Director Ishiro Honda's love for science fiction is great and perhaps greater than his love for kaiju eiga. With The Mysterians [1957] he includes one creature in Mogera [also Moguera] producing a deliciously epic crossover. The Mysterians is the first authentic science fiction film to genuinely establish his love for the genre. The Mysterians is by Toho, producer Tomoyuki Tanaka, director Ishiro Honda, special effects director Eiji Tsuburaya and composer Akira Ifukube.
Deadwood's Timothy Olyphant and John Hawkes- neither one Crazie in Deadwood!
My short attention span had me itching for something new and fresh [new and fresh to me]. I've been watching Dexter and Deadwood and enjoying those series immensely, but I was looking to roll the dice with a science fiction series that would match that kind of quality television within my favorite genre - science fiction. Farscape is science fiction ecstasy for a guy like me. Farscape takes place in another universe, because it is an off the charts revelation. Farscape does everything but disappoint. It is a vibrant, crazy, inventive, wacky, ultra-cool and snappily written series with a capital 'F' for FUN. As Crichton himself notes, "There's life out here Dad. Weird, amazing, psychotic life. And death. In Technicolor."
I did have my reservations about Farscape. The brainchild of Creator Rockne S. O'Bannon and The Jim Henson Company, helmed by Brian Henson, clearly Farscape would be given unfettered access to Muppet insanity. While I liked Jim Henson's The Muppet Show [1976-1981] as a child, and Yoda [Star Wars, The Empire Strikes Back] was genius, was I ready for unchecked, unregulated Muppets in full-on, unbridled dramatic situations within my adult science fiction programming? After all, I still need to really revisit The Dark Crystal [1982] and Labyrinth [1986] in good faith to make an honest assessment on those films. Nevertheless, while Jim Henson's creations were more fantasy-oriented, his son, Brian Henson, went straight for the science fiction jugular co-producing Farscape.
I was equally cautious due to my pre-established perceptions of both Ben Browder and Claudia Black. Having watched all of Stargate SG-1 Season 9 and 10, starring Ben Browder and Claudia Black, I had my doubts about Farscape. It wasn't at all that the two actors offered poor performances in SG-1 by any means. In fact, I don't think the creators of Stargate SG-1 could have come up with a better alternative to losing actor Richard Dean Anderson following Season 8 then to fill the void with Browder and Black. They were terrific replacements for the absent comic timing of Richard Dean Anderson, but like any good franchise it just wasn't the same. The SG-1 formula was established and it lost a little something, while gaining a different dynamic for the remaining two seasons. Black and Browder were wonderful to watch, but SG-1 had changed. On SG-1, often referred by some fans of the genre as Fargate, Browder and Black certainly brought with them their unique talents and their on screen personal charisma as well as their chemistry [minus the romantic elements; Black saved the romantic link for actor Michael Shanks on SG-1]. The Browder character's sometimes irreverent, cheeky sense of humor certainly compensated for the absence of Jack O'Neil, but Claudia Black became a bit of an irritant in her role on the series for me. Having watched some Farscape, I've quickly learned Black clearly played her character differently on SG-1 than she does on Farscape and I'm thankful for the difference. Black's performance on Farscape is played with an almost tough, guarded, leadership-styled machismo with moments of vulnerability, while she's a bit of a loose cannon or an almost flaky con on SG-1. The latter became tiresome and I was concerned I might see more of it on Farscape. Not so. I discovered Browder and Black [one of the best in television teams] are brilliantly cast and opposite one another are a joy to behold. Black really emphasizes her handle on the Farscape role in a wonderful interview captured in Starlog #283. "In order to play her the way I do, I shut down as a person. I become very closed and the boundaries come up." This is a unique approach from the character she would play on Stargate SG-1. On Farscape, together, Black and Browder, opposite an all around stellar ensemble cast, generate a science fiction adventure that far exceeded my expectations. I may need to revisit SG-1 someday to enjoy the contrast in the performances from these fine actors.
On Farscape, Black and Browder seem very much at home in their performances, ironic, given Browder's fish-out-of-water character, John Crichton, is out of sorts and a long, long way from home. Aboard Moya [potentially one of my favorite vessels next to the Eagle, Enterprise and Galactica] the two clearly bounce off one another with outrageously fun abandon. Everything is extreme, rules are out the window and Farscape is quite simply a wild ride. The entire cast seems to quickly play to each other's strengths on the series catapulting quite naturally into the essence of the show. There is a touch of the awkward initially, but nothing too obvious. By comparison, Babylon 5 was a mess in its introductory season. It took a bit of time for the characters to click there for me. With Farscape, like Firefly, the ensemble hits the ground running. There's a good, old-fashioned, Star Wars-like zest to the excitement. It's clear right away that the creators grounded John Crichton in their insane reality by allowing Browder's character to reference popular culture and pay tribute to the science fiction he loved back on Earth making him an every man like us. There is no shortage of homage to the best in popular culture throughout Farscape, but it's welcomed. It's often a comic infusion that informs and anchors the character and brings us back home when the tension is high in Crichton's alien universe. I have a feeling I'll be enjoying the series' mythology, relationships and strong concepts immensely. Browder and Black belong to Farscape in a way I could never quite embrace or reconcile for SG-1. Right away, the Farscape wormhole has delivered me to a place I'm excited to investigate in a way the Earthbound SG-1 never could. Farscape clearly deconstructs and establishes no rules. Anything can go. The crew travels inside Moya, a living ship!
Farscape offers a seamless blend of fantastical science fiction, rich with imagination, fortified by strong writing and character delevelopment. Welcome to Farscape, Season One, Episode 1, Premiere. What a premiere it is.
But Commander John Crichton is a scientist about to pilot his own self-designed spacecraft dubbed Farscape 1 into a little experiment utilizing the Earth's gravity as a "speed booster" to slingshot himself at unrecorded speeds into space. The reasonably risky, complex, but pioneering idea quickly goes awry when a little bitty wormhole gobbles him up and Crichton disappears from radar and winds up somewhere else in a galaxy far, far away. This is important. It is a unique concept. Luke Skywalker was already established and living in a galaxy far, far away. The crew of the Enterprise knew their coordinates. John Crichton is floating out there in the great unknown and attempting to get his bearings. The wormhole effects are impressive and even more exciting in their design than those established on Stargate SG-1. At least this was my initial awe factor. It's a thrilling sequence.
John Crichton is now a long way from home. The opening credits sequence is exceptional and the music provided by SubVision [the Neal family] and Composer Guy Gross is weirdly epic enough to heighten the sense of uncharted sci-fi adventure. The theme itself was orchestrated by SubVision with female vocals delivered by Avigail Herman. The credits are given a slight makeover, with narration included, provided by Ben Browder, following Premiere with Episode 2. We will have that sequence for you next episode.
Crichton is floating in space when he is hit by an unidentified vessel on his wing. That craft crashes and explodes. Crichton is clearly lost with no absolutely no coordinate information and no communication back to NASA. He happens upon the Leviathan biomechanoid-vessel known as Moya, which is well under siege. Moya is a beautifully imagined and designed creation. It is smooth, rounded and aero dynamic in design resembling that of Earth's own ocean-based life forms. Crichton is pulled aboard the space-going Moya. His craft, now docked inside, is scanned by a small, electronic, mustard-yellow, mouse-like creature dubbed a DRD. The creation immediately brings to mind the mouse droids of Star Wars as they scurry about Moya. 
The instruments of Farscape 1 ignite on fire and Crichton exits his craft. The small droid escorts him to the helm where he meets two of the regular cast members, Ka D'Argo [Anthony Simcoe] and Pa'u Zotoh Zhaan [played with alluring sensuality and sex appeal by Virginia Hey]. Both are busy navigating the craft and doing everything possible to keep the enemy fighters at bay and fend off their attacks. How do you like this for clever? This is how the creators decided John Crichton and all of the aliens would understand one another - Translator Microbes. The microbes colonize at the base of the brain. It's an effective technique and reminds me of inventive moves by filmmakers in the handling of foreign language translations. Director John McTiernan handled the move from Russian nicely in The Hunt For Red October [1990] and Director Howard McCain hammered home a technological angle in Outlander [2008] in the move to Nordic/English. Writer Rockne S. O'Bannon and Director Andrew Prowse are flawless in their execution here.
D'Argo and Zhaan work in conjunction with Moya's central navigational brain dubbed Pilot, an extraordinary animatronic creature, designed by the brains of the Jim Henson Creature Shop in London, England and exported to Australia. Moya is clearly unable to escape and break free from the assault because she has been harnessed by a "control collar." The prosthetic and make-up work on D'Argo and Zhaan is stunning, meticulous and truly beautiful in detail. The set designs spare no expense. They offer lush, alien, gorgeous realizations of Moya's interior. The effects, too, are splendid and manage to look remarkably strong considering their vintage. Enter Dominar Rygel XVI, another animatronic/Muppet revelation. Rygel informs his fleeing shipmates that Moya was scheduled to take them to Terran Ran. The passengers are clearly on the run and were scheduled for imprisonment. 
Rygel informs Crichton he will look after him if he looks after Rygel later in return. Moya's hull integrity is fast approaching compromise as a result of the assault and battering of laser fire against it. She is failing quickly. With a stroke of luck, D'Argo's brute strength rips a number of Moya's many living cables [like bleeding arteries] and the restraining collar around the hull breaks apart. D'Argo calls for "Immediate Starburst!" It's Moya's version of the Battlestar Galactica hyper jump and it is gloriously cool. The Leviathan known as Moya escapes with mere moments to spare.
Cut to the ships left in the wake of Moya's exit and we meet the Peacekeepers led by Captain Bialar Crais. Crais' brother was killed in his Prowler in the collision with Crichton's Farscape 1. Despite the fact it was an accident Crais wants Crichton's head. My son, who is loving the show as much as me, noticed there are many Leviathans and we can only deduct that Moya, while alive, is not in complete control of her destiny, but is rather dependent on her occupants including Pilot and the crew. The multi-armed Pilot appears biologically fused with Moya. Whether Pilot is a separate, parasitic creature or more of a symbiote is unknown. There is much we will learn going forward. Could the control collar be something the Peacekeepers have harnessed across the Leviathan species to control them? Perhaps Moya is as free as its occupants now.
Back on Moya, Crichton is snotted upon by Rygel and D'Argo has a frog-like tongue capable of disabling an individual on contact as he does with Crichton. These are the types of moments that really inject Farscape with fun and emphasize this won't be your Daddy's science fiction adventure.
Zhaan concludes, "then perhaps together a warrior and a priest can help save each other."
Rygel indicates Translator Microbes are typically injected at birth for any species. Crichton realizes he is imprisoned with a Peacekeeper, Officer Aeryn Sun, Icarion Company, Pleisar Regiment. Upon greeting her Crichton is quickly beaten down. The violent scene between her and Crichton reminded me of a sequence from Stargate SG-1. In the SG-1, Season 8, Episode 12, Prometheus Unbound, Claudia Black's character is also encased in black garb and the scene plays out in a beat down of Michael Shanks character Daniel Jackson that reminisces of this original introduction. 
That SG-1 episode feels like an homage to this scene. Officer Sun is a special Peacekeeping commando. Crichton attempts to make his case to Zhaan that he is human, but they are taken to eat. There's a sense that Crichton's precarious existence in this strange new world might land him on the menu.
This is indeed a snapshot of the chemistry that is quickly developing between the unlikely team of alien castaways. Farscape is strong out of the box. In fact, I would go so far as to say the character drama in play within Farscape is equivalent to the strength of the writing that would be found in Firefly's brief run. Ship Moya, again - a life form, is hurting following D'Argo's attempts to remove the Peacekeeper restraining harness and is unable to generate great speeds at this time. The team plans to land on a local planet despite little intel of a Peacekeeper presence there. The discussion is interrupted by a gaseous fart comprised of helium compliments of Rygel. All in the room begin speaking like Mickey Mouse. How many science fiction shows are this unabashed in their humor? Crichton is shocked to find Rygel can pass pure helium flatulence. Rygel indicates it occurs when he is nervous or angry.
Once on the planet, Rygel makes an effort to barter with a local monstrosity. There is indeed a bit of Star Wars Mos Eilsey Cantina about the terrific costume work in play on a planet that looks remarkably similar in style to Coruscant upon entry. Meanwhile on Moya, Crichton comes to the realization he must have made his way to this reality via a wormhole. Moments later, Sun and Crichton escape their confinement on Moya. Here's a classic exchange between Crichton and Sun played beautifully by Browder and Black.
Sun and Crichton head to the planet below in her Prowler. Crais and company pick up her signal and send Peacekeepers to the planet. Crichton realizes he's not in Kansas anymore. "I'm on another planet." Sun has relayed her position to Crais. D'Argo arrives on the planet and threatens both Sun and Crichton just before the arrival of Crais and company. D'Argo is quickly subdued. Sun attempts to make a case for Crichton as a human from "Earp." She states, untruthfully and knowingly, that Crichton is not intelligent or brave enough to attack a Prowler. 
Crais believes Sun has spent too much time with the enemy Crichton. Crichton attempts to disown any type of connection made between he and Sun out of concern for her treatment by her own. Sun's race is Sebacean and are primarily Peacekeepers. This group is led by Crais who alludes to a concern regarding Sun's detention and the proverbial Stockholm syndrome whereby a prisoner can develop sympathy or feeling towards their captor[s]. Crais refers to the Peacekeeper High Command's clear parameters regarding contact with unclassified alien life forms and exceeding a specific length of time in their care. Peacekeepers consider their people contaminated beyond a certain point. Sun, along with Crichton, are quickly arrested along with D'Argo. Crais is certain Crichton intentionally murdered his brother. It's all perception and clearly Crais sees things his own way.
Crichton and friends overpower their Peacekeeper detainers. Crichton fires one of their laser pistols. "Don't move or I'll fill you full of little yellow bolts of light." This is the classic kind of tongue-in-cheek humor that runs abound in Farscape. This is a fine moment between some of the principals once again.
The show speaks to human nature and our own cultural hang ups with such insightfully sharp dialogue. All of the characters reconvene on Moya. The Peacekeepers are in hot pursuit. The starburst escape option is unavailable. Crichton wants to attempt his theory by heading back to the planet via gravitational pull with Moya. "Can this ship thing be flown manually?," inquires Crichton. Crais readies weapon cannons. Zhaan declares "death" is their only alternative. Rygel responds "what a charmer." Pilot places Moya in manual mode for Sun to pilot. She dives straight into the planet's atmosphere at Crichton's instruction. Pulling out of the planet's gravitational drag Moya soars into space safely. Crais has lost her.
Following their escape Zhaan presses her face to Crichton's causing an intense sensation, perhaps the Delvian equivalent of a kiss or something more. The sensual world of Farscape is certainly another layer or component of the show often absent in science fiction. Later, Crichton and the crew take a little time for themselves. Zhaan meditates nude [there ya go]. D'Argo sharpens the blade of his Qualta Blade. Unafraid of getting off on the wrong foot, D'Argo threatens Crichton that he should not stand in the way of his freedom. Sun calls the Luxans brutal, violent and indiscriminate. Crichton pipes up mockingly referring to the Peacekeepers, "unlike your people."
Farscape is a wild ride in, as Crichton calls it, "technicolor." The reason why the humor is so potent is explained best by Rockne S. O'Bannon in Farscape: The Illustrated Companion. "The idea of Farscape is taking essentially any one of us, and dropping us into Star Wars. John Crichton has seen Star Wars; he's seen all the Star Trek films. He's seen all the same television shows, movies, books and all those things that we know, like Monty Python, and can bring that to bear on the world that he's in." With tongue firmly in cheek, Farscape brazenly combines humor, emotional power, character drama and riveting yarns inside of a strong, well-planned science fiction mythos. Farscape promises to be one hell of an absorbing good time ride. I am on board the good ship Moya. This is rare, brilliant, emotional stuff fused with thoughtful ideas and a promise to defy convention. Premiere may be a touch busy, but rarely do season openers spin this much excitement with seeming ease in a first go. I've never been happier with the wormhole concept and we're right there with you John Crichton.
One of the wonderful things about taking a look at the Ian McShane highlights from the HBO series Deadwood is that it gives you a good flavor for the story and the ideas in play in David Milch's recreation of the wild west. Through the highlights presented featuring co-lead Ian McShane, you really get a sense of this place called Deadwood and the hardships and the cutthroat nature of frontier America in the 1800s.
What I love about Al Swearengen's character is how in-your-face and up front he is about his feelings. He doesn't hide his intentions and comes right at you. Here he greets the new town arrivals in the form of the Bella Union, led by actor Powers Boothe [Tombstone]. Swearengen is a dog and lacks the political acuity or sophistication of the likes of Boothe's character who plays opposite McShane here.
This is a small tribute to Stacia's Shatnerthon! over at her own She Blogged By Night. I wanted to post a little thanks. I submitted one of my older Star Trek posts, Captain Kirk's Guide To Women, which I had a bit of fun with once upon a time. She was sweet enough to post her own kind thoughts on her site.I ran across a Babylon 5 Ten Of The Best article over at SciFiNow by James Rundle. You know my love for top ten lists knows no bounds. I thought I would bring this to visitors here who are fans of the Babylon 5 series. It doesn't match up to my own Big 10 preferences [and maybe not yours], but it's a reasonably sound list. SciFiNow indicates this is not THE best 10 episodes, but ten of the best. I've included the summary-based information from the piece for your discerning eyes. The article appears to have a predisposition for the more action-oriented installments.
Signs And Portents. Season One. "There may not have been a huge amount of action in this episode, but it was crucial to the overall development of the further plot. It introduced, obliquely, the Shadows, Mr Morden, and foreshadowed (no pun intended) the Narn-Centauri War."
Babylon Squared. Season One. "A mind-bending, reality-warping episode that mastered the art of raising questions for long-running arcs well before Oceanic 815 crash-landed on a time-shifting island."
Chrysalis. Season One. "The finale of the first season also saw the departure of Sinclair as the station’s commander, the transformation of Delenn into a Minbari-Human hybrid, the assassination of Earth President Santiago and more. A moving, and deeply important installment."
In The Shadow Of Z’ha’dum. Season Two. "Morden has been a shadowy, elusive presence on the station up until this point, but finally, we start to get some answers. Babylon 5 always excelled at presenting infodumps gracefully, and this is a fine example of that, where we learn the framework of the verse."
Severed Dreams. Season Three. "Dramatic, action-packed and well-written, Severed Dreams is possibly the best episode of Babylon 5, and always a fan favourite. The Earth Alliance civil war is kicked off in style here, complete with the kind of space battle you’d never see in Star Trek."
Z’ha’dum. Season Three. "A climactic moment features some brilliant (for the time) CG work, good acting from the ever-reliable Bruce Boxleitner, plot development and one of the most beautiful scores in the entire series. A truly vintage episode of the later Babylon 5 era."
Into The Fire. Season Four. "After all of the feints, heavy losses, pitched battles and more of the last few years, the Vorlons and the Shadows finally get a fat lip from the younger races and told to bugger off. It’s a little cheesy, but man, what an incredible space battle."
Endgame. Season Four. "Along with Severed Dreams this was one of the best episodes of the series as a whole. Its complex, multi-layered story added to some great action as Sheridan and his alien allies launch their final attack to topple the neo-fascist regime of President Clark."
The Deconstruction Of Falling Stars. Season Four. "Many fans consider this to be the actual ending of Babylon 5, and I’m inclined to agree. Unlike most shows, B5 actually gave us a full conclusion not only for the crew, but also for the entire human race as a whole. Far reaching, and very satisfying."
Movements Of Fire And Shadow. Season Five. "The true reason behind the Centauri attacks (as if we didn’t already know) is revealed, and one of the darkest plotlines of the entire series comes full circle, eventually leading to the destruction of Centauri Prime and the proof that you just shouldn’t bargain with the Devil."
FARSCAPE: Your World Will Never Be The Same.
Deadwood, South Dakota.
In this sequence, Al Swearengen visits Doc Cochran who is handling whore chores in Deadwood. It's a pretty vile business as the Doc is clearly overworked just keeping up with Swearengen's brothel demands. Next to the always magnificent performance of Ian McShane, Actor Brad Dourif [The Lord Of The Rings, One Flew Over The Cuckoo's Nest] serves up turn after turn of equally engrossing work. This is a rare moment of challenge for Al Swearengen.
Swearengen really displays the monster within in this very moving, vulnerable sequence. There's something terribly unnerving when a child is involved with any kind of potential danger and menace and McShane nails the moment. It is deeply unsettling.
Finally, McShane reconnects with Seth Bullock and Sol Star. The performances of Olyphant and Hawkes are truly wonderful in this series. Once again, these two actors serve up some delicious tension and wonderful drama amidst the splendid cast of Deadwood. I can't say enough about these two fine performers opposite the masterful Ian McShane.
These are two of the indelible images from the classic Star Trek: The Original Series episode, The Naked Time.
Captain's Log. Stardate 1704.2. Kirk indicates the crew of the Enterprise is to pick up a scientific crew on a distant outpost before the ancient planet breaks disintegrates.
The first production note to behold is the classic, terrific, icy set design on the frigid planet and those amazing space suits. The space suit designs rank among the best ever created on sheer originality. Everything on Star Trek TOS appeared so simple [it wasn't] and perfect on this show. Star Trek TOS, Season One, Episode 4, The Naked Time immediately conjures my imagination not to mention nostalgic, fond memories of this series as a whole.
People are frozen stiff across the vacant installation found upon the ice planet. Spock and a colleague are there to investigate. The red shirt officer takes off one of his orange-red space suit gloves. I'm not sure why he does it apart from a nose itch, but it spells certain death. A drop of blood crawls across the frozen table and onto his hand. The officer gives his hand a shake indicating he senses something alien has touched him. Spock reports to Captain James T. Kirk that all station personnel are dead including one man who was showering fully clothed. "It's like nothing we've dealt with before." Of course not, this is only the fourth episode.
Spock and colleague are decontaminated upon arrival back aboard the Enterprise. Smart move with everyone dead on the planet below. They head to sick bay and Spock looks rather bad ass in a black t-shirt. Blood pressure is "practically non-existent" reports a stunned Dr. Leonard "Bones" McCoy to Spock. Spock's partner is Joe Tormolen. He is clasping his arm. That's never good in Star Trek. If there is physical, self-appendage-grabbing, trouble is soon to follow. The good news, McCoy is back after his absence from Episode 3, Where No Man Has Gone Before. The crew will watch the break up of the planet with close scientific measurement.
Spock calls the circumstances below "quite bizarre." We also get our first appearance of Nurse Christine Chapel played by the late Majel Barrett Roddenberry, wife of Gene Roddenberry. Spock suspects some sort of "space madness." He does allude to the fact space does include "infinite unknowns." Infinite unknowns, without the scientific explanations of Star Trek, would be the driving force behind Space:1999. The Captain wants to analyze the planet's troubles and Chief Engineer Montgomery "Scotty" Scott assures him he can pull away with the ship's engines in a half-second.
Tormolen continues to have problems with his hand. Helmsman Lt. Hikaru Sulu and Lt. Kevin Riley join him for a bite. Tormolen is acting strangely attempting to rip away his own skin. Sulu asks him how he's doing and Tormolen about rips his head off with a verbal lashing. This is a good sequence starring Stewart Moss, Bruce Hyde and the one and only George Takei.
All are uncertain concerning this unknown disease brought aboard the Enterprise. Spock informs the Captain that the dying planet is remarkably similar to that of Earth. Riley and Sulu are on the bridge and are both tainted by whatever it is that touched Joe Tormolen.*
In sick bay, Nurse Chapel assists Bones on Tormolen. Unfortunately, Tormolen is getting weaker. Bones indicates he is dying. Moments later Tormolen does die and Bones is puzzled indicating the young man's wounds were not all that severe.
On the bridge, Riley and Sulu are sweating up a storm and uncharacteristically Sulu gets up to leave and play some hooky. Riley doesn't like it, but he is fading fast too. Elsewhere, Kirk is informed of Tormolen's fate by Bones. Bones doesn't give us the "He's dead Jim" line yet, that news is in fact delivered by Nurse Chapel.
Spock inquires with Riley regarding Sulu's whereabouts, but Riley begins to lose it! He's played brilliantly by Bruce Hyde. It's really hard to believe Hyde was not given a greater part in Star Trek, because he would have been a winner in a recurring role. Spock tells Riley to report to sick bay. He asks Nurse Chapel about Tormolen, but he knows what happened to him. He touches her chin and continues to spread the mysterious illness.
Sulu is running around fencing half-naked. Note the terrific music and theatrical quality to this sequence and you will find there is a quality to this series that was truly remarkable and meticulous for its time.
There's a problem pulling away from the gravitational pull of the failing planet below. Before Kirk can look into it Sulu arrives on the bridge and Kirk and Spock are able to subdue him with the trusty ace in the hole, the Vulcan neck pinch. Kirk delivers the classic line, "I'd like you to teach me that sometime." 
A call to the engine room finds Riley is causing all sorts of problems. He is demanding "double portions of ice cream," while singing some classic Irish numbers like I'll Take You Home Again Kathleen. Kirk can't enter Riley's location, because the doors won't open. Uhura assists. Spock informs the Captain they have twenty minutes before entering the planet's atmosphere and the Enterprise burns up.
The Enterprise is spiralling out of control. Scotty has been locked out of the engine room by Riley. Somehow, oddly enough, Lt. Uhura, Spock and Kirk are unaffected by Sulu following the Sulu incident on the bridge. Meanwhile, Riley informs there will be no ice cream for those who interrupted his song. There will also be a dance aboard the Enterprise. All women will wear their hair loosely about their shoulders. Those mini-skirts were hot back in the day too. I'll Take You Home Again Kathleen commences. "Please not again" pleads Kirk. There is much humor in The Naked Time without going over the top. The humor is grounded in mounting tension and desperation.
Sixteen minutes until atmospheric entry. Spock orders one of the crewman to stand aside after blocking Yeoman Janice Rand. No one screws with Spock. He moves to the side immediately until he is out of view. There is a simple sound effect to denote the illness in The Naked Time. It's a bit like the rattle shake of a rattlesnake but it is bloody well effective.
Spock arrives in sick bay and approaches Nurse Chapel. Majel was quite an attractive lady in her day. She touches Spock's hand. He leaves, but seems strangely moved by her. She tells him she is in love with him. This is a relatively intimate scene and one of the endless intimate moments that populate the world of Star Trek TOS.
The illness appears to have an adverse affect on the human component of Spock just as his Vulcan portion struggles. Meanwhile, Scotty is breaking through to the engine room and none too soon. Phasers are set on stun, but Riley admits "No dance tonight." Spock is uncharacteristically becoming a blubbering, emotional mess as he attempts to control his feelings and fight the illness. Scotty goes right to work on saving the Enterprise.
Boy, that's about as lost as you'll ever see Spock emotionally. At the very least, it's one of his worst moments. Engines are off and the Enterprise hull skin is overheating. Scotty now needs thirty minutes. Things are looking dire. "I can't change the laws of physics." Things are desperate.
Back in sick bay Bones is finding a cure. He has isolated the problem. It's water. It passes through perspiration. It gets into the bloodstream and acts like alcohol. A serum is prepared to regain self-control. Kirk finds Spock. "My mother, I could never tell her I loved her," offers Spock to Kirk with great vulnerability. Kirk smacks Spock to snap him out of his fetal-like emotional state. Spock smacks back. Kirk now has the illness. The two leads are losing it. These two are like the heartbeat of the show. It's interesting when Kirk reaches Spock. Spock responds to the Captain with the word "Jim." The friends have reached one another. Spock has a plan and informs Scotty of it. Kirk and Spock are attempting to overcome the affect of the illness. It is a sobering moment [you could say] as Kirk talks of his love for the Enterprise. "Never lose you, never," as Kirk looks around to his ship. Kirk heads back to the bridge.
There's a rather funny moment as Kirk walks onto the bridge. Bones rips his shirt sleeve and injects him with the serum. Couldn't we have avoided the shirt-ripping? I believe that may have been for the ladies. Spock and Scotty work vigorously on their scientific plan. Kirk and company pull off the impossible [one of many instances to come]. The crew manages a timewarp. They are going backwards in time. The ship slows, reverses and returns them back to normal time, Warp Factor 1. The time warp has placed them back in time 71 hours. The Enterprise now has three days to live over again reports Spock. The Boy Wonder asked if Tormolen was still alive then. I thought that was a great point, but they have only travelled back in time. Unfortunately, they have not brought the dead back to life.
If there was a theme to explore in this installment of Star Trek it had to be the loss of self-control. It was interesting to see the breakdown in the ship's crew without self-control and order. For a show often known for being conclusively hopeful and optimistic for the future, I always enjoyed the undertones of darkness and isolation that permeated the bulk of episodes before ending on those high notes. Star Trek's music is often dark in tone highlighting the very mysterious themes of space. Like Space:1999, there is a certain quiet, spareness about Star Trek that simply could not be covered today in this way today. Television is much more frenetic. Star Trek is too quiet, too thoughtful and too damn perfect for its own science fiction good. It's hard to find fault.
Special Guest: Bruce Hyde. [1941-present]: American born. Lt. Kevin Riley. Hyde is a professor in communications. He also appears in Star Trek TOS, Season One, Episode 13, The Conscience Of The King.
