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Star Trek TOS Re-Watch

So much so that I needed to make it plausible in my own head canon; it was not "parallel Earth development", rather, another example of late 21st century colonization from Earth by the United States and China (joint space mission?) that tripped into that infamous, black star on the way to their destination. Just as in Tomorrow Is Yesterday, the ship was thrown to Altair IV but thousands of years in the past. The planet was colonized and overtime, the two political cultures went their separate ways. Eventually, hostilities broke out between the Yankees and Commies resulting in biological warfare. YMMV :).
James Blish didn't have any time for this nonsense either. At least in Miri where he changed the planet to an Earth colony. I don't know what he did for The Omega Glory. IIRC he also made the Klingons literally of Asian descent in Errand of Mercy. (Going from memory if someone wants to check my math.)

(Star Trek works better in the 30th century than the 23rd. IMHO.)
 
Life is but a walking shadow. A poor player who struts and frets his hour upon the stage and then is heard no more.

Or something.

Also "A stack of books with legs."
Fine, fine, fine... point taken. :) Words, words, words, words...

Morbius' daughter, Altaira, has spent her entire life living with no one but her father.
Speaking of The Bard... This especially was what made me realize the movie is an adaptation of The Tempest. Robby is Ariel and the Monster from the Id is Caliban. It's been awhile since I saw it, so thanks for the summary.
 
"The Corbomite Maneuver"

Potentially a Controversial Opinion but, while I like this episode, I don't love it. But we'll get to that. First off, like I've said before, I'm watching the original 1960s versions of these episodes in HD, and I'm so glad this episode still has the eerie early-1st Season version of the intro music. It sounds more spacey and more mysterious.

For a long time now, I've figured that McCoy knew Kirk before they were on the Enterprise. With the way the two interact, no way did they just first meet. When McCoy observes that Bailey might remind Kirk a little of himself 11 years ago, watching it just now, I put it together that McCoy probably actually knew Kirk 11 years earlier. I never put that together before now. Like with Pike and Boyce in "The Cage", Kirk and McCoy are having a drink in Kirk's quarters, going over things. After Rand appears in Kirk's quarters and delivers Kirk dietary salad, and leaves, McCoy needles Kirk about Rand. "What's the matter, Jim? Don't you trust yourself?" Kirk says, "I've already got a female to worry about. Her name's the Enterprise." Right there, they're showing that Kirk is potentially sacrificing any serious romantic relationships because of his command.

Spock begins to seem more like how we think of Spock throughout the rest of the series. In his book, I Am Spock, Leonard Nimoy said he felt that the moment he nailed down the character was in this episode when Spock says, "Fascinating," when looking at Balok's ship on the viewer. There's something else that I noticed, it's very subtle, but it shows the inner conflict within Spock. When the Enterprise appears to be outmatched by Balok, mid-way through the episode, Kirk asks Spock for recommendations and Spock doesn't have any. Spock is almost about to say, "I'm sorry", but then stops himself right before he says the second word and instead pauses, then says, "I can find no logical alternative." Spock wants to appear professional and sound Vulcan-like at all times.

Bailey is someone I wonder about. He doesn't seem to have the temperament to be a Starfleet Officer. I assume he went through four years of the Academy and spent at least some time as an Ensign, even though he may have been promoted too fast. He seems extremely defensive, gets nervous, becomes lost in his thoughts, and then cracks under pressure when Balok starts a countdown. I just don't believe that Kirk would think it would make sense to promote him in the first place. And I can't imagine Kirk being anything like Bailey even 11 years earlier. So that's one of two issues I have with the episode. I'll get to the second later.

After Kirk relieves Bailey, McCoy says he'll note that he warned him about Bailey, they start to argue about it, and this episode establishes that even though McCoy is Kirk's friend, he'll stand up to him and tell it to him straight. He'll contest Kirk's decision. Kirk says, "Any time you can bluff me, Doctor!" and then the argument gives Kirk a spark of inspiration.

One of the major strengths of "The Corbomite Maneuver" is showcasing how Kirk can think on his feet. The way that Kirk is inspired is that he decides to not look at the confrontation with Balok as a game of chess like Spock does, but a game of poker. Kirk bluffs by making up the Corbomite Device, saying it'll destroy Balok, and then Balok says he won't destroy the Enterprise but will instead to it to the First Federation. Chess is the game of choice in TOS, but I wonder if the writers of TNG thought back to this episode at all when they decided to make poker the game of choice in TNG. That's another way of making the two shows different.

At the end, when the Enterprise breaks free, disables Balok's ship -- the Fesarius -- in the process, and they beam aboard. They see the real Balok, unlike the scary puppet on their viewscreen earlier, Balok says he only wanted to test the Enterprise crew to see their intentions and that he wants to be friends with them. Here's my second issue with the episode. There's no way to say it other than to say it: I feel like Balok was trolling the Enterprise crew right up until almost the end. What would Balok have come up with to not destroy the Enterprise if Kirk hadn't used his Corbomite bluff?

When Kirk nods towards Bailey, who volunteers to stay with Balok for a while, I understand that it was done as a gesture of friendship and so that Balok and Bailey could learn from each other, but I think a small part of Kirk was also thinking, "That takes care of my Bailey problem!" :p

This was a bottle episode and I have to commend the director, Joseph Sargent, for coming up with so many different angles to make the inside of the Enterprise look as interesting and dynamic as possible. He avoided the trap of having all the shots look too much alike. The redressing of an Enterprise set to look like the inside of Balok's ship was also very clever and cost-effective. The special effects team also did a good of making the Fesarius look alien with a little creativity. A green circle with flashing, glowing yellow circles within it. That's all you need.

My favorite line of the episode came from McCoy. "If I reacted every time a light went on around here, I'd end up talking to myself." And he says this as he's talking to himself...

And a shout-out to Rand for going above and beyond the call of duty. She doesn't care if any systems are down. She's going to give Kirk hot coffee even if it means she has to zap the coffee with a phaser. ;)

Overall, I give this episode a 7.
 
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...I can't believe this was almost the second pilot. Thank Gods we got "Where No Man Had Gone Before" instead! "Heavy-handed" is too weak a criticism for this ending. IMO, this particular "parallel Earth development" is the most egregious of the original series...
IDK - As far as Parralell Earth's go, I find TOS S1 MIRI even more egregious. I mean a 100% EXACT copy of Earth right down to the size of the planet and shape of the continents...:wtf:


The one truly interesting aspect of TOS S2 The Omega Glory for me is that if you accept how long ago their war occurred,OUR EARTH is the actual 'Parralell copy'.:eek:
 
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This is speculation only, but I think Gene Roddenberry only really wanted to come up with one idea for the second pilot. When NBC insisted that he come up with three, I think he came up with two worse ideas on purpose, so NBC would choose the one he really wanted to do. "Where No Man Has Gone Before" about human frailties and losing your humanity as you become more godlike without losing said frailties, "Mudd's Women" which is about a Space Pimp and his "cargo" who take drugs, and "The Omega Glory" which is Yangs vs. Comms and isn't about "strange new worlds" at all. It's our world! I feel like between the three, anyone would've chosen "Where No Man Has Gone Before" as the pilot.
 
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This is speculation only, but I think Gene Roddenberry only really wanted to come up with one idea for the second pilot. When NBC insisted that he come up with three, I think he came up with two worse ideas on purpose, so NBC would choose the one he really wanted to do. "Where No Man Has Gone Before" about human frailties and losing your humanity as you become more godlike without losing said frailties, "Mudd's Women" which is about a Space Pimp and his "cargo" who take drugs, and "The Omega Glory" which is Yangs vs. Comms and isn't about "strange new worlds" at all. It's our world! I feel like between the three, anyone would've chosen "Where No Man Has Gone Before" as the pilot.
Was Where No Man Gene's premise? My understanding is that it was Sam Peoples' and that Roddenberry was fine with it because it got the series on the air.
 
Was Where No Man Gene's premise? My understanding is that it was Sam Peoples' and that Roddenberry was fine with it because it got the series on the air.
I looked it up and it turns out you're right. WNMHGB is solely Sam Peoples idea. (link)

Thank God for Sam Peoples, then. If not for him, we wouldn't even be talking about this right now.

EDITED TO ADD: Before, I'd always assumed that Gene Roddenberry came up with the core of the idea but assigned Sam Peoples to write the teleplay.
 
According to Cushman's "These Are the Voyages", Herb Solow also had to lie to Roddenberry, telling him that the network liked "The Omega Glory" more, but chose WNMHGB nonetheless, to lessen the blow of having his script rejected. Roddenberry may have also been very fond of the story for "Mudd's Women", considering he proposed it for both the first and second pilots.
 
Speaking of "Mudd's Women", I was going to put off watching it until I could pair it up with "The Enemy Within", but since we're already talking about it in part...

"Mudd's Women"

I didn't like this episode when I was a kid. I didn't understand it, I wasn't interested in what the episode was about it, and I only liked a few random things which weren't enough to save it. I don't like it that much in my 40s either. I get different things out of it now, but while an adult perspective made my opinion of some Star Trek episodes go up, it didn't happen in this case.

Where to start? Ladies first. I know this was made in the '60s, I know it was a different time, and so I don't generally fault TOS for the way things just were but, even for the '60s, the lusting over the women went too far. True they're taking the Venus Drug, but when someone takes drugs, it only physically affects the person taking the drugs. It doesn't affect people not taking the drugs, so the men shouldn't be finding the women any more attractive than they would any other women they find attractive. So, this was just a way to excuse the men acting super lusty.

When the women get married and live with the men out on the frontier, they'll no longer be taking the Venus Drug. They should be going into withdrawal. The episode doesn't touch upon this at all. Maybe they couldn't, either because of censors, the timeslot TOS was airing, or both, probably both. But the solution at the end of "You either believe in yourself or you don't," is just too easy. That's not the way it would be in real life. These women would go through withdrawal and they'd need rehabilitation.

Then there are the miners. They wanted babes but they get wives, and then act like assholes when they find out that women are actually people too, before coming around by the end of the episode. The miners are initially upset they didn't get what they wanted, but they shouldn't have wanted babes in the first place, they shouldn't wanted companionship.

It's a little too convenient that the Enterprise is on this five-year mission where "no man has gone before" and they're in such short supply of dilithium crystals already. They should've had spares, or have been able to find a way to get more crystals delivered to them through official channels even if they didn't. The only reason to have the Enterprise almost run out of power is so that Kirk can be at the mercy of the miners and give Harry Mudd some bargaining power as a third party.

Harry Mudd himself. I think he's better-liked because of his personality shining through the script and because people tend to associate him more with "I, Mudd" from the second season. As a person, on paper, Harry Mudd comes off as a horrible person and is. The script didn't do him any favors either. It was the performances that really carried the characters above the material. The acting is what make the difference. Roger C. Carmel is never dull as a lovable rouge and William Shatner is perfect here as the authority figure in space. Kirk and Mudd have a good rapport. Kirk is like the Odo to Harry Mudd's Quark.

They had some especially good lighting in this episode. "The Corbomite Maneuver" too, but I'm mentioning it here. Every shot in "Mudd's Women" had its own unique color-lighting composition. More television needs to be lit with color.

They also did a good job of making the plot of land on Rigel XII look like the middle of nowhere. The wind blowing, the sand blowing, the way the planet surface looks, and the inside of home all really sell where the miners live. All the costuming for the guest-characters is spot on as well. Everyone is dressed their part. I can fault the plot of this episode, but I can't fault the production values.

Nice to hear Major Barrett again. They worked her into the series after all! If she couldn't be the pragmatic Number One with the calculator in her brain, at least she can be the ship's computer! I love both the computer voice Majel uses in TOS as well as the mechanical sound-effects as the ship's computer is processing data. It feels like a real computational process. My favorite scene in the episode was during the hearing when the computer kept calling out Harry Mudd's lies, saying "Incorrect!" But it's not enough to save the episode...

... overall, I have to give this episode a 4.

"Mudd's Women" isn't unwatchable and it's not that bad. I can sit through it, and there are some highlights, but the story isn't good, I don't like the messages, and I can't ignore what this episode ignores.
 
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Speaking of "Mudd's Women", I was going to put off watching it until I could pair it up with "The Enemy Within", but since we're already talking about it in part...

"Mudd's Women"

I didn't like this episode when I was a kid. I didn't understand it, I wasn't interested in what the episode was about it, and I only liked a few random things which weren't enough to save it. I don't like it that much in my 40s either. I get different things out of it now, but while an adult perspective made my opinion of some Star Trek episodes go up, it didn't happen in this case.

Where to start? Ladies first. I know this was made in the '60s, I know it was a different time, and so I don't generally fault TOS for the way things just were but, even for the '60s, the lusting over the women went too far. True they're taking the Venus Drug, but when someone takes drugs, it only physically affects the person taking the drugs. It doesn't affect people not taking the drugs, so the men shouldn't be finding the women any more attractive than would any other women they find attractive. So, this was just a way to excuse the men acting super lusty.

When the women get married and live with the men out on the frontier, they'll no longer be taking the Venus Drug. They should be going into withdrawal. The episode doesn't touch upon this at all. Maybe they couldn't, either because of censors, the timeslot TOS was airing, or both, probably both. But the solution at the end of "You either believe in yourself or you don't," is just too easy. That's not the way it would be in real life. These women would go through withdrawal and they'd need rehabilitation.

Then there are the miners. They wanted babes but they get wives, and then act like assholes when they find out that women are actually people too, before coming around by the end of the episode. The miners are initially upset they didn't get what they wanted, but they shouldn't have wanted babes in the first place, they shouldn't wanted companionship.

It's a little too convenient that the Enterprise is on this five-year mission where "no man has gone before" and they're in such short supply of dilithium crystals already. They should've had spares, or have been able to find a way to get more crystals delivered to them through official channels even if they didn't. The only reason to have the Enterprise almost run out of power is so that Kirk can be at the mercy of the miners and give Harry Mudd some bargaining power as a third party.

Harry Mudd himself. I think he's better-liked because of his personality shining through the script and because people tend to associate him more with "I, Mudd" from the second season. As a person, on paper, Harry Mudd comes off as a horrible person and is. The script didn't do him any favors either. It was the performances that really carried the characters above the material. The acting is what make the difference. Roger C. Carmel is never dull as a lovable rouge and William Shatner is perfect here as the authority figure in space. Kirk and Mudd have a good rapport. Kirk is like the Odo to Harry Mudd's Quark.

They had some especially good lighting in this episode. "The Cobomite Maneuver" too, but I'm mentioning it here. Every shot in "Mudd's Women" had its own unique color-lighting composition. More television needs to be lit with color.

They also did a good job of making the plot of land on Rigel XII look like the middle of nowhere. The wind blowing, the sand blowing, the way the planet surface looks, and the inside of home all really sell where the miners live. All the costuming for the guest-characters is spot on as well. Everyone is dressed their part. I can fault the plot of this episode, but I can't fault the production values.

Nice to hear Major Barrett again. They worked her into the series after all! If she couldn't be the pragmatic Number One with the calculator in her brain, at least she can be the ship's computer! I love both the computer voice Majel uses in TOS as well as the mechanical sound-effects as the ship's computer is processing data. It feels like a real computational process. My favorite scene in the episode was during the hearing when the computer kept calling out Harry Mudd's lies, saying "Incorrect!" But it's not enough to save the episode...

... overall, I have to give this episode a 4.

"Mudd's Women" isn't unwatchable and it's not that bad. I can sit through it, and there are some highlights, but the story isn't good, I don't like the messages, and I can't ignore what this episode ignores.
I'm pretty sure the point of Mudd's Women is that the drug does, in fact, make the women sexier, so the men were reacting to that.

Do we know that there is withdrawal when someone stops taking this drug?

I think this episode shows a real dark/evil side to Mudd's character. He's not just a loveable rogue.
 
In the absence of anything saying exactly how long they'd been taking the Venus Drug, I feel like they had built up a dependence, especially considering how exaggeratedly worse their appearances became after they hadn't had the Venus Drug for a while. Especially the skin on the woman in the green dress.
 
Morbius' daughter, Altaira, has spent her entire life living with no one but her father. This is similar to the idea that the Talosians wanted to give Pike that Vina had lived her entire life "with a collection of aging scientists" on Talos IV. The crew of the C-57D, all male, are all attracted to Altaira. Straight out of the TOS playbook. I can see Gene Roddenberry really liking that part. And Altaira. Her strange reaction to kissing reminds me of Kelinda's confused reaction to kissing in "By Any Other Name".
Requiem For Methuselah has a few similarities to Forbidden Planet.
 
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