to get another female Klingon in Kali, and Devna is noteworthy as the only 23rd-century female Orion character to be portrayed as sane and intelligent (although she wore even less than her predecessors Vina and Marta).

"The Slaver Weapon": A surprisingly faithful dramatization of Larry Niven's "The Soft Weapon," so much so that I don't even consider it a Star Trek episode, but a Known Space pilot acted out by three Trek characters.

"The Jihad": The premise is kind of fanciful and the title is problematic (the threatened holy war is more a crusade than a jihad, properly), but the idea of a diverse team recruited for a secret mission is interesting, as are the new characters on the team (including what's basically Kirk's only romantic interest in TAS, if only barely). The Vedala are also intriguing, and I would've liked to see more of them (which is why I wrote them into DTI: Forgotten History).

"Albatross": A great McCoy story and an effective drama. Only two complaints: One, the idea of auroras in space is silly (they're atmospheric phenomena), and two, it doesn't live up to TAS's mandate of doing stories that couldn't have been done in live action. With a more humanoid design for the Dramians, this could easily have been a TOS episode.

Honorable mentions:

"Beyond the Farthest Star": The alien ship is a fantastic design.

"The Survivor": Cool to see a female security officer, even if she's defined mainly as a love interest. And the Winston-Vendorian is a good character.

"The Magicks of Megas-tu": I'm torn. It's a good anti-prejudice statement, even subversive in its positive portrayal of a "Satanic" figure, but it somewhat misappropriates the Salem witch trials (though not as badly as most fantasies involving them) and it's rooted in an outdated and debunked theory of cosmology.

"The Eye of the Beholder": Alien-zoo stories are a dime a dozen, but the Lactrans are cool.

"The Pirates of Orion": Pretty effective drama, and our one pre-ENT look at Orion males, but their weird coloring and the weird mispronunciation of "Orion" are off-putting. I actually prefer Howie's second story about choriocytosis, the early Pocket novel The Covenant of the Crown.
 
My biggest problem with the Animated Series is that the voice acting always seems too *hushed*, for lack of a better term. Shatner's voiceover Captain's Logs sound like he's reporting a golf tournament or speaking in a corner of a church.
 
My two favorite episodes are "Yesteryear" and "One of Our Planets Is Missing." "The Time Trap" and "Beyond the Farthest Star" come next.
 
My biggest problem with the Animated Series is that the voice acting always seems too *hushed*, for lack of a better term. Shatner's voiceover Captain's Logs sound like he's reporting a golf tournament or speaking in a corner of a church.

Yeah, a lot of the actors were mailed their scripts and recorded their performances at the nearest convenient studio, so they didn't have a voice director to guide their performances. And Shatner, Nimoy, and Kelley didn't have much experience acting with their voices alone, which is a special discipline that's hard to do if you're not used to it. TAS has better performances from the actors more accustomed to working with their voices -- Doohan, Nichols, Takei, and Barrett.
 
I first saw TAS as a young boy in the mid- '70s along with reruns of TOS. I like TAS and consider it the animated final years of TOS five year mission.

I would recommend:
"The Time Trap"
"The Slaver Weapon"
 
Lots of TAS music lifted for this video:

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Harry
 
I first saw TAS as a young boy in the mid- '70s along with reruns of TOS.

Me too. I first discovered TOS during the time that TAS was still in first run, and I think I discovered TAS just a few weeks after I first saw TOS, if that. So to 5-year-old me, Star Trek was a single show that was sometimes live-action and sometimes a cartoon. I saw them as a continuous whole from the beginning. And the first Star Trek book I ever owned was Alan Dean Foster's Star Trek Log Three.
 
"The Time Trap": The "cooperate with the Klingons" story is a neat idea, and the diversity of the Elysians is interesting. Kor's return is welcome, though I regret that they couldn't get John Colicos. It's good to get another female Klingon in Kali, and Devna is noteworthy as the only 23rd-century female Orion character to be portrayed as sane and intelligent (although she wore even less than her predecessors Vina and Marta).

She couldn't dance for $#!+.:nyah::rommie:
 
She couldn't dance for $#!+.:nyah::rommie:

How do you know? The scene didn't begin until the end of her dance. For all you know, you missed a dance so amazing that mortal eyes were unfit to gaze upon it. (Or at least a dance that was completely inappropriate for Saturday morning children's television...)
 
I like the one where the Enterprise is trapped with all the other ships and they have to work together to get out. But then, a devil figure and a flying snake are always cool too.
 
"One of Our Planets is Missing": Some nice drama with the danger to the colony and Governor Wesley's sense of helplessness, and a good, classic Trek story of facing a "monster" and building understanding and peace with it rather than destroying it (also a perennial theme in Filmation's overall body of work). Although it's right up there with "The Changeling" in its parallels to ST:TMP (giant cloud endangering human planet, the ship traveling through it to its brain, Spock melding with its brain).

"Once Upon a Planet": A neat "Shore Leave" sequel that fleshes out the workings of the amusement-park planet and gives Uhura a chance to shine.

"The Time Trap": The "cooperate with the Klingons" story is a neat idea, and the diversity of the Elysians is interesting. Kor's return is welcome, though I regret that they couldn't get John Colicos. It's good to get another female Klingon in Kali, and Devna is noteworthy as the only 23rd-century female Orion character to be portrayed as sane and intelligent (although she wore even less than her predecessors Vina and Marta).

"The Slaver Weapon": A surprisingly faithful dramatization of Larry Niven's "The Soft Weapon," so much so that I don't even consider it a Star Trek episode, but a Known Space pilot acted out by three Trek characters.

"The Jihad": The premise is kind of fanciful and the title is problematic (the threatened holy war is more a crusade than a jihad, properly), but the idea of a diverse team recruited for a secret mission is interesting, as are the new characters on the team (including what's basically Kirk's only romantic interest in TAS, if only barely). The Vedala are also intriguing, and I would've liked to see more of them (which is why I wrote them into DTI: Forgotten History).

"Albatross": A great McCoy story and an effective drama. Only two complaints: One, the idea of auroras in space is silly (they're atmospheric phenomena), and two, it doesn't live up to TAS's mandate of doing stories that couldn't have been done in live action. With a more humanoid design for the Dramians, this could easily have been a TOS episode.

Honorable mentions:

"Beyond the Farthest Star": The alien ship is a fantastic design.

"The Survivor": Cool to see a female security officer, even if she's defined mainly as a love interest. And the Winston-Vendorian is a good character.

"The Magicks of Megas-tu": I'm torn. It's a good anti-prejudice statement, even subversive in its positive portrayal of a "Satanic" figure, but it somewhat misappropriates the Salem witch trials (though not as badly as most fantasies involving them) and it's rooted in an outdated and debunked theory of cosmology.

"The Eye of the Beholder": Alien-zoo stories are a dime a dozen, but the Lactrans are cool.

"The Pirates of Orion": Pretty effective drama, and our one pre-ENT look at Orion males, but their weird coloring and the weird mispronunciation of "Orion" are off-putting. I actually prefer Howie's second story about choriocytosis, the early Pocket novel The Covenant of the Crown.
What's the debunked theory of cosmology?
 
I like the one where the Enterprise is trapped with all the other ships and they have to work together to get out. But then, a devil figure and a flying snake are always cool too.

I think the thing I loved the most about serpents tooth was the snake. This series had aliens you wouldn't see in live action and that was its greatest attribute.
 
What's the debunked theory of cosmology?

The steady-state/continuous-creation theory, which was once a competitor to the Big Bang theory. Once Edwin Hubble discovered that the universe was expanding, it suggested that its age was finite, because there must've been a time when it started out infinitely dense. But some scientists, notably Fred Hoyle (who actually coined the term "Big Bang" as a mockery of the rival theory), clung to the idea that the universe was eternal and unchanging (because how could there be anything before existence?), so they concocted the notion that as the universe expanded, new material erupted into being out of white holes in the centers of galaxies (which I think was their explanation for quasars, maybe) and took the place of the matter that expanded away, so that the universe arbitrarily remained at a constant density even though it was expanding. It was a silly idea on the face of it if you ask me, just an arbitrary assumption pulled out of nowhere (fittingly) to avoid discarding a cherished belief. And it had already been largely discredited in the '60s by the discovery of the cosmic microwave background radiation (CMB), essentially the residual heat of the Big Bang. But Hoyle and a few others still clung to the steady-state model and handwaved away the CMB, and apparently "Megas-tu" writer Larry Brody was either a believer in steady-state or was a decade or two out of date on his cosmology, because the episode is completely steeped in the idea of continuous creation. And given that subsequent satellite observations of the CMB have put the final nails in the coffin of Hoyle's model, that makes "Megas-tu" about as embarrassing in retrospect as '50s sci-fi stories about the dinosaur-filled jungles of Venus, the canals of Mars, and the solid surface of Jupiter. (Not to mention that later Trek episodes have mentioned the Big Bang as a real thing, even having a Q take Voyager to witness it. Heck, one Trek time-travel novel claims that Scotty and Geordi caused it.)


I think the thing I loved the most about serpents tooth was the snake. This series had aliens you wouldn't see in live action and that was its greatest attribute.

"How Sharper Than a Serpent's Tooth" is a problematical episode. In theory, it was nice to see an episode written by a Native American author and drawing on his culture, but in practice, it was a pretty gross misrepresentation of many indigenous cultures. It distorted the legend of Kukulkan (there's nothing in the myth about leaving with a promise to return one day, and the mythical creator of the Maya calendar was Itzamna rather than Kukulkan), it warped the chronology of many ancient cultures to claim they had a common origin, and it devalued those indigenous cultures by not only attributing their civilizations to aliens, but saying they got it all wrong. And Ensign Walking Bear is a pretty lousy attempt at representation. Not only is he nothing more than a mouthpiece for Native American tradition, but the script treats all Native Americans as interchangeable. Why would a Comanche, from the Great Plains, consider the Maya to be part of his cultural heritage? That's like Chekov considering, ohh, Germans to be part of his heritage.

Then there's the fact that it's basically a rehash of "Who Mourns for Adonais?" Although apparently Russell Bates intended it as an homage to that episode.

I'll grant, though, that it's nice to look at. And I like that it's even more blatant in its secular-humanist "We don't need gods anymore" message than "Adonais" was (with its "We find the one sufficient" copout).
 
How do you know? The scene didn't begin until the end of her dance. For all you know, you missed a dance so amazing that mortal eyes were unfit to gaze upon it. (Or at least a dance that was completely inappropriate for Saturday morning children's television...)

More likely the latter, coupled with Fimation's complete inability to do random fluid animation not intended to be used as stock footage for the next fifty years.
 
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