Star Trek IV: The Voyage Home directed by: Leonard Nimoy

 

Star Trek IV: The Voyage Home stars William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, and Catherine Hicks.  It is directed by: Leonard Nimoy, written by: Steve Meerson, Peter Kirkes, Nicholas Meyer, and Harve Bennett, from a story by: Harve Bennett and Leonard Nimoy, and is produced by: Harve Bennett.  It was released theatrically on November 26, 1986.

 

It's genuinely quite surprising that Leonard Nimoy would be asked to return to direct another Star Trek film, mainly because any follow up to Star Trek III: The Search for Spock would bring the challenge to Nimoy of directing a film where he is a main character.  There are obviously challenges having to direct yourself, but Nimoy was attached to the fourth Star Trek film before there was even a script developed.  Star Trek IV: The Voyage Home had a particularly odd development, starting life as a potential prequel due to the potential of William Shatner dropping out though he would be signed on after negotiation.  Like Star Trek III: The Search for Spock, Star Trek IV: The Voyage Home would be afforded a budget increase from the previous film and uniquely much of the film would be shot on location, largely in California though not entirely San Francisco where the majority of the film is actually set.  This above everything else is what gives the film its unique atmosphere and tone, it’s very different to see our characters interacting with real locations and not the science fiction sets.  Robert Fletcher returned from the previous three films to provide the costumes and his work on the film is integral in making the futuristic costumes work in the modern setting.  Yes, Star Trek IV: The Voyage Home is a time travel film where Kirk and company in their stolen Klingon vessel (rechristened the Bounty after Mutiny on the Bounty) have to go back to the 1980s to steal some humpback whales because an alien probe is causing havoc on Earth by emitting the call of humpback whales.

 

The actual premise to get our characters to travel back in time when you think about it is utterly ridiculous, there is no explanation as to why an alien signal would even be Earth humpback whales.  This, of course, doesn’t matter.  The film needs to have a plot to end the trilogy of reflection on ideas of humanity’s needs and the sacrifices that are made to meet them.  The first act of the film, before the time travel slingshot maneuver gets these themes right out in the open.  Jane Wyatt and Mark Lenard as Amanda Grayson and Sarek are integral to this, the former giving her son advice while the latter advocates for clemency towards the Enterprise crew for the actions in Star Trek III: The Search for Spock.  In terms of roles, they’re quite small, Wyatt doesn’t even get to appear in the film’s denouement, but they both provide the film the harmony that Star Trek so often represents thus making the film work.  There’s a knock on effect of making Star Trek IV: The Voyage Home feel like an ending for the Star Trek films, despite two more being produced with the original cast (though it’s possible they would have stopped here with the production of Star Trek: The Next Generation beginning after this film was released).  There’s a finality in the production even down to the score, Leonard Rosenman being brought in and basing everything on variations both obvious and subtle of Alexander Courage’s original television theme.  Rosenman’s theme work for the film is potentially among the franchise’s best and most interesting so far, even above the stellar work of Jerry Goldsmith and James Horner (legendary composers in their own right).

 

So much of Star Trek IV: The Voyage Home can be described as an incredibly fun time.  While the premise is ridiculous, it’s a vehicle to allow the cast to have some of the best interactions and for the supporting cast the deepest characterization.  The film is one that is carried by a script full of some of the best one liners and character interactions that the franchise has done.  Nimoy’s portrayal as Spock is characterized as the stiffest and most logical he has ever been, rationalized as an effect of his resurrection in Star Trek III: The Search for Spock for better and for worse.  By the end he is back to the character familiar to viewers and there are especially good interactions with the fish out of water setting of 1980s San Francisco, but Nimoy is perhaps given the weakest material, likely reflecting Nimoy pulling double duty of acting and directing.  Everyone else on the other hand is clearly relishing the chance to play against the typical supporting material.  Each character has a mission in San Francisco to capture the two humpback whales, a pair set to be released into the wild.  This is where some of the film’s best lines and ideas come about: from Walter Koenig just blatantly asking people where he can find nuclear vessels, to DeForest Kelley being intensely angry about 20^th century medical practices, to James Doohan causing a bootstrap paradox to get materials in a smug way only James Doohan could.  Nichelle Nichols is also clearly relishing the chance to be the authoritative figure in her own plotline, being largely paired with Koenig and getting some of the best pieces of face acting she’s had to pull.

 

William Shatner is still the leading man of the film as Kirk, for the first time in these films being given a love interest in Catherine Hicks as Dr. Gillian Taylor, a marine biologist who has fallen in love with the whales.  This is where the script’s dialogue equally sparkles, the roundabout way Kirk gets to the point is a particular masterstroke before culminating in the line “I’m from Iowa, I only work in outer space.”  There is this pop cultural depiction of Kirk as incredibly sexually active, but Star Trek IV: The Voyage Home avoids that.  The relationship between Kirk and Taylor is one that grows over the film, but never actually spills out into proper, explicit romance.  Despite Taylor ending the film in the 23^rd century with her precious whales, the ending is explicit that their romance really wasn’t a romance at all.  The film makes the decision to not frame this as disappointing for either party, handling it with an adult sensibility that really works.  It helps that Hicks is perfect at playing the straight man to a lot of the film’s future comedy, especially as it goes on and she is embroiled in the science fiction plot.  It’s another aspect that really builds the film and helps end things in a satisfying way that the series probably should have ended here.

Overall, Star Trek IV: The Voyage Home can be described as an incredibly fun film.  Somehow, each installment of the Star Trek films has had a radically different tone and plot, yet each feel like an aspect of Star Trek.  This review couldn’t possibly encompass everything that makes the film work, especially with how strong the script is in terms of comedy while not ever letting the viewer or characters lose the tension.  The premise is just a tad too ridiculous and in terms of drama it obviously doesn’t become as emotionally satisfying of Star Trek II: The Wrath of Khan, but it is certainly a satisfying film just to let watch over you.  It’s a funny adventure with huge stakes and the cast giving it their all under a director they already love working with and the quality reflects what makes that work.  8/10.

Star Trek III: The Search for Spock directed by: Leonard Nimoy

 

Star Trek III: The Search for Spock stars William Shatner, DeForest Kelley, James Doohan, George Takei, Walter Koenig, Nichelle Nichols, Merritt Butrick, and Christopher Lloyd.  It is directed by: Leonard Nimoy, written and produced by: Harve Bennett, and was released theatrically June 1, 1984.

 

It’s honestly weird that an actor like Leonard Nimoy would ever return to the role of Spock after his powerhouse performance in Star Trek II: The Wrath of Khan, however, that film reignited his love of the character.  Add to this the fact that Star Trek II: The Wrath of Khan was a success at the box office, a sequel would be greenlit and Paramount Pictures decided that Nimoy would direct the film after Nicholas Meyer refused to return for a sequel on grounds of not liking the idea of resurrecting Spock.  This is one of those stances that I have to at least agree with Meyer being at the very least wary of, when telling a story death being reversible can often lower the stakes and deflate the tension of a story.  Star Trek III: The Search for Spock is a film that wraps its entire narrative around the idea of Spock coming back, being lost and only reappearing in the final scene with writer Harve Bennett starting with what would essentially be the final line of the film and working backwards from there when writing the script.  Bennett’s script is largely contemplative, in its best moments focusing on what happens when the Enterprise crew has to deal with the hole left by the death of Spock.  Gone is the swashbuckling tone from Star Trek II: The Wrath of Khan and in its place is a film that feels slower despite being eight minutes shorter.  Much of this is down to Leonard Nimoy’s style of direction, attempting to create this sense of mystery as to what is actually occurring in the plot while Meyer was more interested in bringing out the space adventure.  The back half of the film becomes essentially a quest narrative when discovering where Spock lies, the film to this point being split between an A, B, and C plot.

 

The A plot is following the rest of the Enterprise crew as they head home and discover along the way what has happened to Spock’s soul, the B plot and C plot both involve the Genesis planet.  The B plot involves Saavik (played here by Robin Curtis) and David Marcus cataloging the life on the Genesis planet discovering a rapidly aging young Spock, while the C plot is our villain’s wish to take control of the Genesis planet for the Klingon Empire.  The villain Kruge is played wonderfully by Christopher Lloyd under the intense but now recognizable Klingon makeup, largely dialing in a performance under what he would usually give.  Lloyd’s general history as an actor in comedy could have led to him going too over-the-top, but he has the range as an actor to pull off a villain.  He’s taking the material largely straight, especially when he has to deal with Klingon dialogue which as a conlang began to be properly constructed for this film, though it would be refined throughout the sequels.  Lloyd’s performance is largely overcoming one of the weaker aspects of the film and that is both plotlines involving the Genesis planet.  Kruge’s motivations are muddled and reduced poorly to wishing to expand the Klingon empire and start a war for glory, something that feels while not out of character for a Klingon but almost shallow and to be expected.  Star Trek III: The Search for Spock has a major issue of the B and C plots not integrating well enough in the main plot to the greatest effect.  While the effects work on the Genesis planet of the rapidly evolving life forms is quite nice, a lot of the revelations to Saavik and David don’t parallel nearly as nicely as with the main plot as Kirk and company discover that Spock’s soul, called a katra here, is inside Bones causing him to act increasingly erratically and eventually try to escape Earth to reunite with Spock’s body.  There is also the decision to have David killed in what should be a dramatic moment for Kirk and Saavik, and while Robin Curtis plays it well, Shatner despite his best efforts doesn’t feel nearly as connected to David as Kirk’s son.  There is also the issue of the film repeating itself on the events of Spock’s death, being replayed twice, once at the beginning and once in the film proper which would have been far more effective without the recap at the top.

 

When the film switches from a mystery to a quest narrative with Kirk and company stealing the Enterprise and breaking McCoy out of prison it comes at a surprise that the tonal shift doesn’t cause many problems.  It’s a sequence of the film where the rest of the supporting cast outside of Shatner and DeForest Kelley are able to shine, especially in actually pulling off the heist to take control of the Enterprise.  There’s also a gambit near the climax of the film to set the Enterprise to self destruct allowing James Doohan and Walter Koenig a chance to stretch their gravitas to a dire situation, great especially for Doohan whose wry comic relief adds fun to much of the rest of the film.  Nimoy not being in the film also means as a director he is able to get truly great performances out of Shatner and Kelley, though some of the minor characters don’t fair so well with the occasional line delivery that is particularly awkward.  Shatner throughout the film is largely in the mode he was at the end of Star Trek II: The Wrath of Khan, incredibly serious and pushing himself through to fix his problem and saving his friend, the script paralleling Spock’s final words by turning them on their head so that the needs of the one outweigh the needs of the many.  The scene he shares early on with Mark Lenard as Sarek is particularly interesting because it allows Kirk to reflect deeply on his friendship with Spock.  Kelley on the other hand gets to play McCoy as essentially deteriorating and disoriented through the film, a tricky needle to thread by allowing both characters shine through at moments without really changing too much in his vocal delivery.  Having it be McCoy in possession of the katra is also a brilliant reflection on the mirror between him and Spock as characters, and an expression of their deep friendship despite the outwards animosity in their relationship.

 

Overall, Star Trek III: The Search for Spock is clearly not as good as Star Trek II: The Wrath of Khan, but having to follow-up to that film was always going to be a difficult task.  The characters are excellent and the actual way Spock comes back is particularly excellent (with a small role from Judith Anderson).  Leonard Nimoy’s direction is slick and handles the different tones of the film quite well while he gets some of the best performances out of his main cast, even if some minor roles suffer underneath it.  It’s quite the good time, but is held back almost too much by the unevenness of the plotlines and not really having the strongest showing from an antagonist due to a lack of thematic linkage to the main thrust of the film.  6.5/10.

Star Trek II: The Wrath of Khan directed by: Nicholas Meyer

 

Star Trek II: The Wrath of Khan stars William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, Walter Koenig, George Takei, Nichelle Nichols, Bibi Besch, Merritt Butrick, Paul Winfield, Kirstie Alley, and Ricardo Montalban.  It is directed by: Nicholas Meyer, written by: Jack B. Sowards, from a story by Harve Bennett and Jack B. Sowards, and produced by: Robert Sallin.  It was released theatrically June 4, 1982.

 

Looking at the original pitch of Star Trek the phrase ‘Wagon Train to the Stars’ is thrown around as to what the series would be.  A series about being on the outer frontiers of the galaxy, spreading humanity out to the vast reaches of space and the stars.  In adapting the series from television to film, Star Trek: The Motion Picture is exclusively about that exploration and the discovery of the unknown.  It was also a film that was overbudget for Paramount Pictures and was released to mixed reviews from critics and audiences alike, though the box office returns did make up for this and led to the development of a sequel.  For the sequel, Gene Roddenberry was early on placed into the role of “executive consultant” despite writing his own potential script about time travel and ensuring the Kennedy assassination occurs.  Roddenberry’s influence on the films from this point would largely stay in the role of consultant, though he would have far more control and influence on the early seasons of Star Trek: The Next Generation when that entered production in 1987.  Paramount was insisted that the second Star Trek film would be made on a tight budget of $12 million and producer Harve Bennett was brought on board to ensure this happened and suggested the use of Khan as the main villain of the film.  Several iterations of the script would occur before up-and-coming director Nicholas Meyer was brought on board.  Meyer and Bennett are the two men largely responsible for making Star Trek II: The Wrath of Khan the film that it is.

 

While Roddenberry’s vision for Star Trek was largely a western, Star Trek II: The Wrath of Khan takes larger cues from adventure stories.  Herman Melville’s Moby Dick is alluded to throughout the film as this is Khan’s quest for revenge against Kirk and the Enterprise for leaving him on Ceti Alpha V which due to the random destruction of Ceti Alpha VI, leading to ecological destruction on Ceti Alpha V, six months after the events of “Space Seed”.  While this tone for the film may not be what Roddenberry envisioned for Star Trek, it is not something foreign to the franchise.  The episode “Balance of Terror” in particular is a precursor to the naval thriller tone that Star Trek II: The Wrath of Khan employs.  Nicholas Meyer in the director’s seat is given the genuinely difficult task to make an adventure film with a rather limited range of sets, mostly interior sets of the Enterprise and the Reliant, with long stretches of the film taking place on the bridges of these two ships (or a simulation of the bridge).  Meyer’s direction never makes these sets feel particularly stale, despite the similarities between them and their muted color palettes.  The score by a young James Horner adds to the swashbuckling adventure tone of the film by populating it with wholly unique themes that aid in telling the story.  There are other sets of course, Ceti Alpha V is the most impressive set of the film, at least for how it depicts the destruction and uses sand to great effect for the oppressive atmosphere.  It’s only used for an early sequence in the film, but using it and the lush forest for the final shots of the film creating the visual parallel for the film’s theme of death and rebirth.

 

Going into Star Trek II: The Wrath of Khan, I was already familiar with how the film ended, with Leonard Nimoy’s Spock sacrificing himself for the greater good.  Nimoy and William Shatner as Admiral Kirk give fantastic performances in the final twenty minutes of the film in a sequence that has entered the general pop culture consciousness for a good reason.  The subsequent funeral for Spock is discussed less, but it is just an emotional sequence as the death of Spock.  Shatner gets a small amount of dialogue, but outside of that the effectiveness comes from Meyer’s direction and the emotional pause to come to terms with the death of Spock.  The death itself is elevated by it being the second death of Spock in the film, in the opening sequence of the film Spock is killed by Klingon weapons attacking the Enterprise.  This is a simulation for the Kobayashi Maru test, a no-win scenario outlining the entirety of the film as a no win for Kirk and the Enterprise.  Kirk is a man who does not believe in the no-win scenario as a possibility and much of his arc in the film involves the no-win scenario of aging.  After the simulation there is a sequence involving Kirk’s birthday, Shatner playing the part as unsure of his place in Starfleet and uncomfortable with aging.  This is a film that puts Kirk with a younger generation in general: Kirstie Alley plays Saavik, a commander-in-training used to question Kirk’s methods and someone for Spock to be a mentor to and Merritt Butrick as David Marcus, Kirk’s son from a relationship with Bibi Besch’s Carol Marcus.

 

This makes the film in many ways one of letting go and having the younger generation willing to take over, allowing the change of the world to take place.  DeForest Kelley as McCoy, while not essential to the plot and largely filling his role in the main trio of characters as he would were this a televised episode of Star Trek, is the character who has changed and learned to go with the flow of the world, allowing himself amazement when being shown the results of the terraforming Genesis device.  Khan as a character is driven by his static villainy, he has not changed since the end of “Space Seed” and has really allowed himself to fester in his need for revenge.  Ricardo Montalban returns to the role and relishes every scene he gets to play.  Most of the discussion about Star Trek II: The Wrath of Khan is largely about the interplay between Khan and Kirk, something that yes is both important and the best aspect of the film, but in viewing it I noticed his early scenes to be more interesting.  His introduction is against Walter Koenig as Chekov and Paul Winfield as Clark Terrell.  While Koenig wasn’t in “Space Seed”, Chekov is used here as an introduction to Khan’s revenge and static nature, he is stuck in the past and is motivated by a clearly unjust revenge.  Koenig actually plays the scene equally well, despite being against such a strong personality of Montalban, and it is the strongest Chekov has ever been characterized.  Meyer also excels at the subtle body horror of the sequence as Chekov and Terrell are infected with eel larvae that allow Khan to control their actions.  Montalban is also an incredibly physical actor, despite not having much to do physically, the blocking of his scenes are always showing the viewer exactly where his mind is at and how many steps ahead he is.

 

Overall, Star Trek II: The Wrath of Khan is a film that unlike Star Trek: The Motion Picture goes against the vision of Gene Roddenberry in favor of taking the characters of the franchise and making them the focus from start to finish.  This wraps the film up in an adventure story about sacrifice and allowing oneself to age and evolve.  Thematically the film is as deep as the best episodes of Star Trek and it is just put into the packaging that would make it work best for the general audiences and for being a film as a whole.  It’s immediately a contender for one of the best adventure blockbusters ever made and one of the best Star Trek stories there are.  10/10.

Star Trek: The Motion Picture directed by: Robert Wise

 

Star Trek: The Motion Picture stars William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, and Stephen Collins.  It is directed by: Robert Wise, written by: Harold Livingston, from a story by: Alan Dean Foster, and produced by: Gene Roddenberry.  It was released theatrically on December 7, 1979.

 

The road to the production and release of Star Trek: The Motion Picture was a long one, proposed as early as 1968 as an origin story for the series.  Gene Roddenberry’s development on the script for a proposal began in 1975 and would go through several iterations before Roddenberry was approached to relaunch Star Trek on television with a pilot written by producer Harold Livingston from a story by Alan Dean Foster.  Contracts for the cast were written up, other episode scripts were prepared, and then in 1977 two films, Star Wars and Close Encounters of the Third Kind were released as cultural phenomena so Paramount cancelled the television series and asked to convert the pilot back to a two hour film.  Star Trek: The Motion Picture would adapt the script to include the entire original cast including Leonard Nimoy who had declined to appear in the rebooted series, but was fine taking on the role of Spock for a film.  In terms of talent behind the production, Star Trek: The Motion Picture is stacked, from two time Academy Award for Best Picture winner Robert Wise in the director’s chair, to Jerry Goldsmith composing the score, Ve Neill working as one of the makeup artists, and the special effects by Douglas Trumbull and up and comer John Dykstra, the production was clearly assembled with care to bring the franchise to the big screen.

 

The talent behind the camera means that the film is a visual feast for the eyes for its entire runtime.  Obviously the special effects team of Trumbull and Dykstra have a reputation, especially for Trumbull’s work on 2001: A Space Odyssey, work that is largely reflected here.  The special effects are largely framed to give the viewer a sense of the vastness of space and the eerie phenomena occurring in the film’s actual plot.  Look no further than the way that the film treats the reveal of the Enterprise to Kirk and Scotty in the film’s first act, it’s a nearly dialogue free sequence allowing Goldsmith’s score alone to enhance the panorama shots of the genuinely impressive model.  While I am not in Star Trek fan circles, a common criticism of the film is that it is too slow, but I would strike back at that notion.  When the film looks good, it is up there with some of the best visuals in terms of filmmaking, a lot of the actual plot being communicated on-screen visually without dialogue.  The aforementioned reveal of the Enterprise tells the story and uses the visuals with Goldsmith’s score is saying more than any of the dialogue could actually state.  There is however an issue with some of the visuals, while the models are incredibly impressive, the compositing has a tendency to be incredibly hit or miss, especially whenever there are spacesuits as the focal point of shots.  The third act of the film is where these issues become the most apparent, with Leonard Nimoy’s spacesuit being perhaps the worst offender though that may be because it’s the spacesuit that has the most screentime.

 

Robert Wise as a director is also incredibly good at getting some excellent performances from his cast.  Every returning character is given some extra element of depth beyond anything that was done on the original television series.  William Shatner as Kirk undergoes an incredible arc of learning to actually loosen his grip on the Enterprise and adapt to the time that has passed him by.  Much of the film he is foiled by Stephen Collins as Willard Decker, his replacement.  Shatner’s best moment is actually portraying Kirk’s big mistake in demoting Decker from his position as captain to take over.  It’s a pretty subtle performance from Shatner, and it elevates Stephen Collins’ performance.  Collins and Persis Khambatta as Ilia (and the probe of V’ger) are actually the weak links in the cast, stilted delivery even outside of where it would make sense in Khambatta’s case really brings down the film.  In fact, there are several issues with the script to Star Trek: The Motion Picture, mostly originating in the fact that this was a television pilot converted into a featured film.  Harold Livingston’s experience was as a television producer and writer, and has written a script from a story by Alan Dean Foster who worked primarily as a novelist.  There is also the general influence of Gene Roddenberry, the film itself is perhaps the purest distillation of Roddenberry’s vision of the future for better and for worse.  The dialogue throughout the film has a tendency to tell and not show, even when Wise is explicitly showing on screen what is being said.

 

This has a knock-on effect at key moments in the climax, a climax that is intentionally not action oriented, to undercut the emotional effect when the visual medium of a film should be able to rely on the visuals.  The first half of the film really does this incredibly well, but the second half of the film is where Star Trek: The Motion Picture really does begin to fall apart.  The central premise of a mysterious object heading towards Earth that the Enterprise needs to investigate, with the original crew coming out of retirement to do so, is honestly a perfectly good premise.  Each character introduction is also a great way to push the idea that this is pushing the crew into the future, from Nimoy as Spock being ready to give up his emotions, to James Doohan as Scotty giving the support to the engines, to Walter Koenig, George Takei, and Nichelle Nichols all getting more personality than the original series, to DeForest Kelley as McCoy being pressed back into surface (and sporting a great hippie dad look).  Once the film gets going and the Enterprise gets to the anomaly, V’ger, later revealed as Voyager VI, the pace of the film almost runs out of steam and doesn’t actually know where to go until we get to the reveal of what V’ger is.  Ilia becoming a probe could push the ideas forward, it does start to crystalize the theme of humanity’s progress and eventual ascension to a higher level of being, but the connecting tissue to get there and show the humanity still in Ilia doesn’t actually work.  The necessary beats aren’t hit to allow the ending of the film where both Ilia and Decker ascend to become higher life forms and the Enterprise is back, including the crew’s camaraderie being restored.

 

Overall, Star Trek: The Motion Picture is a feast for the eyes and in terms of filmmaking it is a beautiful film.  The first half has some genuinely stunning visual storytelling courtesy of Robert Wise, and even the second half is beautiful if several sequences need to be shortened to really elevate what the film was doing.  The film works its best when the original cast are being brought back together and pushing together their relationships as a view of humanity and it doesn’t work when the sweeping romance between Decker and Ilia is used as an ascension of humanity theme.  Robert Wise is a director I have nothing but admiration for, Jerry Goldsmith a composer who elevates the entirety of the film with one of his best scores (good enough to have its main theme reused for Star Trek: The Next Generation).  There is a masterpiece buried in this film, but in terms of the theatrical cut doesn’t end properly for the film to work as the masterpiece it could have been.  Still, it’s a film I’m going to be revisiting.  6/10.

The Counter-Clock Incident by: John Culver and directed by: Bill Reed

 

“The Counter-Clock Incident” is written by: John Culver, a pseudonym for Fred Bronson, and is directed by: Bill Reed.  It was produced under production code 22023, was the 6^th episode of Star Trek: The Animated Series Season 2, was the 22^nd episode of Star Trek: The Animated Series, and was broadcast on October 12, 1974.

 

Like the original series before it, Star Trek: The Animated Series did not end on an intentional finale episode.  The series completed its commissioned episode count and then went off the air when it was not renewed, a common fate for animation at the time.  As such, “The Counter-Clock Incident” is an episode from a first time writer for Star Trek, though one who would work on Star Trek: The Next Generation, and in terms of its plot draws on ideas from F. Scott Fitzgerald’s short story “The Curious Case of Benjamin Button” with the Enterprise on collision course with a ship from another universe where people age backwards.  The Enterprise is also carrying its first captain, Commander Robert April and his wife Sarah, played by James Doohan and Nichelle Nichols respectively, as the commander is at the age Starfleet mandates retirement.  The conflict of the episode is two-fold: first the Enterprise avoiding the collision which resolves with the Enterprise slipping into the alternate universe which leads to the second conflict of the crew beginning to age backwards rapidly, enough that only the Aprils can pilot the Enterprise.  This second idea of conflict is utterly ridiculous, writer Fred Bronson was actually the NBC publicist and it’s clear he has not thought through the science fiction implications of his premise.  This does mean we get to see the crew as teenagers and then children which is an equally ridiculous image, but still an incredibly fun image to ponder over.

 

Where “The Counter-Clock Incident” actually succeeds, outside of the few scenes of worldbuilding on Arret, that is the Earth as Terra spelled backwards, is the way Bronson treats Robert and Sarah April.  Star Trek before this point had a tendency to use advanced age as a source of terror, the episode “The Deadly Years” from the original series is perhaps the most explicit example of that.  It comes as a relief that Bronson actually treats the advanced age of the April’s as not a hinderance to their character: Robert is only retiring because it is mandated and the episode actually ends with Starfleet informing him his retirement will be reversed so he can keep serving as an ambassador.  It’s a nice reward after Robert resisted the temptation to leave the Enterprise crew as children (or not fully reversing the effects so he and Sarah can stay young and keep doing their work).  This dilemma is fairly brief because the deaging is only a plot point beginning after the halfway point of the episode so there isn’t much time to actually grapple with the question being posed, but it does show maturity and a progressive mindset to actually examine how the elderly are treated.

 

Overall, “The Counter-Clock Incident” may be ridiculous in terms of the science fiction ideas on display, but it’s actually a very solid ending for Star Trek: The Animated Series.  It’s got some very interesting things to say about aging and is actually one of the more progressive entries for the series.  It’s a nice way to say goodbye to the original series’ cast on television before transitioning to the films.  It’s also a nice little look at the history of the Enterprise and feels in a way like the groundwork is being laid for the major cast changes coming in the next series.  7/10.

 

Bottom 5 Worst Episodes of Star Trek: The Animated Series:

5. The Eye of the Beholder

4. The Time Trap

3. The Survivor

2. Bem

1. The Ambergris Element

 

Top 5 Best Episodes of Star Trek: The Animated Series:

5. The Terratin Incident

4. How Sharper Than a Serpent’s Tooth

3. More Tribbles, More Trouble

2. The Slaver Weapon

1. Yesteryear

How Sharper Than a Serpent's Tooth? by: Russell Bates and David Wise and directed by: Bill Reed

 

“How Sharper Than a Serpent’s Tooth” is written by: Russell Bates and David Wise and is directed by: Bill Reed.  It was produced under production code 22022, was the 5^th episode of Star Trek: The Animated Series Season 2, was the 21^st episode of Star Trek: The Animated Series, and was broadcast on October 5, 1974.

 

Godlike aliens are nothing new to Star Trek, they’re incredibly common throughout the original series and by extension Star Trek: The Animated Series.  “Who Mourns for Adonais?” specifically featured Greek gods as aliens in an episode that posed questions that it really wasn’t interested in examining or answering.  “How Sharper Than a Serpent’s Tooth” is Star Trek: The Animated Series taking a stab at the ancient Earth gods as aliens concept, though interestingly from a writer closer to the original culture the god featured is meant to be from.  It isn’t a perfect representation, “How Sharper Than a Serpent’s Tooth” does attempt to claim that one singular alien is responsible for multiple gods, across multiple cultures, across multiple continents, across multiple time periods and as such equates many cultures to a single alien influence, but it is representation and there is almost a subversion.  Instead of just having ancient aliens the episode posits that nearly every culture had some help from this alien.  Author Russell Bates was Native American, a Kiowa, and was inspired by his own heritage in writing this episode with David Wise, a writer who would have a long career in both live action and animated television, both Bates and Wise writing this near the beginning of their respective careers.

 

Bates in addition to centering “How Sharper Than a Serpent’s Tooth?” around Kukulkan, drawing on Maya myth, includes a Native American supporting character Walking Bear, the animation team even avoiding a stereotypical native design as there is no red skin or feathers.  He is sadly voiced by James Doohan who is voicing the entire non-recurring supporting cast in this episode sadly, but at least there is some representation that attempts to present Native characters and beliefs as not primitive.  It also helps that “How Sharper Than a Serpent’s Tooth” is an episode that is particularly well constructed.  The intent is to balance action with exploration and Bates and Wise do an excellent job of showing both.  The animation team is allowed to be let loose on designing Kukulkan and combining several cultures into the city on which he resides.  Kukulkan is also presented as nearly a fully fledged character, surprised that humanity has changed over the course of history and given up the fear of those more powerful than itself.  The episode is largely a rejection of the need to worship a god in line generally with Star Trek’s vision of the future as a post-religious society (despite several episodes wishing to raise Christianity above others due to being made in the 1960s and 1970s).  This allows “How Sharper Than a Serpent’s Tooth?” to be an episode which ends without violence and peaceful resolution   Bates and Wise also do a really good job of blending the myth with the science fiction, likely Wise’s influence based on his later career in science fiction television programs.  Instead of fully rejecting religion, the episode ends with the idea of humanity and Kukulkan on equal playing fields, humanity doesn’t need guidance so the god ends the episode by leaving.

 

Overall, “How Sharper Than a Serpent’s Tooth?” is one of those episodes that really shows off the potential for Star Trek: The Animated Series, and despite being an episode that draws on previous episode’s themes of the original series, it is an episode that actually examines the ideas that previous episodes didn’t do.  Bates and Wise balance the script wonderfully, and despite not being perfect representation and certain actors dropping the ball on pronunciations (hi Shatner), it's an episode that if Star Trek: The Animated Series had been producing more often, it would be a much stronger series.  8/10.

Albatross by: Dario Finelli and directed by: Bill Reed

 

“Albatross” is written by: Dario Finelli and is directed by: Bill Reed.  It was produced under production code 22019, was the 4^th episode of Star Trek: The Animated Series Season 2, was the 20^th episode of Star Trek: The Animated Series, and was broadcast on September 28, 1974.

 

In Samuel Taylor Coleridge’s The Rime of the Ancient Mariner the killing of an albatross, a bird representing innocence, leads to punishment.  “Albatross” is an episode of Star Trek: The Animated Series given the title to possibly reference Coleridge, or at least that is possibly what is happening because the episode doesn’t ever actually mention an albatross, or poetry, or really anything.  Perhaps writer Dario Finelli is attempting to write guilt for McCoy as a character as this is an episode that sees actions of 20 years previous catch up to him: he accidentally poisoned a race of aliens with a virus while he believed he was curing them.  Finelli’s script sadly doesn’t actually give McCoy much guilt, or even real focus, as the plot of the episode more actively focuses on Kirk and Spock trying to get to the bottom of this mystery and find a cure when the plague comes back.  This makes the title and allusion to The Rime of the Ancient Mariner pointless.  That’s the episode, there’s some drama about Spock having to convince the Dramians to actually pursue proper justice and not the perversion of justice that they have.  The plague also infects everyone on the Enterprise except for Spock, meaning that everyone turns blue which is a great visual even if it’s something that really doesn’t get explored in any significant amount of time.

 

The episode’s big twist is that McCoy isn’t actually at all responsible for any of the deaths, instead an aurora in space being responsible for the plague and its symptoms.  This allows a cure to be found, but it also feels like a cheap fake out to restore the status quo which isn’t terrible for a Saturday morning cartoon show meant for children.  This is still Star Trek however where the characters at least have an attempt at developing, but then again this is from an author who is difficult to find really anything about his career.  “Albatross” is also an episode that feels bare bones in terms of what actually happens, the dialogue suffers from not really feeling like it is meant for each character until the very end of the episode with the stinger.

 

Overall, “Albatross” can be used as a case study for the weaknesses of Star Trek: The Animated Series.  It’s an episode that has a good concept, perfectly adequate performances, and with a couple more drafts and a guiding hand could be considered one of the great installments of Star Trek.  The problems come to a head with the fact that the ideas don’t really resolve into anything of interest, there is a plot but not a particularly memorable one, there is an alien society that gets focus but also has one trait of not understanding justice, and there are characters but they largely aren’t affected.  It’s half a satisfying episode that reaches and achieves mediocrity.  5/10.