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juushikaI recently completed The Great Star Trek: TOS first viewing; I grew up on TNG and Voyager and DS9, but had never watched TOS until just now. As I watched, I read along with Eugene Myers and Torie Atkinson's re-watch, here on Tor.com, with the third season on The Viewscreen. Torie's analyses I found particularly relevant, both because she came it from the same position as me (familiar with most of Star Trek, but not with TOS), but particularly because of how she examines and confronts Roddenberry's attempts, successes, and failures in exploring and representing equality.
Star Trek: The Original Series, complete series, 1966-69
This exceeded my expectations. It's not as forward-thinking as Roddenberry's vision demanded, which I don't think the time period excuses, given Roddenberry's intent. But the intent is so good, and more than occasionally effective; the underlying sense of wonder is inspiring, the cast and the inter-character dynamics are phenomenal, and Spock—Spock I adore, and I now understand how much Nimoy brought to the show and character. The number of authentically enjoyable episodes balances the amount of formulaic or ridiculous drivel, and while the third season lags it only feels like a preponderance of the bad elements that were there throughout—although most of the series clichés, especially Kirk's womanizing and the lady of the week, seem to come from this season rather than the show entire. I regret that the show prioritizes the return to status quo, but it was inevitable consequence of the genre's development. In sum: not near corny as I expected it to be; dated, flawed, certainly, but authentically enjoyable. I agree with Torie Atkinson's thoughts in the Star Trek Re-watch: Season 1 Wrap-Up: the sincerity and unidealized optimism is surprisingly effective.
Star Trek: The Motion Picture, film, 1979, dir. Robert Wise
I can appreciate this for what it is: an homage, love letter, and the celebration of an effects budget. The same things which are wearisome—namely, the long, slow shots of the ship and other special effects—are in some ways the most endearing: it's almost fanservice, the frank admiration of some of the most beloved bits of TOS. Pity about the recycled plot, and putting the band back together stymies character progression (although Spock, as always, is strong). TMP isn't great as a movie, but I appreciate it as a revival.
Star Trek II: The Wrath of Khan, film, 1982, dir. Nicholas Meyer
Not much I can say that hasn't been said. Khan's characterization feels flat—I wanted something more than the definitive obsession with Kirk. The rest of the cast fairs far better, with solid characterization and character progression; I adore Spock in the captain's seat, and the intercast dynamics are fantastic. This successfully translates the feel of the show into movie format: similar ethos, movie-appropriate pacing, and a satisfying number of subplots; the end is strong. But I fail to find it as memorable as TMP—perhaps because it's simply more traditional and successful a film.
Star Trek III: The Search for Spock, film, 1984, dir. Leonard Nimoy
Another one that I enjoyed, despite general consensus. I love successful narratives-in-absentia, and so respond well to a story that orbits an absent character. And how lovely, to see McCoy given more complexity. This is a smaller, more private story; melancholy, personal, heartsick; the destruction of the Enterprise contributes significantly to this tone. I hate back from the dead plotlines in principle, and I didn't care one whit about the B-plot or the villain; the film certainly has flaws. But the small parts of it which work well I treasure.
Star Trek IV: The Voyage Home, film, 1986, dir. Leonard Nimoy
A humorous installment is well-timed and surprisingly effective, and—other than the ridiculous premise—this has great pacing and strong character moments. TVH absolutely tips towards embarrassment squick, but it never oversteps, thank goodness. It's charming and silly, the cast has just enough substance, and it's utterly engaging to watch—but not, ultimately, particularly memorable or complex.
Star Trek V: The Final Frontier, film, 1989, dir. William Shatner
I could have done without. There's some well-intended elements—namely, to give glimpses into the backstory and private lives of the crew—but they're ineffective; meanwhile, the humor is cringe-inducing and while the plot echoes some reoccurring series themes, it does a poor job of it and the fake god is particularly clumsy. I wish it had gone in a different direction—I would have loved to better explore the experience of a Vulcan with emotions.
Star Trek VI: The Undiscovered Country, film, 1991, dir. Nicholas Meyer
This is such a rewarding endnote. The murder-mystery plot isn't flawless (the courtroom scene is frustrating, despite the appearance of Michael Dorn; the clue-search aboard the ship tends toward silly), but the balance of the plot's momentum and the depth of the metaphor is almost flawless. I love to see Kirk confronted, to see him proven wrong and forced to change; I love a bit less Spock's flaws, but the Kirk/Spock/McCoy dynamic in this film is some of my favorite in the series entire. This may be the most enjoyable and watchable of the films—and final voice-over and the signatures on the stars was the most perfect of all possible conclusions. (Reader, I cried.)
Bonus, crossposted from Tumblr: I don’t actually understand why every episode analysis I read hated 3.20 “The Way to Eden” (Star Trek: TOS). I’m not arguing that it’s not awful—it is awful, lots of s3 is awful—but it’s not remarkably more awful than any other random s3 episode. Is it the singing? because yeah singing is atrocious, but, again, no worse than the vicarious embarrassment-inducing scenes from, say, “Plato’s Stepchildren” or “Whom Gods Destroy” (what is with the torture-by-humiliation in s3?), or the absolute entirety of the racist mess that is “The Paradise Syndrome.” (Forever amazed that the last could effectively be reincarnated in TNG’s 5.25 “The Inner Light,” same idea, longer timescale, no racism, and there be phenomenal).
In TOS’s excessive list of episodes about Eden, “The Way to Eden” may actually be my favorite. The competition isn’t stiff, but, still! TOS is constantly trying and failing to achieve to simultaneous messages: mankind needs friction, competition, and ambition to flourish (a.k.a. “being a ship’s captain is good!”), and mankind is in perpetual search for a regression to peace and simplicity (a.k.a. “being a ship’s captain is bad :(”). Where “The Paradise Syndrome” missteps—other than the overt redface noble savage racism—is in the failure to realize that that Eden doesn’t exist—maybe because it’s in conflict with mankind’s competitive needs, but certainly because there is no lifestyle, no matter how immersed it is in natural beauty, that is ever effortless.
So while the Adam-and-the-poison fruit metaphor at the end of “The Way to Eden” is hamfisted beyond redemption, I appreciate the way that the episode portrays the search of the idyllic and non-industrialized—presented as sympathetic by Spock, voice of reason and, here, insight, who, in his criticism of the Federation, sees the validity in why they seek, if not how they seek—as something that cannot be realized via optimistic ignorance. Does it still have some 60′s era-old man yells at cloud? is it ridiculously steeped in its time period and does it look like bad hippy cosplay? hell yeah. But compare to "Let That Be Your Last Battlefield,” which sets up a false equivalency between the violence of the oppressors and the anger of the oppressed in its attempt to see an issue from both sides. This is an issue that should actually be seen from both sides, that finally bridges the competing messages of TOS; against the ineffective moralizing that pervades s3, this messy complexity is almost successful. Bad ep, sure, but there’s lots of bad eps, and this is actually less bad than some of the others.
Star Trek: The Original Series, complete series, 1966-69
This exceeded my expectations. It's not as forward-thinking as Roddenberry's vision demanded, which I don't think the time period excuses, given Roddenberry's intent. But the intent is so good, and more than occasionally effective; the underlying sense of wonder is inspiring, the cast and the inter-character dynamics are phenomenal, and Spock—Spock I adore, and I now understand how much Nimoy brought to the show and character. The number of authentically enjoyable episodes balances the amount of formulaic or ridiculous drivel, and while the third season lags it only feels like a preponderance of the bad elements that were there throughout—although most of the series clichés, especially Kirk's womanizing and the lady of the week, seem to come from this season rather than the show entire. I regret that the show prioritizes the return to status quo, but it was inevitable consequence of the genre's development. In sum: not near corny as I expected it to be; dated, flawed, certainly, but authentically enjoyable. I agree with Torie Atkinson's thoughts in the Star Trek Re-watch: Season 1 Wrap-Up: the sincerity and unidealized optimism is surprisingly effective.
Star Trek: The Motion Picture, film, 1979, dir. Robert Wise
I can appreciate this for what it is: an homage, love letter, and the celebration of an effects budget. The same things which are wearisome—namely, the long, slow shots of the ship and other special effects—are in some ways the most endearing: it's almost fanservice, the frank admiration of some of the most beloved bits of TOS. Pity about the recycled plot, and putting the band back together stymies character progression (although Spock, as always, is strong). TMP isn't great as a movie, but I appreciate it as a revival.
Star Trek II: The Wrath of Khan, film, 1982, dir. Nicholas Meyer
Not much I can say that hasn't been said. Khan's characterization feels flat—I wanted something more than the definitive obsession with Kirk. The rest of the cast fairs far better, with solid characterization and character progression; I adore Spock in the captain's seat, and the intercast dynamics are fantastic. This successfully translates the feel of the show into movie format: similar ethos, movie-appropriate pacing, and a satisfying number of subplots; the end is strong. But I fail to find it as memorable as TMP—perhaps because it's simply more traditional and successful a film.
Star Trek III: The Search for Spock, film, 1984, dir. Leonard Nimoy
Another one that I enjoyed, despite general consensus. I love successful narratives-in-absentia, and so respond well to a story that orbits an absent character. And how lovely, to see McCoy given more complexity. This is a smaller, more private story; melancholy, personal, heartsick; the destruction of the Enterprise contributes significantly to this tone. I hate back from the dead plotlines in principle, and I didn't care one whit about the B-plot or the villain; the film certainly has flaws. But the small parts of it which work well I treasure.
Star Trek IV: The Voyage Home, film, 1986, dir. Leonard Nimoy
A humorous installment is well-timed and surprisingly effective, and—other than the ridiculous premise—this has great pacing and strong character moments. TVH absolutely tips towards embarrassment squick, but it never oversteps, thank goodness. It's charming and silly, the cast has just enough substance, and it's utterly engaging to watch—but not, ultimately, particularly memorable or complex.
Star Trek V: The Final Frontier, film, 1989, dir. William Shatner
I could have done without. There's some well-intended elements—namely, to give glimpses into the backstory and private lives of the crew—but they're ineffective; meanwhile, the humor is cringe-inducing and while the plot echoes some reoccurring series themes, it does a poor job of it and the fake god is particularly clumsy. I wish it had gone in a different direction—I would have loved to better explore the experience of a Vulcan with emotions.
Star Trek VI: The Undiscovered Country, film, 1991, dir. Nicholas Meyer
This is such a rewarding endnote. The murder-mystery plot isn't flawless (the courtroom scene is frustrating, despite the appearance of Michael Dorn; the clue-search aboard the ship tends toward silly), but the balance of the plot's momentum and the depth of the metaphor is almost flawless. I love to see Kirk confronted, to see him proven wrong and forced to change; I love a bit less Spock's flaws, but the Kirk/Spock/McCoy dynamic in this film is some of my favorite in the series entire. This may be the most enjoyable and watchable of the films—and final voice-over and the signatures on the stars was the most perfect of all possible conclusions. (Reader, I cried.)
This is the final cruise of the Starship Enterprise under my command. This ship and her history will shortly become the care of another crew. To them and their posterity will we commit our future. They will continue the voyages we have begun, and journey to all the undiscovered countries, boldly going where no man ... where no one has gone before.
Bonus, crossposted from Tumblr: I don’t actually understand why every episode analysis I read hated 3.20 “The Way to Eden” (Star Trek: TOS). I’m not arguing that it’s not awful—it is awful, lots of s3 is awful—but it’s not remarkably more awful than any other random s3 episode. Is it the singing? because yeah singing is atrocious, but, again, no worse than the vicarious embarrassment-inducing scenes from, say, “Plato’s Stepchildren” or “Whom Gods Destroy” (what is with the torture-by-humiliation in s3?), or the absolute entirety of the racist mess that is “The Paradise Syndrome.” (Forever amazed that the last could effectively be reincarnated in TNG’s 5.25 “The Inner Light,” same idea, longer timescale, no racism, and there be phenomenal).
In TOS’s excessive list of episodes about Eden, “The Way to Eden” may actually be my favorite. The competition isn’t stiff, but, still! TOS is constantly trying and failing to achieve to simultaneous messages: mankind needs friction, competition, and ambition to flourish (a.k.a. “being a ship’s captain is good!”), and mankind is in perpetual search for a regression to peace and simplicity (a.k.a. “being a ship’s captain is bad :(”). Where “The Paradise Syndrome” missteps—other than the overt redface noble savage racism—is in the failure to realize that that Eden doesn’t exist—maybe because it’s in conflict with mankind’s competitive needs, but certainly because there is no lifestyle, no matter how immersed it is in natural beauty, that is ever effortless.
So while the Adam-and-the-poison fruit metaphor at the end of “The Way to Eden” is hamfisted beyond redemption, I appreciate the way that the episode portrays the search of the idyllic and non-industrialized—presented as sympathetic by Spock, voice of reason and, here, insight, who, in his criticism of the Federation, sees the validity in why they seek, if not how they seek—as something that cannot be realized via optimistic ignorance. Does it still have some 60′s era-old man yells at cloud? is it ridiculously steeped in its time period and does it look like bad hippy cosplay? hell yeah. But compare to "Let That Be Your Last Battlefield,” which sets up a false equivalency between the violence of the oppressors and the anger of the oppressed in its attempt to see an issue from both sides. This is an issue that should actually be seen from both sides, that finally bridges the competing messages of TOS; against the ineffective moralizing that pervades s3, this messy complexity is almost successful. Bad ep, sure, but there’s lots of bad eps, and this is actually less bad than some of the others.
