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I’m watching The Original Series again

Re: Who Mourns For Adonais

It's interesting how the God-theme crops up in every trek series. Seems like all these so-called highly evolved entities are inevitably immature, crazy, and irresponsible in their use of their greater powers (e.g., the character of Q in TNG). And it is up to our heroes to show them that we can either out-smart them or destroy them.

Why the pervasiveness of this theme? Maybe we need to feel good about ourselves. Even with all our flaws and limitations, we like the idea of being the capable underdog who is able to show our wisdom and our teeth to any unknown powerful entity.
 
Re: Who Mourns For Adonais

Having read all that, I found the finale to this episode to be extremely gripping and downright exciting. Perfect music and performances as Apollo batters the Enterprise with bolts as Spock and Sulu hammer the temple with phasers. The look of total anguish by Apollo speaks volumes as the temple disintergrates.

I like this one a lot.
 
Re: The Naked Time

JonnyQuest037 said:
Posted by Nebusj:

Point of order: it's not established that these are containment suits, or are supposed to have any particular powers of environmental protection. In fact, Spock signalling for decontamination after they beam up -- and getting it from the extra transporter cycle -- indicates they're not containment suits. The most reasonable guess is they're life support gear, since we do know the station life support were switched off.

Life support gear with open hoods and apparently no oxygen supply? :wtf: :wtf: :wtf:

The script simply calls these suits "cold weather gear."

Sir Rhosis
 
Amok Time

It’s that time of the decade for Spock, and he’s off his food, grouchy, irritable and generally un-Vulcan. When Nurse Chapel attempts to make Spock feel better, Plomeek soup ends up coating the bulkheads. When Kirk tries to confront his first officer, he’s surprised to hear Spock request leave time on Vulcan, the first time he has ever done so. He isn’t forthcoming as to why, but Kirk is more than happy to help his friend out. That’s until Starfleet orders the Enterprise back on course to Altair VI, to attend an important ceremony marking the advent of a peaceful democracy following an interplanetary war. Kirk is apologetic, and Spock seems to understand, but soon the ship is back on course to Vulcan on Spock’s orders. When Kirk finds out, he restores the ship’s course to Altair, then orders the increasingly agitated Vulcan to sickbay. Not long after, McCoy announces that unless Spock gets back to Vulcan within a week, he’ll be dead. It’s enough to infuriate even the most easy going of navigators. Spock eventually comes clean as to what he is going through. The imperative to find a mate is a biological necessity for Vulcans, which strips away the veneer of civilisation and logic that a Vulcan normally exhibits, and which must be fulfilled at all costs. It is something that isn’t discussed with outsiders, and Spock had hoped that he would be spared its ravages, presumably because of his human half. Now that the truth is revealed, Spock invites Kirk and McCoy to his wedding to T’Pring, the woman to whom he has been betrothed since they were both seven. Beaming down to the surface of Vulcan, Kirk and McCoy find a sere, arid world, low in oxygen, and a venue for the wedding that seems older than time. Kirk is also surprised to see the Vulcan matriarch T’Pau there, and she herself is less than pleased to see outworlders present at a quintessentially Vulcan ceremony. Spock vouches for his friends though. All that is left is the wedding, when T’Pring stops the proceedings and invokes the challenge. Rather than go through with the wedding, T’Pring expects Spock to face her champion for the right to her hand. A likely candidate named Stonn seems all too eager to face Spock, but in a bizarre twist, T’Pring chooses Kirk instead. Kirk must face his friend in battle, but no one has told him that it is a fight to the death.

This is a classic episode that ranks as one of the most memorable of the series. Why else would it use the music from that Futurama episode? Its strength is that it is a brilliant character piece that manages to put the two main characters in conflict. It also manages to flesh out the Vulcan race in the space of 50 minutes, where later series would spend hours doing the same for Klingons, Cardassians, or Borg. If you watch this episode, you’ll pretty much understand Vulcan society, the dichotomies between rationality and tradition, logic and passion. It’s a truly alien viewpoint where other Trek races usually come across as humans with bumpy foreheads.

Looking at the episode with 21st Century sensibilities, I find that the build up to the episode is extensive and even a little overblown. Half the show is spent on Spock’s growing problem, and the constant altering course of the ship is as laughable as the series of mutinies and counter-mutinies in Crimson Tide. It goes on just a little too long before we get to Spock’s revelation about his biology. Kirk treats it with the necessary amusement and gentle innuendo that a sixties television show deserves, but what comes across most clearly is the bond between the big three, as McCoy is just as concerned about Spock, and Kirk eventually disobeys a direct order to help his friend. It’s the same sort of loyalty that Spock demonstrated to his former commander in The Menagerie, and it shows how the friendship between the three has developed. While Spock and Kirk’s friendship has been evident from early on, this episode is evidence of how much more comfortable Spock and McCoy are with each other. Their relationship is hardly as abrasive as it was in earlier episodes like The Galileo Seven, and while Spock does threaten to break the good doctor’s neck, it’s nowhere near as confrontational as it once was.

So Pon Farr then. The Vulcan time of mating, the seven-year itch that you have to scratch with lirpas. The implication here is that Vulcans are very much like salmon, in that they have to return home to Vulcan to find a mate. Logically it is a highly restrictive idea, which effectively imprisons all Vulcans within 3.5 years travel of their homeworld, hardly a useful trait for a spacefaring people. It’s a point that is later, and understandably ignored, with location not really being part of the mating drive in later series. There is also a get out clause here for Enterprise, with Spock telling Kirk that it is a secret that only some outworlders know, giving the impression that Spock isn’t the first Vulcan to have found himself in dire straits among aliens. Also on Vulcan, he states that both parties are drawn to Koon-ut-Kalifee, suggesting that women are subject to the stresses of Pon Farr, although I would assume that it is through the telepathic bond, rather than their own biology. Hoping for synchronicity in mating cycles would be illogical. Reference is made to Spock’s hybrid nature, giving the impression that Spock is a late bloomer.

It’s this that can justify T’Pring’s actions, despite the fact that she comes across as a manipulative and cold-blooded woman. She would have been bonded to Spock early in life, and would have expected her life to progress like any other Vulcan’s, with wedding a fairly immediate prospect. The fact that Spock joined Starfleet was obviously a cause for concern, as she states that she doesn’t want to be the consort of a legend. But also consider that Spock is actually thankful that he didn’t suffer Pon Farr, and hoped that he would go on escaping its ravages. He was deliberately avoiding T’Pring. It wouldn’t be a surprise that she felt spurned. That she found solace in Stonn’s arms is quite understandable. Note that her relationship with Stonn is apparently involved and active enough to engender strong feelings in them both. This gives the lie to the idea that Vulcans can only be together once every seven years. Rather they have to mate once every seven years, the rest of the time, they are free to be as involved with their partner as they wish. This also paints Spock in a bad light. It’s obvious that he chose to neglect his relationship with T’Pring, and that had he maintained contact with her, he probably wouldn’t have been challenged, or surprised that it happened.

While we do learn much about the Vulcans in this episode, in one way it is as bad as any TNG episode that similarly focussed on Klingons. I’ve often found ridiculous that Worf will introduce a burst of Klingon speech, then immediately provide the translation. Here we get similar treatment of the Vulcan language. Pon Farr, Plak Tow, Koon-ut Kalifee, plenty of strange terms that are immediately translated for our benefit. In some ways, the stage-bound setting also hurts the show. Kirk and McCoy have to verbally describe their environment just so that we know it is hot and dry. While the idea of getting married in the Vulcan equivalent of Stonehenge is an attractive one, the execution is disappointing. I’m being petty here, but I would have loved to see this scene given a cinematic treatment. The guest list for the wedding is woefully short, and the story is lacking a throwaway line explaining the absence of Spock’s family. The costumes should have been grander, and the cute little bell frame musical instruments were actually comical. I half expected them to give us a burst of Jingle Bells.

Trivia include the Transylvanian T’Pau. Very Bride of Dracula. Also 10 years before Star Wars more famously did it, Star Trek gets its time and distance units mixed up, with Kirk discussing a diversion of 2.8 light-days, a distance astronomically trivial for an FTL starship.

But nitpicks are trivial in this brilliant episode, and the only thing that really rankles me is the simpering performance of Nurse Chapel. Otherwise this is an excellent character piece, with one of the best endings of any Trek episode. After all, who can fault McCoy’s perfect delivery of “In a pig’s eye!”?
 
After hearing the Young Kirk & Spock news, I'm gonna rewatch the series, well the good episodes anyway ;), tho I was planning to getting around to doing that even before the news broke.
 
Thanks to Pookha for reminding me this thread existed. :p

Seriously though, I can't believe that it's been 2 months since I posted a review. Unfortunately, it's that thing that afflicts us all at some point, real life, that has held me back. I just can't find the time to watch and review episodes of TOS, with all the other things going on in my life right now.

Rest assured that it is my every intention to continue with the reviews until Turnabout Intruder. I hope that everyone who reads these reviews can bear with me, and forgive the inevitably intermittent postings that will mark the reviews in the foreseeable future.

Thank you all for your patience.

The Laughing Vulcan

EDIT: Must add that this thread is currently prune proof, so if you feel like reading an older review, it'lll probably be somewhere at the bottom of the thread list. :)
 
I was just asking about you and your reviews, since I really miss 'em. What's this real life you mentioned? "Real - life?"

An interesting concept.
 
The Doomsday Machine

The Enterprise, responding to a distress call from the USS Constellation happens upon a scene of devastation, whole solar systems destroyed, planets torn apart. In system L370, they find all but two planets destroyed, and the Constellation adrift and powerless. Kirk assumes an attack, and orders the ship on alert, before forming a boarding party consisting of him, McCoy, Scotty and a team of damage control engineers, leaving Spock in command. They find a ship, wrecked, abandoned but salvageable. There is no sign of the crew, although once Scotty realises that the computer systems are still intact, he suggests looking at the ship’s log in Auxiliary Control. They find more than just the log though, ship’s commander Commodore Matt Decker is the sole survivor, and they find him half delirious, slumped over the console. McCoy revives him long enough for him to relate his fantastic story. The Constellation had come across a planet-killer, a gargantuan machine that literally tears apart planets and digests them for fuel. Decker attempted to stop it and paid the ultimate price. His ship wrecked, he beamed down his crew to the system’s third planet so that he could draw the planet-killer’s attention. To his horror, the planet-killer turned its gaze to the third planet instead, destroying it and the Constellation’s crew, leaving Decker alone aboard his wrecked ship. Kirk orders McCoy to take Decker back to the Enterprise, while he sees about getting the Constellation in some semblance of working order. However, the increased subspace interference that is affecting communications has ominous portent, and it isn’t long after McCoy and Decker have beamed out that the planet-killer reappears to finish its meal of planets and starships, cutting off communication completely. Back on the Enterprise, Matt Decker sees a chance to complete the job, and assumes command of the ship, forcing an attack on the alien weapon. This is over the protests of McCoy and Spock. McCoy knows that Decker is unfit for command, but because he hasn’t had the chance to confirm it with a medical diagnosis has no grounds to remove him, while Spock has had a look at the planet-killer and realises that the Enterprise alone is no match for a weapon miles long, armed with a beam of pure anti-proton, capable of dampening the antimatter power of a starship, and with a hull of pure neutronium. Decker on the other hand, motivated by the loss of his ship and crew, also knows that allowing the planet-killer to continue on its course will send it through the most populated portion of the galaxy. Needless to say, the Enterprise’s attack is ineffectual, while the planet-killer’s response is deadly. Soon the Enterprise is caught in a tractor-beam, being pulled to its doom. Kirk and the damage repair team manage to restore sufficient function to the Constellation to see the results of this foolhardy attack, and it’s only by coaxing power from the stricken ship’s impulse engines that he is able to turn the planet-killer’s attention away from the Enterprise. Communications restored, a furious Kirk orders Spock to disregard regulations and remove Decker from command, but with the Enterprise crippled, the Constellation wrecked, the 2000lb gorilla that is the planet-killer still remains. But hope is to be found in the final, suicidal act of Commodore Decker. Now if only the transporter remains operational…

The Doomsday Machine is a cracking episode, one of my favourites of the series that combines a Cold War allegory with a study of obsessive revenge that is worthy of Ahab. That’s despite a couple of conceptual flaws that have me scratching my head when I have more than a few seconds free to consider them. There are, I believe a couple of firsts for this episode, the first mention of subspace as a medium for communication and the first appearance of a starship other than the Enterprise. This is also accompanied with some impressive effects, with the battered and burnt wreck of the Constellation contrasting strongly against the pristine bulk of the Enterprise. We also get to see the Constellation’s auxiliary control, and an engineering room that is subtly different.

The Cold War connection is pretty obvious to begin with, when Spock describes the planet-killer as a weapon of last resort, and reiterates the idea of Mutually Assured Destruction. If it isn’t apparent by this point, Kirk drives it home by directly making the comparison to the H-Bomb. While the anti-war statement is pretty gently made, it isn’t allowed to interfere with the show’s positive stance on scientific progress, with Kirk commenting on the irony of using one century’s doomsday weapon to defeat another’s. William Windom makes for a strong presence as Commodore Decker. His initial appearance as a broken man, shattered by the loss of his crew is chilling. After being propped up by one of McCoy’s potions, he gathers himself enough to relate what has just occurred. Yet he is still a man close to the edge, and when coldly reminded my Kirk that the third planet, the planet to which he evacuated his crew, no longer exists, the breakdown of the man is palpable, as he plaintively cries, “Don’t you think I know that!” Yet when he is taken to the Enterprise, his recovery is almost immediate, as if with a working starship under his feet he is energised with the opportunity to make amends for his fallen crew. He does have a point in once more attacking the planet-killer, as its advance into inhabited space represents a clear threat to the Federation that he has sworn to protect. Yet his fervour for vengeance blinds him as he winds up making the same mistakes yet again, placing the Enterprise in peril and endangering another crew. In the end, Decker is a tragic figure, a man who lost everything when his crew was slaughtered, and has been suffering from an extreme case of survivor’s guilt. Despite his slow motion panicked suicide, I get the feeling that part of him would have been relieved to finally be joining his crew, to expiate that guilt.

In fact, the one weak point in this episode surprisingly is Kirk. It isn’t much of a weak point and really only affects the start of the episode, but for me it is something of a sore point. We are told that Kirk and Decker are friends of long standing (it’s enough for Spock to issue a word or two of condolence at the end), and also Decker is Kirk’s superior officer, yet the shortness with which Kirk initially treats Decker seems out of place given this. It’s almost as if Kirk has seen the end of the script, and he knows instinctively what we are yet to learn, that Decker has cracked. While Decker tries to tell him what happened to his ship, Kirk has no patience for him, hurrying him along, practically cajoling him for the answers, and when it comes to the third planet, it seems to me that Kirk is actually rubbing the fact in, “Yes, you did lose your crew didn’t you”

Then we come to nitpick corner. The planet-killer may be a great plot device, but in practical terms it makes even less sense than a… than a… than a Death Star! Much of the visual drawback of sixties sci-fi was a difficulty in adequately expressing ideas, and this episodes suffered significantly when it came to visual perspective, Decker’s shuttle appearing the same size as the Constellation for one thing. But the problem of perspective also carries forward to visualising the planet-killer in one’s mind. The planet-killer is gargantuan certainly, miles in length, with a maw capable of swallowing starships whole. Yet your typical planet is a few thousand miles in diameter, a gas giant ten maybe twenty times wider. The imagery I get is of one of those birds that sit atop elephants pecking at fleas. It isn’t going to particularly bother the elephant. Also it is a weapon, weapons generally have targets. No society is going to create a doomsday weapon and program it to explore the universe, and eat all that is eatable. It will probably be aimed at a target and told to eat enough to get there, and then settle down for the main course. Surely the amount of energy within a planet would be enough to send the thing a fair fraction of the distance, it just beggars belief that it has to eat every planet on the way for fuel. In fact, I would expect it to be grazing on Oort clouds, are munching the occasional asteroid, rather than dismantling innocent solar systems. Then there is how the thing is defeated. It’s basically a device that breaks apart planets and devours them for fuel. I’d assume that it does this by converting matter to energy. Yet dumping a bit of energy down its maw defeats it. I’ll let pass the idea that 98 Megatons seems a piddling amount of energy for a starship’s Impulse engines, but for a device that is designed to convert matter to energy on a planetary scale to be defeated by the overload of a comparatively microscopic starship is laughable.

But these are insignificant nitpicks in a dramatic episode that ranks among Star Trek’s finest. It’s perfectly paced, suspenseful and with a great central performance from the guest star. Actually I do have one final question. When Kirk asked Scotty to install the remote detonator to the ship’s engines, did he also ask for a ticking sound to accompany the thirty second countdown, just so he could crap his pants, or was Scotty just teasing?
 
Re: The Doomsday Machine

i would love to ask shatner what he was thinking when he played some of these scenes and what direction he was given.
to me decker was some one whom kirk had admired and possibly could have been a mentor to him.

but here is when kirk first sees him almost broken by what he has gone through.
it may have been the only way kirk could handle the situation by going into extreme professional captain mode because he knows what did this could still be out there and he needs to know now what happened.

plus kirk cant let himself feel empathy for what matt has gone through .. not at that moment.

the scene where decker is discovered is balanced with the one where decker is flying the shuttle toward the machine and how shatner plays kirk through that scene and the subtle but effective way kirk reacts to deckers death.

as for why an exploding startship could take it out.. well while the warp drive was online there is still probably stored anti matter on board and the process of well having to much all at one time vs taking in fuel in a controlled portion manner.

and the treaty for the romulan war was negotiated by subspace radio according to balance of terror.

:)
 
Re: The Doomsday Machine

The Laughing Vulcan said:
Surely the amount of energy within a planet would be enough to send the thing a fair fraction of the distance, it just beggars belief that it has to eat every planet on the way for fuel.

It has a very very inefficient digestive tract. To paraphrase Spock, "Destructive potential does not require girth".
 
Wolf In The Fold

It’s shore leave time again for the crew of the Enterprise, but this time there is a medical imperative. An explosion in engineering (caused by a woman) has left Scotty concussed and resenting women in general. McCoy, seeing this has prescribed shore leave, specifically shore leave in the company of a woman to get Scotty over his wee snit. Enter the planet Argelius, hedonist paradise on the borders of the Federation, where the people are hospitable and the women even more so. It seems as though the company of a belly dancer will solve all of Scotty’s problems, especially when she consents to a romantic walk in the fog. But Scotty’s problems are really just beginning, when the dancer ends up stabbed to death, Scotty ends up holding the knife, and he has no memory of what has just happened. The Argelians are so busy hedonising, that they import their administrators, and it’s one such man, Hengist from Rigel IV who heads up the investigation. Kirk is willing to see the matter settled according to the local laws, especially as Argelius is such an important port to Starfleet. The planet’s prefect reminds him of this, when he also explains that the idea of violence and destructive emotions have been banished from Argelius, and the violent murder is unsettling the populace. Kirk, wishing to expedite matters orders a technician beamed down with a psycho-tricorder to probe Scotty’s memories. This requires said female technician and Scotty spending some private time in a secluded room. Soon Scotty has another corpse to explain. Then Prefect Jaris’s wife, heir to a mystical Argelian psychic tradition attempts to get to the bottom of the mystery with a well-placed séance. Before she too is killed, she speaks of a monstrous, undying evil and reels off a litany of names. There’s only one place to solve this, that’s back aboard the ship, where the computer acts as an infallible lie detector, as well as receptacle for the energy being that is actually behind the murders, dooming the ship’s crew to slow, horrible, tortured and imaginative deaths. Mwuahahaha!

You can tell by the flippancy with which I approach the episode synopsis, that this isn’t one of my all time favourite TOS episodes. My opinion of it has altered over the years, there once was a time where I thought the idea of Jack the Ripper being an alien entity preying on women throughout the centuries as rather a cool premise. But watching Wolf In The Fold today, I feel I must continuously remind myself that this is a sixties TV show, that it was Ok to be misogynistic back then, that everyone did it. It doesn’t help though, especially when you consider that this sort of episode was quite typical of Roddenberry’s tenure. Argelius may be a planet of hedonists, a paradise where a ship’s doctor can prescribe quality time with a prostitute to get a resentful engineer to look at women in the socially accepted light (preferably through a soft focus Vaseline smeared lens). But when you look at Risa of TNG, where possessing a suggestively carved piece of wood invites sexual congress, as well as the oil-smeared lust bunnies of Justice, then I realise that there is an unsavoury aspect to Trek that is wholly at odds with the forward looking all inclusive society of ‘evolved humans’ that we are supposed to aspire to. Indeed, Wolf In The Fold holds much in common with Justice. In both episodes the Enterprise visits a planet of indulgent pleasure seeking sluts, but when one of the local laws is transgressed, the sluts reveal themselves to be reactionary Neocons, ready to administer the ultimate punishment to preserve their way of life.

Argelius is an alien world created on the cheap, it’s essentially one of those Middle Eastern paradises of sixties cinema, based on Morocco or Tunisia, where men lounge around hookahs, letching over gyrating belly-dancers (Belly button discretely concealed to avoid offending the censors of the era). The music is recycled from The Cage, where at least Pike had the decency to keep the misogyny confined to his fantasies. Here Scotty actually lauds his Captain for treating him to ‘shore leave’ (waggle eyebrows). His first meeting with the belly dancer is actually laughable now. Not for any reason for script or acting, but to see the contrast between the soft-focus female and the hard-edged Scot makes for quite the absurdity. If I were to see something like that in any other movie or programme, I’d assume there was something wrong with the DVD transfer. And then there is Scotty’s resentment of women because a woman was responsible for his accident. I wonder if the reverse would be true if it had been a man’s error that led to his head injury. In fact I was all ready to denounce this plot development as another example of what dates this episode, were it not for Scotty’s established stalker tendencies in Who Mourns For Adonais, where his attentions towards Lt Carolyn Palamas were obsessive to say the least. To cap off this crime against equality, Spock announces that women are more easily terrified, explaining why the alien entity preys on them.

The shine has gone off the Redjac aspect of the story for me. The idea of an alien entity surviving through the ages by feeding off the fear generated when it slaughters women, may have seemed acceptable entertainment in my teenage years, but now it just smacks of thoughtless writing. I can understand the need for many to demonise and create monsters of those who commit vile acts. It’s a balm to the credulous, a way of easing the fears of little children at night. Hitler slaughtered millions because he was a monster, a spawn of the devil, Saddam is evil, he toasts and eats the innocent for breakfast, and Jack the Ripper was an alien being that possessed an innocent man to use to slaughter women. Why an alien energy being would have a specific hatred of humanoid women is beyond me. But this all harks at the juvenile writing that passes for the lowest common denominator in entertainment. It’s stooping to the level of the Saturday morning cartoon, and while I expect as much from most television drama, it isn’t something I expect from Star Trek, especially given episodes like The Conscience Of The King, which presented a very human villain in Kodos, and actually attempted to analyse what would drive a man to commit such vile acts. Again, in What Are Little Girls Made Of? we are presented with another very human villain in Roger Korby, a man whose megalomaniacal dream eventually overwhelms him. And then of course there is Khan… To see Trek reduced to a monster of the week, no matter how ingenious, certainly lowers this episode in my eyes.

I could ask questions such as, if Scotty is suffering from a concussion, why is he on shore leave instead of in sickbay? After the first murder, why isn’t Scotty placed in custody, instead of accompanying Kirk and McCoy while they investigate? With a Vulcan on board, why go to the lengths of beaming down a victim in a miniskirt with a psycho-tricorder, instead of just trying a mind meld? Given the familiarity with the mind meld, why treat the Argelian séance with scepticism? Are only Vulcans allowed to be mind readers?

Things that appear odd to me include the ease with which Kirk jumps to the conclusion that the killer is non corporeal (there is that interesting aside from Spock, stating humanoids only make up a small portion of the galaxy’s life forms, an observation not borne out by the rest of Trek). It’s rather an odd hunch to play given what he has learnt up to that point, unless non-corporeal murderers have been dealt with before. There is also the realisation that since Redjac can jump bodies, that it probably was Scotty who slaughtered the belly dancer. It makes more sense than Hengist sneaking around in the fog. Finally there is the epilogue, when Kirk is trying to convince Spock to go skirt chasing with him on Argelius, he gives up, as he would rather not go skirt chasing alone. He needs male company to help him partake of the soft-focused lovelies on the planet below? And slash-fic is born!

Time hasn’t been as kind to Wolf In The Fold as the majority of the other episodes. Incidentally, I hate episodes that try and get the episode title into the dialogue somehow, especially when it’s as clumsy as in this one. The attitude towards women dates this episode horribly, and the monster of the week is a portent of the show’s eventual decline. Consider this, most Trek episodes had a point to make, yet I can’t figure out the message in this episode, unless it’s beware of short, quirky bald men.
 
Re: Wolf In The Fold

The Laughing Vulcan said:
There is also the realisation that since Redjac can jump bodies, that it probably was Scotty who slaughtered the belly dancer. It makes more sense than Hengist sneaking around in the fog.

This is an interesting line of thought, one that I never considered before. I always thought it was "Hengist sneaking around in the fog."

One other minor point - I think there should be a separate forum for those of you wanting to post "novels." I only did a quick glance at your post because it was book-sized. Luckily I spotted something I wanted to comment on. :p
 
Re: Wolf In The Fold

^Nope. We like this thread right where it is. Remember, you can jump out of the thread as quickly as you jump in.
 
Re: Wolf In The Fold

Brutal Strudel said:
^Nope. We like this thread right where it is. Remember, you can jump out of the thread as quickly as you jump in.

That's what you think. This is all part of my evil plan to ensnare the unwitting with posts that require use of the scroll button. How better to conceal subliminal messages urging the public lambasting of the two Bs, tanking up my bank account and the delivery of sexual gratification...

You know who you are, thank you very much, and same time next Tuesday Ok... :devil:
 
Reviews....

I've just spent about an hour or two reading the reviews here..:lol:

Pretty interesting, I have to say. (I'm looking forward to reading reviews for the rest of the season).

Some of the reviews brought up some interesting points about our characters that I would like to revisit in posts I will start on another day.

Note: 'The Doomsday Machine' was one of the only TOS episodes to really move me, as I think the pain Decker felt after losing his crew, his comrades(after he thought he saved them)...and not being able to do anything about it was conveyed well.
 
The Changeling

The Enterprise is on its way to the Malurian system, having lost contact with the population and a Federation Science team. They arrive to find that all life has been wiped out, the planets and star are there, but they have been sterilised. Suddenly the shields spring up, a powerful entity appears, not far from the ship, launching powerful bursts of energy that rapidly deplete the ship’s shields. Kirk’s attempt to respond in kind is totally ineffectual, but a last ditch attempt to open communications actually halts the attack. Amazingly Kirk’s name actually holds weight with the probe, and it insists on coming aboard the Enterprise to meet its ‘creator’. Weighing 500kg, but barely a metre in height, Nomad appears on the transporter pad, and begins a survey of the ship. At the same time, Kirk and Spock attempt to fathom its secrets, just why it is travelling through space, committing genocide, and most importantly, why it recognises one James T. Kirk as its creator. What they learn is chilling. In the early 2000s, a space probe named Nomad was built on Earth by Jackson Roykirk, and launched to discover new life. It was presumed destroyed in a meteor collision, but actually wound up merging with a powerful alien probe that was tasked with retrieving and sterilising soil samples. The resulting entity now believed its mission was to find and sterilise all life that was imperfect, and is now heading back to Earth to report to its creator, a planet incidentally full of imperfections. It truly becomes clear to Kirk how serious the situation is, when Nomad finding Uhura irrational decides to erase her memory, and then kills Scotty into the bargain.

Oh boy! After watching the episode again last night, what little appreciation I had left for The Motion Picture vanished down a metaphorical plughole. That film was almost a scene for scene remake of The Changeling, and actually inherits some of the episode’s flaws, including the ponderous pacing, the lack of humour and being hamstrung by unwieldy visual effects. There was a moment when Sulu turned back from the viewscreen to state the blindingly obvious, where I just lost it and started giggling. I just about managed to control myself, when Spock made a remark about Nomad practically being a life form, repeated almost word for word in the movie, and I lost it again. I doubt I’ll be able to watch TMP again until this episode is a distant memory.

Actually, this episode sets off on the wrong foot by some blatantly poor writing, which any one with a grasp of basic arithmetic could have culled early on. The Enterprise is hit with a force equivalent to 90 photon torpedoes, and this knocks down 20% of its shielding capacity. It is quite correctly stated that another 4 hits will completely knock out the shields. Although one wonders how many torpedoes a ship has to carry to actually be effective in battle, close to a thousand I would imagine. (Yet we have seen ships disabled and destroyed elsewhere in the series, with just one or two torpedo hits.). Anyway, 2 more enemy strikes later and the Enterprise has absorbed a total of 270 photons worth of energy. Kirk decides to return fire and off goes torpedo number two, to no effect. At which point, a dumbfounded Kirk asks, “What could have absorbed such energy and survived?” At that point I always respond, “Your own bloody ship you moron”

Don’t get me wrong; there is a gem of a story here. Why else would it have been remade as the first Trek feature? But in execution it leaves a lot to be desired. There is only one reason why this episode fails in my eyes, and that is Nomad itself. The practical effect used to realise the probe is cumbersome, unwieldy and awkward to work around. The pace of the show, the way shots are framed and the way it is all edited is utterly dictated by the effect, and there are moments where I could see the actors actually waiting to deliver their line. It completely kills any drama or suspense, and makes what could have been a great episode into an exercise in clock watching. As it is, I think the character of Spock comes away strongest from this episode, pitting his logic against that of a perfection seeking computer, although for once it is Kirk who has the superior grasp of logic, finding yet another way to spank an unruly computer into destroying itself. There are brief flashes of the usual TOS wit, but this episode is a little light on moments that make me smile. The average Trek episode is usually a more joyous experience for me, and I feel that the rest of the cast is just going through the motions, McCoy rants, Scotty overreacts, Uhura sings and then loses her voice, but it is all dictated by whether or not Nomad spins out of control on that wire suspending it from the rafters.

Questions. Vulcans mind melding with machines. In this episode and in TMP, we see Spock mind melding with circuits and silicon chips. I wonder if it is just Spock who can do this through his hybrid heritage, or if any Vulcan can do it. If so, why bother with keyboards and monitors. Surely they can meld with the average PC, and why would Spock bother using the buttons on his bridge console? Surely telepaths would be able to sense Data (although Tam Elbrun couldn’t in Tin Man), and holograms would be easy prey for Vulcans to practice their melding on in the 24th Century. Also the wonder of television contracts and writing mean that Scotty gets shocked to death, with a body left over for revival, while four redshirts get vaporised. Then there is Uhura’s erasure, rapidly remedied by a remedial course in sickbay. I refuse to believe that her memories were erased; rather Nomad just severed the connections to the relevant information. What Uhura had to do was relearn how to access the information. After all, while Uhura lost the ability to speak English, she was still fluent in Swahili. I would have liked a throwaway line to mention something to that effect, rather than give the impression that Uhura’s history had been erased completely. Still, it did allow for the one funny moment in the episode… Blue-ey!

And just for the record, approximately 4 billion Malurians, 4 Enterprise redshirts, and an unknown number of Federation science team members wiped out, and Kirk still has the wherewithal to make a quip about his son, the doctor. The guy has balls the size of grapefruits man!
 
Re: The Changeling

Amazing how much two people can disagree...

One of my favorite episodes of the second season. Perhaps the last line was a little heartless.
 
Re: The Changeling

And I stll love TMP. It's funny how, even when I disagree with TLV on an episode's overall quality, his individual criticisms are almost always spot-on.
 
Re: The Changeling

the quip at the end of nomad actually is one thing that i dont like about a few of the episodes. horrible stuff happens and they end with these forced light hearted moments.
:rolleyes:

as for spock melding with machines . remember nomad and vger are both true ai's something that is pretty rare in the trek universe. they have also been transformed by alien tech in ways we dont totally understand.

back to wolf in the fold..

Things that appear odd to me include the ease with which Kirk jumps to the conclusion that the killer is non corporeal (there is that interesting aside from Spock, stating humanoids only make up a small portion of the galaxy’s life forms, an observation not borne out by the rest of Trek).

well you hear of more non humanoid species then you see in trek but remember by this time they have run into the non humanoid..

the thasians from charlie -x
the squire of gothos and his people
organians from errand of mercy
the companion from metamorphosis to name a few.
 
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