Wicked.
Again I shall be brief, for it is late and I am tired.
So let’s take our speculative guesses on Time of the Doctor. What do we think is going to happen there? How do the photos and teases that have come out fit together? Why is there a wooden Cyberman? (That last one may just be me, but it’s certainly the one I’m most curious about.)
See you all Monday.…
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| There’s a bizarre subgenre of Star Trek stories that ape Fantastic Voyage… |
The title “One Of Our Planets Is Missing” sort of lets you know right from the start what kind of story you’re in for. There’s a giant space cloud going around literally eating planets which the Enterprise crew notices when, in fact, one of their planets happens to go missing. It’s at once the kind of delightfully mental science fiction concept that can really only be done justice to through animation, but also a plot that’s simple and straightforward enough to convey in twenty minutes.
We haven’t talked much yet about the difference in runtimes between Animated Series and Original Series episodes. A necessary consequence of changing from a primetime drama to a Saturday Morning Cartoon Show is that the episodes went from being fifty minutes each in the 1960s to only being twenty minutes each on the 1970s. This is largely to Star Trek’s benefit: One of the biggest problems with the pulp style of pacing and structure the Original Series so often lapsed into is that it’s essentially built around padding. The average pulp action serial plot is nothing more than a series of increasingly tedious captures and escapes occasionally broken up with an implausible, ridiculous and unnecessarily gratuitous fight scene. And indeed, it’s a model of storytelling Gene Roddenberry was quite a fan of, even judging only by “The Omega Glory” and “The Savage Curtain”. What this means is that, stretched to fifty minutes, this kind of plot grows tiring and irritating extremely quickly. However, now that Star Trek is a cartoon, it doesn’t have the luxury to indulge itself like that anymore: Twenty minutes is just enough time to set up the basic plot, lay out the boundaries of the conflict and than do something about it before the credits role again.
Which is exactly what we get in “One Of Our Planets Is Missing”. The titular planetary misplacement occurs, we get to see some funky looking space cloud that eats things and then there’s a rapid-fire bit of exposition about how it exhibits traits of unicellular organisms and grazing animals and oh, by the way, it’s currently on a direct course to a planet inhabited by millions of people so we’d probably best figure out a way to stop that. Then the Enterprise itself gets engulfed and partially digested, so oh bugger. With that taken care of, the episode gets to focus on the actual interesting bits, which involve the Enterprise crew making continuous observations about the creature and debating amongst themselves what the best course of action to take is. Nobody has to get kidnapped and we don’t have to introduce some left-field plot element three-quarters of the way through: It’s just the distilled essence of a Star Trek space adventure. The episode doesn’t quite pick up on all the intricacies afforded by its new model yet (there’s a wee bit too much technobabble even for my tastes) but honestly? In the scheme of things I’ve complained about so far?…
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| Godzilla vs. Spock was one of the lesser-known Godzilla films of this period… |
“Yesteryear” is pure D.C. Fontana.
When returning from a mission of research into Federation history through the Guardian of Forever, Kirk is stunned to find out nobody on the Enterprise seems to recognise Spock, and that he himself doesn’t recognise the person the crew is calling the ship’s first officer: The Andorian Commander Thelin. A brief scan of the ship’s record banks indicates that Sarek and Amanda, Spock’s parents, divorced about twenty years ago after the death of their only son, Spock. This is of course, patently untrue as Spock is sitting at the table as the computer relays this information. The computer goes on to say that Amanda was later killed herself in a shuttlecraft accident. Reasoning that history has somehow been changed by their presence in the past, Kirk and Spock return to the planet and Spock recalls that the date he is said to have died is the same day he remembers being saved by his cousin Selek from an attacking wild animal. After being pressed by Kirk, Spock recalls that actually, now that he thinks about it, Selek looked an awful lot like him.
Before we go any further, I want to talk a little about the temporal mechanics in this story, as they’re fascinatingly not the norm for time travel stories. The crucial detail is in how the Guardian of Forever works: It exists at the vortex point where every timeline in the universe converges and, as a result, endlessly broadcasts a record of every possible time stream. We can interact with it by leaping through it at the appropriate moment. What happened was that while Kirk and Spock were in the past, Vulcan’s own history was being broadcast at the same time. Because Spock saved his own life and he was in a different time stream when the moment he was supposed to save himself was playing, he missed the crucial moment. But he doesn’t erase himself from history, to the contrary: He turns both himself and Kirk into historical orphans by jumping each other’s time streams. In other words, the Guardian of Forever works like a television set.
Although this was hinted at a bit in “The City on the Edge of Forever”, it’s extremely clear in “Yesteryear”. The different time streams are easily comparable to television stations, and the slow, methodical cycling through them all is very much like someone sitting down and turning the dial on their set. The Guardian even looks like an old-style tube TV in this episode. This is altogether fitting in the context of the position Star Trek is now in: The Original Series is now more popular than it’s ever been and is enjoying runaway cult success in perpetual, neverending syndicated reruns. Meanwhile, along comes the Animated Series attempting to make a decisive claim for what the future of the franchise should look like, and there’s already a considerable amount of ambivalence about the project.…
Nearly one year on, these are the things I remember.
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| “Whoa, guys. Just…Just seriously. Don’t drop acid before studying termite mounds.” |
“Enterprise log, Captain James Kirk commanding. We are leaving that vast cloud of stars and planets which we call our galaxy. Behind us, Earth, Mars, Venus, even our Sun, are specks of dust. The question: What is out there in the black void beyond? Until now our mission has been that of space law regulation, contact with Earth colonies and investigation of alien life. But now, a new task: A probe out into where no man has gone before.”
The canonicity, and thus ultimate legacy, of Star Trek: The Animated Series has been a point of contention amongst fans and creative personnel since just about the day it premiered. While I’ve outlined my thoughts on Star Trek “canon” previously (in brief, I think it’s largely hogwash) it’s important to consider the general reception works like this attain, as doing so allows us to understand the ebb and flow of the overall work that is Star Trek over time.
If anything has the right to be called Star Trek though, it’s surely Star Trek: The Animated Series, isn’t it? It served as a reunion for almost the entire creative team from the Original Series, with the exception of Gene Roddenberry, Gene Coon, Walter Koenig, John Meredyth Lucas and the Season Three team (The show couldn’t afford Koenig, Coon was, erm, dead, Roddenberry wasn’t interested, Lucas was busy on Insight and I really can’t say I miss Arthur Singer) and D.C Fontana herself personally spearheaded the project. Fontana stands behind the show to this day, firmly stating that her and her team always tried to make the best possible Star Trek they could under the circumstances, which I think is actually truer here than it was throughout the majority of the Original Series. In fact, Fontana considers Star Trek: The Animated Series the official fourth year of the Enterprise‘s famous five-year mission, and I’m not really one to disagree with D.C. Fontana.
But in spite of her convictions, Fontana’s claim has not only not gone unchallenged but it’s been largely ignored. Despite the occasional in-joke or reference in future series and the more relaxed attitude of places like the Memory Alpha wiki, Trekkers seem to have a very hard time accepting Star Trek: The Animated Series into their hearts. In the years and decades since it was made, there have been countless attempts to tell the story of those infamous “last two” years of the five-year mission, completely disregarding the existence of the Animated Series. There have been number of tie-in novels and comic books, not to mention the video games Star Trek: 25th Anniversary, Star Trek: Judgment Rights and the as of this writing forthcoming fan production Star Trek Continues that all purport to tell the story The Animated Series has ostensibly already told.
This is highly unusual for Star Trek fans, who usually hang off of the words of creators as if they come down from On High.…
So Monday we finally start Star Trek: The Animated Series and the next phase of the franchise. This means today is sort of our last opportunity to talk about the Original Series as the incumbent form of Star Trek (although even then it’s not quite cut-and-dry as I make it seem, which we’ll talk more about tomorrow) and, given that, I thought I’d use this space to very briefly sum up my thoughts and recommendations concerning the 1964-1969 series.
Under my post on “The Apple”, frequent commenter and blog friend Flex quoted a Futurama episode where Fry, when talking about the Original Star Trek says something along the lines of how the show had “79 episodes…and maybe 20 good ones”. Back then, Flex mused as to whether we’d even be able to meet that tally on Vaka Rangi.
I took that as a challenge.
More recently, under the “Turnabout Intruder” post, 5tephe wondered if I could put up my revised list of recommended episodes: I mentioned coming up with such a thing for my Trek neophyte sister when talking about “Let That Be Your Last Battlefield” and made an offhand remark on how I’d’ve chosen different episodes after doing this project. 5tephe quite reasonably thought this might be a good resource for other people who are trying to get into this historically significant but notoriously sticky and problematic series.
So this is for Flex, 5tephe, my sister and I suppose anyone else who might get some use of it. It’s a list of twenty episodes of the original Star Trek that I feel showcase the series at its strongest and that most clearly reflect its best virtues. I tried to pick six from each season, although that still doesn’t divide evenly so I gave more weight to some eras than others, but not unjustly I feel. There were a few other episodes I thought were solid, if not particularly outstanding and I could have included them as well, but I really wanted to hit an even 20 here to keep with the theme I’d chosen for myself.
So with that, I hope you enjoy.
1. “Where No Man Has Gone Before”
2. “Balance of Terror”
3. “The Conscience of the King”
4. “Arena”
5. “The Alternative Factor”
6. “Tomorrow is Yesterday”
7. “The Devil in the Dark”
8. “Amok Time”
9. “The Doomsday Machine”
10. “Mirror, Mirror”
11. “The Trouble with Tribbles”
12. “Journey to Babel”
13. “A Piece of the Action”
14. “Patterns of Force”
15. “The Ultimate Computer”
16. “Spectre of the Gun”
17. “The Empath”
18. “The Tholian Web”
19. “That Which Survives”
20. “The Cloud Minders”…
So. Gal Gadot as Wonder Woman.
I’ll confess up front that I haven’t seen her in anything. The only one of the Fast and the Furious films I saw was the first one, which was a perfectly serviceable mindless action movie of the sort Vin Diesel is very good at appearing in. My only memory of it is the bit where the car drives under a semi. I assume the subsequent movies are memorable in exactly the same ways.
Which is to point out what everybody with a brain and a keyboard already has, which is that there’s nothing in her resume that inspires confidence. This is not in and of itself a problem – Lynda Carter had a thin resume as well, and she was phenomenal in the part. Everybody has a big break.
And I’m not one of the people who’s intrinsically down on the movie because it’s a Zack Snyder film. I like Snyder, and think he’s largely misunderstood. I liked Man of Steel. The problem is that everything I liked about Man of Steel is also a reason why it’s a terrible cornerstone to try to build a big DC Universe franchise out of. I liked Man of Steel for being a cynical take on Superman that was the first well thought out response to Grant Morrison’s stuff to date. And I still think it was that.
And it’s the director of Sucker Punch doing Wonder Woman. And I think Sucker Punch is a flooringly brutal, angry feminist film that was criminally misunderstood. It’s one of my favorite movies of the last decade. And while I don’t imagine the director of Sucker Punch is going to make a straightforward and iconic Wonder Woman movie, there are many ways in which the prospect of a Wonder Woman movie from him just sounds phenomenally exciting. I want to see his take on Wonder Woman.
The thing is, that’s not what this is going to be. Wonder Woman seems to be in the movie as part of a commitment to establishing a DC Cinematic Universe to rival Marvel’s. And Snyder’s the wrong guy to do that. He does angry deconstructions, where what you need here are the iconic, straightforward takes on characters carefully and well-executed. Man of Steel was, for me, a great Superman movie, but it’s an awful start to an ongoing Superman franchise. And I can’t help but fear Wonder Woman will end up in a similar position here. And given that she, unlike Batman and Superman, doesn’t have a history of coming back again and again in film, that’s worrisome, because as many have pointed out, this is probably the only chance we’ll get for ten or twenty year.s
But all of that has little to do with Gal Gadot, who is taking on a role with a lot of expectations. I hope she nails it. And while I have no reason to think she will, I also have no reason to think she won’t.
Thoughts?…
There’s a certain set of expectations that are put in place when you put on a record with a title like Space Ritual. These are further heightened when you glance at album artwork like that, which has got to be one of the most gorgeously mind-warping bits of sleeve design I’ve ever seen. So suffice to say I guess I expected that whatever this album was going to sound like it simply had to be some kind of consciousness-elevating, perspective shifting head trip. What I experienced was not quite what I anticipated, but an experience Space Ritual certainly is.
Music is one of the hardest things for me to write about, and it aggravates me no end. Probably nothing resonates with me as powerfully as music does, but it evokes such a complex tapestry of emotions, moods and imagery for me I often find myself unable to translate my feelings into anything resembling coherent language. I’m no musicologist or music critic and maybe that has something to do with it, but either way, no place do I feel the torment of Avital Ronell’s ethereal phantom dictator than when I try to say something intelligent about music. I always end up feeling like the protagonist of William Shatner’s “Lucy in the Sky with Diamonds”, haplessly and fruitlessly trying to describe enlightenment to someone who didn’t experience it firsthand. I’m also once again handicapped by the fact I’m writing about a group of artists I’m not especially familiar with and feel woefully underqualified to actually talk about.
But even so there are a fair amount of interesting things I was able to notice about Hawkwind’s Space Ritual even given my limited experience with the band that slot the album very nicely into the cultural zeitgeist of the early 1970s. Hawkwind, firstly, are a UK-based rock outfit who combine elements of Psychedelia, acid rock and prog rock and who are usually credited as the originators of space rock, which fuses all of these disparate sounds together through an interest in science fiction motifs. While this isn’t the kind of space rock I’m familiar with (which uses a lot more electronic instruments, distortion and overdubbing) it is quite an apt description of what Hawkwind sound like. With their heady themes and incredibly skilled guitar shredding, Hawkwind are also seen as the intermediate step between the Hippies of the Long 1960s and the Punks of the Long 1980s. They were also one of the most laudably workmanlike bands of their time, regularly doing one show every three days and once playing five consecutive nights for free outside, not at, the Isle of Wright Festival. Space Ritual itself isn’t an album in the traditional sense: It’s a double-disc live album chronicling a night from Hawkwind’s 1972-3 tour to support their Doremi Fasol Latido album. However, like so many great live albums, Space Ritual holds together perfectly on its own to the point it more than overshadows the records it’s ostensibly trying to support.
That Space Ritual is a recording of a concert is key to grasping its impact, as it really does feel like this kind of music is meant to be shared with a live audience.…
Mandela was unquestionably a great man. But he was great because he was once a fierce fighter against oppression, not because he was a saint with a nice line in inspirational aphorisms. He was also a flawed human being whose party, under his leadership, capitulated to capitalism, embraced neoliberalism and perpetuated drastic economic inequality. Let’s mourn the passing of a fighter against racial discrimination, who endured decades of suffering (on a level that I can’t even conceptualise, let alone imagine myself tolerating) for his principles. But let’s not lose ourselves in lachrymose sentimentality and forget the real history of post-Apartheid South Africa.
Pilger: http://www.newstatesman.com/2013/07/nelson-mandelas-greatness-may-be-assured-not-his-legacy
Klein: http://www.naomiklein.org/articles/2011/02/democracy-born-chains…
Panic Moon is back, and it’s about time. I’m in it again.
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| Och aye the noo Doctor. |
Just like old times.
Get it here. It is good.…