FWIW, I feel that way about the "past" scenes in All Good Things. It takes me out of the story because I find it so jarring that so much is NOT the way it actually was in season 1.
Well, that's excusable, because there was only so much they could do. I mean, one wouldn't expect Denise Crosby to be willing to shave the back of her head for a single-episode guest appearance, as opposed to a regular role. One wouldn't expect them to restore Worf's season 1 forehead appliance or Troi's season 1 accent, because those were extradiegetic changes, refinements in how the universe was portrayed, so naturally they'd be retroactively used in any flashback, the same way pre-TOS productions retroactively use the term "mind meld" even though it wasn't introduced until season 3. Moving O'Brien from battle bridge to main bridge conn makes sense given how much more prominent and popular Colm Meaney had become in the interim. I do wish they'd caught a couple of continuity errors, like Tasha not having met Picard before and the stardate of Picard taking command, but some imperfections are inevitable in such a complex undertaking as the production of a multi-season TV series.
Same thing happened in Breaking Bad.
Mainly because what Alan Alda termed "testosterone poisoning" makes so many men terrified of expressing fear. (Wasn't there some dialogue between Spock and Khan about that very subject, in "Space Seed"?)
More between Kirk and Khan—after Spock baits him.
**
KIRK: You fled. Why? Were you afraid?
KHAN: I've never been afraid.
KIRK: But you left at the very time mankind needed courage.
KHAN: We offered the world order!
KIRK: We?
**
. . . and I challenge just about any TV show these days—with a few exceptions—to match dialogue like that.
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Right. Which may just mean they're culturally allowed to do so whereas males are told to "man up" from an early age and especially not show emotions that make them look weak or feminine.
Still are. It's tragic and I see my daughter dealing with it in her boyfriend who feels he has to man up at times.
My mistake. The dialogue between Spock and Khan was in the Blish adaptation, and possibly in the version of the script that Blish was given.
One thing we haven't mentioned about Hengist's body is how it changed and grew a few inches taller with a skinny,shiney bald rubbery pate when it got back up and took on the Enterprise crew. 
JB
JB
Is this an oxymoron?
I'm afraid not.
See the Blish short story adaptation (in order to be a "novelization," it would have to be a novel!) of "Space Seed" in Star Trek 2.
(from the Internet Archive's lending library)
When it kicked Kirk in the gut, it must have osmoted through its boots some of Kirk's extra-manly genes. And some of Shatner's extra-bald genes.One thing we haven't mentioned about Hengist's body is how it changed and grew a few inches taller with a skinny,shiney bald rubbery pate when it got back up and took on the Enterprise crew.
JB
On a more serious note, I'm always impressed by how the Shat takes that kick into the wall like a pro.
For all the digs the Shat got and still gets he was in great shape during the series and gave us everything he had in the role of Kirk.
JB
JB
And even a lot of the silly stuff is legend. I never get tired of seeing him take out a whole squad of guards on Eminiar VII with one running roundhouse punch. It's ludicrous, but it's so James T. Kirk.
Lloyd Bridges? Jack Lord? I don't think so.
Lloyd Bridges? Jack Lord? I don't think so.
Absolutely!!!! Everything about that brief scene is fantastic. First, Kirk instantly assesses the tactical situation, grabs Tankris (but not overly roughly) and puts her behind him while blocking the exit. Then Redjac/Hengist surprises Kirk with that savage kick—one of very few scenes in all of TOS where someone gets the drop on him one-on-one—which to me was the writers/director communicating that this thing, whatever it is, had centuries of experience and abilities. And yup, of course Shatner 100% did the stunt himself and flies back into the wall in controlled astonishment. Finally, Spock wrangles R/H from behind, Kirk delivers that punch, and R/H decides to beat the heat into the computer system.
I could probably make a list of 100 "are you kidding me with how great this tiny scene" is moments from TOS, and this sequence would be near the top. Thanks, gents, for mentioning it.
Sometimes they're so quiet and subtle, too. In Space Seed, I absolutely love the silent, fluid, impromptu coordination between Kirk and Spock when the latter is being thug-marched to the death chamber.
Images courtesy of TrekCore.
Spock has just discovered that the best friend he will ever have is not dead after all, and he exhibits the calm of a man without a care in the world.
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Logical. Flawlessly logical.
Robert Bloch was an aficionado of the Jack the Ripper lore. He wrote several Ripper stories during his career.
I was curious how much Desilu paid a writer of Bloch's stature.
What I am really interested in knowing is whether an established writer, like Bloch, negotiated a better pay for himself than what might have been offered to him; and/or whether the studio might have offered a bit of a premium in order to entice prominent writers, like Bloch, to write stories for TOS?
I could only find some Facebook entries that said that Bloch was paid about $2500 for each of his three TOS stories. He was paid the standard rate, from what I could gather. But I also came across a different article that stated that Bloch made more money from writing his three TOS stories than the $9500 that he got for selling the film rights to Psycho.
If I did my math right, that would have meant that Bloch made an average of over $3167 per episode, which is significantly more -- percentage wise -- than the $2500 that the Facebook info said Bloch was paid. So, was Bloch paid more than the standard rate? @Maurice, do you have accurate information on this matter? Thanks.
I bet that kick left a mark. I'm surprised that a stunt double wasn't used to absorb the impact of the kick.
Kirk once told Chekov, "I think you've earned your pay for the week". Shatner probably earned his pay for that week, just for taking that blow.
Takei might have been passed over for the lead role in the episode. But oddly enough, for me, one of the most memorable scenes in the episode was the one where Sulu was front and center, when he was shot up with tranquilizer.
Sulu's wacky tranquilizer induced demeanor and comments cracked me up.
Personal log: adding to the wackiness, for the longest time, I thought Sulu had said, "He sure talks groovy". Ha, ha, Sulu used a funky 60s slang; or so I thought.
I rewatched "Wolf in the Fold" recently with closed captioning turned on. To my surprise, I realized that Sulu had actually said "gloomy" not groovy.
I know it is a very minor thing, but when I gave it some more thought, I was glad that Sulu actually said what he said, because if Sulu had said what I thought he had said, that might have given the impression that Sulu was simpatico with a serial killer.
This is not the only line or words spoken in TOS that I had misheard. Thank goodness for closed captioning.
Anyway, the funny thing is that the episode itself turned increasingly light hearted toward the end.
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I've long seen it as one of his most impressive stunts in the whole series. He and the stuntman 100% sell the brutal kick, and I feel that wall hit.
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