Pandorum

Pandorum [2009] finally made its way into my Blu-Ray player. The film was not at all what I had anticipated. It was a solid freak out with some truly fine white knuckle moments. I viewed the film around midnight on Saturday and I normally watch these things during the day. I normally can't stomach this kind of tension in the darkest hours like I did once upon a time. Breaking with one of my own unwritten, cardinal rules I opted to watch it late, in the dark and alone in the silence. The pause button worked well for the occasional deep breath. Spoilers ahead.

The film caught my attention visually when I first saw the trailer. It looks terrific. Dennis Quaid is one of the key components to the film. He's always more than competent, but like almost anything with Dennis Quaid the promise of his input always winds up being less than expected. He never seems to find the right film or the right role. I was particularly pleased to see the producers of Resident Evil, the guiltiest of pleasures, on board. Pandorum fits nicely alongside those films on the level of gore and violence. This film is arguably better in generating scares too.

Pandorum works with genre concepts, complete within the generation ship subgenre, like that found on Doctor Who's The Ark In Space, but with much improved special effects of course. The  idea of the ark in space is at the heart of this terrifying journey. There was a lot going on in Pandorum. In fact, so much is going on it's hard to get a steady foot. It's a touch chaotic with some awkward, disparate elements thrown into the mix. There is an almost nightmarish, vertigo-like feel to the film as Bower [Ben Foster] careens toward his end with little knowledge of his situation after waking from cryo-sleep in a safe compartment of the ship. We're all in the dark just like him. It's like a bad dream, but the pieces to the puzzle are not exactly clear to Bower along the way. The editing feels oddly assembled. On the whole, I did like what writer/ director Christian Alvart was attempting here. Clearly producer Paul W.S. Anderson [Event Horizon, Resident Evil] also liked the film's direction. My son, the Boy Wonder, walked into the room and immediately picked up the similar production values to Event Horizon. He called it "Event Horizon with monsters." Anderson has a thing for chaos and space horror. These are things I do enjoy which is why I am an Anderson apologist. That, and he's married to Milla Jovovich (bastard!). I am always willing to look past a genre film's flaws or shortcomings to appreciate its strengths. Objectively, the film isn't a complete success, lacking real substantive character development opting instead to push frantically through the story. On that level it is a thrilling, gripping journey of terror. The following clips will give you a sense of the film's mood, which is a huge selling point.





Pandorum refers to an illness acquired during hyperspace sleep. The year is 2174. All that's left of the human race is hurtling through space in the Elysium (sort of) en route to the planet Tanis. Unfortunately, a race of cannibalistic alien warriors have also managed to gain entry onto the ship or so it seems at first. There is some mention during the film these creatures may be of unexpected human design. These mutant things are potentially the result of a chemical mixture from the cryo-tubes adversely affecting the on-board human population as they exit cryo-sleep. This is clearly an understatement. Humans have transformed into these highly aggressive monsters that have adapted to their environment aboard the spaceship. The concept echoes the horrors of the Reavers as represented in frightening fashion for the film Serenity (2005), also inadvertently the creation of man. This was unexpected and quite contrary to my expectations. The creatures crawl about the ship looking for their latest victim. With thousands of human vessels aboard waiting to be born (in a manner of speaking they are given re-birth), there is plenty of human fodder for the taking. There's a particularly gruesome scene whereby a man is awakened from his cryo-tube, gasps for a few quick breaths, and is promptly devoured as the mutants thrust their razor sharp teeth into his flesh. He is quickly eaten alive. That's rough going and sadly it echoes the similar fate of calves that become veal, which is terribly tasty. Thus I may have to reconsider.



To make matters worse, the reactor core is going to explode unless Bower (Hostage), a technical engineer and Corporal, can fix it. A number of humans, unaffected by the cryo-sleep chemical mixture, have since reactivated throughout the Elysium, at different junctures and essentially live aboard the ship with a kind of every-man-for-himself survival mode. Each individual holds down their own particular corner of this massive spacecraft in the hopes of staying alive against transformed humans into marauding mutant animals. Bower, the glue to the film, brings them all together with a bit of "solidarity" as he puts it. Foster is very good as the film's anchor. He's an actor that has great potential and his supporting role in 3:10 To Yuma is his best to date. He's certainly a strong component of the film.



The creatures in the picture are particularly well-designed, and nightmarish in the vain of The Descent (2005). The ship, like the Event Horizon, is also exceptional. They run amok on the vessel and survival is the name of the game. It is an instinctive, base, animal drive that motivates all life aboard the craft.  The creatures will even eat their own, but the humans aren't much better. The cast is serviceable. One character (actor Cung Le) speaks no English. He merely informs the viewing audience that this is an international ark in space built for all cultures and species of life. Nadia (German actress Antje Traue) even eats locusts or grasshoppers for sustenance in one of the ship's ark preserves. To quote The Blues Brothers driving through a mall, "This place has got everything."  You'll spot a particularly frantic performance by Norman Reedus of The Walking Dead.



The film has received comparisons to films like Ridley Scott's Alien [1979], often generating unfavorable reviews indicating a lack of originality. But Alien had its detractors, thus Pandorum should age well. While Alien is a classic, and often the film by which many genre films are judged, Pandorum still offers some reconstructed ideas and some new looks on familiar terrain. I certainly respect the references in aesthetic, but the film still felt unique and holds its own.



The lighting throughout the film was deliciously frightful. My biggest gripe from a technical standpoint was the audio. The movie alternated between rousing physical sequences to the whisper of quiet exchanges between characters. Some dialogue was barely a mumble and therefore hardly audible. As soon as the volume was maximized I could pick it up, but then the film quickly to action and I wondered if the house might shake apart. This was slightly distracting as a viewer. The whispers were the result of characters keeping a low profile from the creatures that roamed the Elysium. The highs and lows were understandable, but fairly annoying in terms of audio adjustment.



The conclusion was hopeful if not entirely surprising. I was impressed by its optimism. It's not a great ending. It turns out the Elysium has arrived at Tanis, its pre-programmed destination, and has been there for some time. The ship has crashed into the oceans of Tanis, an Earth-like planet. Bower and his reluctant female partner Nadia survive and escape to the surface of Tanis.



The film symbolized the story of Adam and Eve and what appeared to be a planetary paradise. It was a new start and a vivid ending following the dark corridors of madness that drove the film. My reaction was tempered at the arrival of the remaining human passenger pods as they darted out of the ocean in their cryo-tubes. The ark had arrived and Earth was essentially being reborn.  But were they unlocking monsters as well and perhaps the kinds of violence that overruns Earth?

Though it is highly unlikely a sequel would be made other than a direct-to-DVD feature of poor quality, I could envision the potential in it. Further, I'm pleased Alvart concluded the picture without one of those silly cliffhanger moments that often dumbs down a picture. Those moments serve only to disrespect the audience and remove the sound technical efforts of a film's creators. Pandorum ends with Tanis Year One. The possibilities for a Year Two picture certainly exist. I can imagine Tanis resulting in a world strikingly similar to our own. I could see a planet of peace and tranquility quickly devolve into a planet of war. Tribes of competing interests jockeying for control of their hold of Tanis. There is much to mine from the imagination here regarding evolution. Let's face it, if the humans survived, there's a good chance the mutants did too.



The Pandorum reference to Tanis Year One made me consider Space:1999 Year One and I'm grateful Gerry Anderson's series was successful enough to grant its fans Space:1999 Year Two. Those second years may be problematic, but they are welcomed.

Pandorum is unsettling and while homage is paid to those that had come before it, it is a picture that holds its own in the pantheon of science fiction nightmares within the generation ship subgenre of sci-fi. It was fresh enough to make me ponder the possibilities. Thankfully the creators and distributors stay true to the R-rated vision of the film.  This film, like the creatures could have evolved or devolved into PG-13 territory.  As it stands the creepy, underrated Pandorum is a solid, atmospheric, piece of science fiction horror in the vein of other underappreciated efforts like Event Horizon.

Pandorum: B

UFO Ep2: Computer Affair

Please don't be confused. This is NOT Thunderbirds, but sometimes it feels like it could be.

It's FAB FRIDAY fellow fanatics and all things wonderful in the world of Gerry & Sylvia Anderson. It's a bit like visiting Sally Lunn's Bun Shop in Bath, England. That is one of the yummiest places in the world and is worth the trip in the same vein as watching an Anderson production.

As we enter the exciting world of UFO, a thought occurred to me about the Moonbase. While clearly a precursor to Moonbase Alpha, it dawned on me it was very much in keeping with Gerry Anderson's calling card. He established the idea of outer space surveillance even earlier than Moonbase through the creation of Thunderbird 5 for Thunderbirds. T5 was the essence of space oversight and his earliest incarnation of a space presence. It has evolved into the established, live-in base here on UFO and more completely into the full-on concept of a roving space station in Space:1999. Prepare for more Andersonic excitement with UFO, Episode 2, Computer Affair.

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An Earth-based craft launches, detaches and rockets to Moonbase. The suave Colonel Alec Freeman has arrived. He greets the purple-wigged triumvirate of Lt. Joan Harrington, Lt. Nina Barry and apparent acting Moonbase head Lt. Gay Ellis. Freeman is at Moonbase for a monthly audit and review of operations handled by liaison Ellis. While at the base, personnel are placed on yellow alert. A UFO is inbound. Interceptors are given a full report by artificially intelligent satellite extraordinaire SID [Space Intruder Detector]. The base moves to red alert status and Interceptors scatter. The Interceptor goofy nose rockets are launched and explosions occur, but the UFO is not destroyed. Gay conveys new course corrections to Interceptors to avoid the incoming UFO. Oddly enough, these pilots are heavily reliant on Moonbase navigation. As a result, Interceptor 1 is destroyed. They may need to acquire greater onboard Interceptor computer intel.

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Later, back on Earth, Commander Ed Straker is looking for an explanation on how this incident happened. Freeman informs Straker it may have been human error. Straker wants the surviving pilots and Gay to report to him A.S.A.P.. Meanwhile, as a result of the incident, the UFO has landed on Earth, whereabouts unknown, but somewhere in the vicinity of Northern Canada. Satellites, Skydiver, Shadair. Every resource is searching for the alien craft. Actor Shane Rimmer is back as Shadair's pilot.

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Ellis and the Moonbase pilots are en route back to Earth. One of the pilots assures her she is not at fault and these consequences are essentially the unfortunate results of an intergalactic war. In Straker's office, Freeman smokes. People loved to smoke back in the '70s. You just don't see that on television today. It's no wonder many of these actors are dead now. Freeman exits. Lt. Gay Ellis, sans pink-purple wig, and the pilots, Lt. Mark Bradley and Lt. Lew Waterman arrive. Gay, played by Gabrielle Drake, looks even more striking in civilian clothes with her natural hair color. Waterman attempts to take responsibility for the mishap. Straker tells him nice try, but he's out of line.

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Would you not be completely crushing on Gay Ellis? I really love the clothes here. The Nehru jackets and Nehru-like vests are a highlight. They still look slick today.

Elsewhere, the UFO has been located. The fishnet-clad posse of Skydiver make their way to the UFO's coordinates. Any fashion faux pas can be attributed to the Century 21 fashions consulting of Sylvia Anderson [although the real credit goes to designer Keith Wilson], but the implemented Nehru jacket look was exceptional. Notable advocates of the Nehru jacket include The Beatles, James Bond's adversaries, Khan Noonien Singh from Star Trek: The Original Series' Space Seed episode and the Master in Doctor Who.

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Later at the Psycho-Analytic Department, Doctor Shroeder meets with the the three visiting members of Moonbase. Dr. Shroeder will first interview Lt. Bradley, but not before trying to push a couple of fags on him, cigarettes for those in the USA.

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The personnel of S.H.A.D.O. are big-time smokers! They probably don't even use filters, but then did filters really help all that much? Also, interesting to note how race is an issue in that clip. You wouldn't see the smoking or racial elements as pronounced today. I must admit it's all a bit odd watching it now. Of course, there's no shortage of race-hustling politicians today who love to inject race into an argument to silence those exercising their First Ammendment rights under the United States Constitution. It's really quite unfortunate. I'm not suggesting race doesn't play apart in our global culture, it does. It's also applied to our detriment as people when it suits a political goal rather than executed for legitimate discrimination cases like Rosa Parks fight for equality in Alabama in 1955.

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Meanwhile, Captain Peter Carlin, not only in charge of the Skydiver submarine, is also the pilot of Skydiver, launches toward the UFO. It's amusing to see the launch sequence of the Skydiver's nose, Sky 1. It's all very Thunderbird 2, but under the ocean. There is much smoke kicked about on launch. It's fascinating to see all that smoke, um, under water. Okay?

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Back at S.H.A.D.O. Headquarters the three members of Moonbase are put through a series of rigorous mental acuity tests to establish on the job fitness. Meanwhile, Sky 1 has located the elusive UFO. I must admit, the spacecraft, UFOs, Interceptors, Shadair and Skydiver included, are less than impressive spacecraft designs and do not reach the heights of craftsmanship and meticulous beauty established in Thunderbirds or Space:1999. It's definitely a minor quibble. The designs should have been better thoughtout the series. They vehicle hardware is simply less than enthralling to the eyes. Sky 1 fires upon the UFO and makes contact. Despite the hit, the UFO remains in flight. Straker is hardcore. He wants the UFO to be taken out and if it doesn't happen, "they'll answer to me." Incentive was much different and firmer in the '70s. There was no messing around. You knew the mission. You knew the job. Results had better follow. Today, incentive would more likely be an ice cream party granted to the victor. If it didn't work out, oh well. Aw heck, we'll have that ice cream party anyway.

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Waterman, Bradley and Ellis joke about Dr. Shroeder, but unbeknownst to them he can hear there every word over a speaker from his office. Jackson is a real bastard. Ellis is next. S.H.A.D.O. receives word the UFO has crashed. Straker wants the aliens alive. Freeman will report to the location. Straker indicates the reports are completed on the Moonbase personnel by Dr. Murray, but it is clearly Dr. Shroeder who performs all of the testing. I'm not sure why Dr. Murray was even introduced as a guest character. Jackson meets with Freeman over the results and the doctor reports he is puzzled by one of Ellis' answers. Word association for "black" is met with a pause and rather than answering "white" she responds with "bird...blackbird." The suggestion is made that Ellis shares an interracial connection with Lt. Bradley. Once again race a little more prominent than I'm used to as the suggestion is clearly that Ellis has a thing for Bradley.

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Mobile Units appear to be fairly defenseless in battle, but damn they look good.

Freeman indicates Ellis is being reassigned to Earth. Skeptical of computer intel [another allusion to the distrust of technology often implied or referenced in the work of Gerry Anderson's Space:1999], Freeman decides to take Ellis and Bradley with him on his site visit of the UFO crash site. The S.H.A.D.O. team arrives in Canada. This is established via some fancy model-sized signage. As noted, my lack of enthusiasm for the model and vehicle design work found in UFO has given way to quite possibly my favorite design of the series, the Mobile Units [SHADO Control, SHADO 1, SHADO 2, SHADO 3]. These units also remind me of my beloved Chariot on Lost In Space [1965-1968]. These are, by far and away, the finest looking designs on the show.

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Gay, inside SHADO Control, reports all three units are in position to Freeman. Freeman orders one be sent in. Gay asks which one. Freeman gives her a tongue-lashing! "The one in the best position. Standard procedure." SHADO 3 moves in within visual contact. The UFO begins firing upon the SHADO unit. SHADO 3 pulls back too late and is destroyed with a direct hit.

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Freeman makes a command decision sending in the next unit, led by Bradley, like lambs to the slaughter. Freeman orders the team proceed forward on foot upon reaching the ridge. Good decision. It's clear the SHADO units aren't built to take direct hits by the UFOs. Given this unfortunate development, I'm not sure what the SHADO units are built to withstand. The men fan out on foot. UFO attempts to build suspense and drama, but doesn't necessarily achieve it with great effect. Thus far, some of the scripting is a bit stilted and certainly less sophisticated than the writing found in Space:1999. Still, this is only the second entry in the series and the effort is impressive.

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A future extra for Devo.

An alien humanoid on foot surprises one of the men, but the S.H.A.D.O. agent turns and fires blowing out the visitor's helmet, glass faceplate. Moments later, the three agents are attacked from behind as they crouch down at the downed humanoid.

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Complete and utter backyard fun as a child.

One thing is certain, the humanoids are not very good shots with their weapons. Perhaps the Star Wars' Storm Troopers took a cue from them. The three men were sitting ducks and should have been eliminated without effort, especially given the element of surprise, yet none of the men are even grazed. It is a bit surprising, but this is a show walking the line between a children's audience and an adult one. Also, the weapons from both the aliens and the humans make the same machine gun-styled sound effects firing what amounts to primitive Earth bullets, at least that is how it sounds. I would have preferred a more creative weapon for both the aliens and the humans to establish a little differentiation between the two sides.

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Bradley circles around behind the sole remaining humanoid. Straker wants one of them alive. His agents don't appear smart enough to stop firing and essentially place Bradley in the line of fire. Bradley is moving into the hot zone. Despite their lack of intelligence, Bradley commandeers the humanoid overtaking him between firings. A few yards away the UFO smokes and then explodes.

Music kicks in that reminisces of British act Portishead and goes to show how contemporary acts always borrow the best from their musical pasts. Back at SHADO Control, Ellis asks Bradley, who has now returned, if he is alright. Ellis shares an intimate, professional moment with Bradley, whom she does care for. It's one of the better moments in Computer Affair.

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With the period music playing I half expect to see Gay take her clothes off and get it on with Bradley like some kind of cheesy adult film. Not that I've seen anything like that since I was young lad. I know it's Gerry Anderson, but the music is suggestive of some hilariously cheesy sex videos. Okay, I'm taking it a little over the top, but Bradley does like the "action" and Gay is just too damn irresistible.

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Dr. Shroeder works on the humanoid that has been brought back to S.H.A.D.O.. Straker wants to perform a little water boarding on the alien. Yes, we need to do such things when the enemy wants to kill us. I sanction action upon the gun-wielding alien. Granted, these aliens typically come in space suits with glass helmets filled with a water-like fluid. It's doubtful water boarding would be effective. In fact, they might even like it. Turn on the Air Supply music. Straker asks when the alien will be ready. Dr. Murray indicates he has no idea. "We're crossing new physiological frontiers, how can I say?" The interrogation goes on for forty-three minutes. Doesn't an interrogation have to include a conscious prisoner? I would suspect the word interrogation would be precluded when the prisoner is unconscious. The alien's eyes pop open and Straker requests chemical's be injected to access information from the alien. This would never fly in today. Straker demands "help" and cooperation. The alien screams in pain and flatlines as eerie music plays over his demise. Another opportunity is lost slipping from S.H.A.D.O.'s grasp.

The whiskey man.

Later, in Straker's office, Freeman hands what appears to be a resignation to Straker. "Accept this." "We've worked together a long time Alec." Alec agrees, "Maybe too long."

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The adorably cute Gabrielle Drake as Gay Ellis.

In the end, Ellis and Bradley share a night out in a classic '70s mustard-yellow decorated restaurant. Elsewhere, Straker wants Alec to reconsider as he uses a cordless phone, which came into the public consciousness around this time. Freeman tears up his resignation. This final moment reflects Straker's assurance to Freeman that he makes human decisions outside of the reliance on computer intelligence.

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That Ed Straker is a complicated man I suspect. Given the cross-section of computer intel and human intervention, Computer Affair is an appropriately and cleverly named entry, but left me a little cold as computers can do. Ironically, the thing that keeps bringing me back to UFO is the strong cast. I am intrigued to see more of Bishop, Sewell and Drake, the human touch.

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Computer Affair: C-

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Writer: Tony Barwick

Director: Dave Lane

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The Cast [Where Are They Now?][Part One: The Men]:

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Ed Bishop [1932-2005]. American born. Commander Ed Straker. Bishop provided the voice of Captain Blue for Captain Scarlet And The Mysterons [1967-1968] for its entire 26 episode run. He was the only cast member to appear in every episode of UFO. He made appearances in the James Bond films You Only Live Twice [1967] and Diamonds Are Forever [1971]. He appeared in four installments of the series The Saint [1962-1969] including The Saint Steps In, The Revolution Racket, The Saint Bids Diamonds and The Man Who Liked Lions. He appeared in Director Stanley Kubrick's 2001: A Space Odyssey [1968]. He followed this brief appearance playing the part of David Poulson in Gerry and Sylvia Anderson's Doppelganger [1969] also called Journey To The Far Side Of The Sun in the USA, opposite George Sewell pre-UFO. He guest starred in Gerry and Sylvia Anderson's The Protectors, Episode 15, The First Circle as Colonel John Hunter. He also contributed voice work to Star Trek: The Animated Series [1973], Episode 9, The Magicks Of Megas-Tu as Megan Prosecutor Asmodeus. He was cast in Oppenheimer [1980] and appeared in Restless Natives [1986] just to name two of many. His voice work took prominence after 1990. Even earlier than that, the geek in me must mention two notable trailers Bishop provided voiceovers. These personal favorites include the voiceover for The People The Time Forgot [1977] and Warlords Of Atlantis [1978]. These two classics starring Actor Doug McClure were in heavy rotation at my local drive-in. My father was a saint for taking me. Some final brief appearances of note include the pilot, The Curse Of The Jackal, for The Young Indiana Jones Chronicles [1992], French & Saunders and Season Six, episode 4, Diplomatic Immunity, of Highlander [1997].

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For a detailed account of Ed Bishop's life you may want to read A Tribute To Ed Bishop 1932-2005 in Fanderson fan magazine FAB #53 by Author/ Editor Chris Bentley. Bishop was an interesting man. Despite his rather hawkish character in UFO, Bishop was notably liberal or left-wing as he would describe himself. "I'm very much left politically." He was very gracious to fans and very "humbled" by their adoration for his work in UFO. I found this self-deprecating character assessment interesting from Bentey's article. "I am totally, totally unambitious. As long as I'm making a living that's fine. One of the reasons I got along with Mike Billington very well is that he was very ambitious, and I applaud that, but I've been very lazy in my career. I've never had any kind of plan to it at all. As long as the phone rang and I was making a living, I never worried about anything." Despite my own conservative politics, I always have a lot of respect for people like Bishop and even find myself relating to them on many fronts. For a man with little ambition, he did quite well for himself, but it helps when you have the kind of voice, good looks, charm and talent of a man like Ed Bishop. In a strange turn, Bishop passed away five days after fellow UFO Actor Michael Billington. Bishop died as a result of complications from a chest infection possibly associated with leukemia.

Now this is a bad ass little unit.

Michael Billington [1941-2005]. British born. Colonel Paul Foster. The most notable fact is Billington was often screen-tested for the role of 007 [Live And Let Die (1973), Moonraker (1979) and Octopussy (1983)]. Thanks to the equally wonderful Roger Moore, but unfortunate for Billington, he never landed the role of James Bond. According to Fanderson magazine FAB #53, Billington was Albert R. Broccoli's "first choice" had things not worked out with Roger Moore. However, he did appear in The Spy Who Loved Me [1977] as Russian agent Sergei Barsov. He was fortunate enough to bed my favorite, ultra-hot actress Barbara Bach as Agent XXX. Damn, nobody does it better than Bach indeed. Billington later landed some guest spots in Hart To Hart [1979-1984], The Greatest American Hero [1981-1983], Fantasy Island [1978-1984] and Magnum, p.i. [1980-1988]. Coincidentally, Billington passed away from cancer five days earlier than UFO castmate, Actor Ed Bishop.

An image from Get Carter with Michael Caine and George Sewell.

George Sewell [1924-2007]. British born. Colonel Alec Freeman. His most notable film appearances include: Doppelganger [1969] [titled Journey To The Far Side Of The Sun in the USA] and most notably in Director Mike Hodges' Get Carter [1971] starring Michael Caine. Sewell also appeared in Doctor Who.

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Harry Baird [1931-2005]. Born British Guiana [now Guyana]. Lt. Mark Bradley. He had a role opposite Michael Caine in The Italian Job [1969]. Baird appeared in just six episodes of UFO and left following some frustration with the treatment of some actors over others and creative differences. He also felt some were treated better than others. His candid interview can be found in a Fanderson FAB Yearbook 1. He offers some additional thoughts on the legacy of UFO despite his problems with some folks behind-the-scenes. "I think it was very good. It was well done. The scripts were very good, the special effects were marvellous and I think it was something that the whole family could watch. There was action and drama and I think it was one of the best things from around that time. It's certainly not just because I'm in it, but I think UFO was the best thing the Andersons ever did. It's a terrific programme and I think it was better than Space:1999." Okay, I'm guessing there may be some personal bias in that statement despite some elements of the program being quite unique to the world resulting in Space:1999. It could be a matter of taste. Sadly, Baird dealt with glaucoma in the 1970s and passed away from cancer the same year as fellow UFO castmates Ed Bishop and Michael Billington.

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Peter Gordeno [1939-2008]. Burma born. He was also a singer, choreographer and dancer. Gordeno disappeared from the UFO series following episode 8 to avoid typecasting. He also was not an experienced actor who could go the distance. He passed away following bouts with cancer. More on the cast, next flight.

Star Trek TOS S1 Ep2: Charlie X

Terrifying images extracted from Charlie X. The Star Trek: The Original Series episode combined elements of horror with science fiction and left this young science fiction fan scarred as a child.

Former secretary to Gene Roddenberry and writer Dorothy C. Fontana delivers a solid, standout science fiction tale to help kick off one of the most impressive single seasons of science fiction television in science fiction history. It's that simple. In fact, Charlie X, would be much imitated ad nauseum. Star Trek: The Original Series would revisit the concept of the petulant and powerful child-like entity in different packages going forward. Star Trek: TOS, Season One, Episode 17, The Squire Of Gothos is one such example. Trelane, too, would test the patience and resilience of the Enterprise crew as well until greater powers arrived to reclaim him like that of the fate of Charlie. Shades of this idea would permeate Star Trek: TOS, Season One, Episode 2, Who Mourns For Adonais?.

The idea of such a peevish and powerful being would further manifest itself through the embodiment of the far less interesting stories of Q in Star Trek: The Next Generation in its series opener Encounter At Far Point [also written by Fontana and Roddenberry] and later in Season One, Episode 10, Hide And Q and beyond. Still, the bottom line is, Charlie X is the best of the bunch and actually lays the foundation for an idea that would continue to be mined going forward throughout the many incarnations of the Star Trek franchise.

As author David Gerrold would note in his own The World Of Star Trek, "Charlie has been raised by aliens, now he has to learn how to be a mature human being–unfortunately the aliens have given him superpowers in order to help him survive, thus depriving him of the need to mature. His whole problem, thus, is how to relate to humans. He can't of course–for Charlie it's too late." I don't think I'm giving anything away here because this is material you can probably quote in your sleep. But, if Gerrold's point rings any bells you can easily apply Fontana's thinking elsewhere and the character Q is very much of this template and of Fontana and Roddenberry's mind. Ultimately, Fontana's Charlie X, any way you slice it, is one of the originals.

Stardate 1533.6. Cargo Vessel Antares. The U.S.S. Enterprise beams aboard an unusual passenger. Charlie Evans. Charlie was rescued from a planet. He was the sole survivor. He is now aboard the Enterprise populated by a crew of 428 personnel members. We quickly discover that Charlie is immature, abrupt and impulsive. Captain James T. Kirk corrects Charlie for his poor manners while speaking with the crew of the Antares who have brought him to the Enterprise.

You have to love the Kirk's green wraparound uniform. Charlie is introduced to Yeoman Janice Rand and is awestruck by the fact she is a "girl." We like her too Charlie. Here we go with Star Trek: The Original Series, Season One, Episode 2, Charlie X. Once again, when that opening theme music kicks in with all its remastered splendor it is a booming display. The audio reverts to a more analog-styled soundtrack for the episode itself.

Now seventeen years old, Charlie arrives, the sole survivor of a transport crash that happened fourteen years ago on Thasis, aboard the NCC-1701. Charlie was just three years of age when it crashed. Robert Walker Jr. is perfectly cast as the strange boy played known as Charlie Evans. It's a truly splendid performance. This always ranked as one of my favorite episodes for its disturbing qualities. The events that unfold have remained with me to this day. I was always troubled and truly captivated by Charlie's bizarre, childish behavior. It was like Star Trek meets The Twilight Zone. After a full medical work-up by Dr. Leonard "Bones" McCoy, Charlie inquires with him, "do you like me?" He indicates the crew of the Antares did not like him. Bones responds, "why not?" Charlie tries a bit too hard, but as The One To Be Pitied would indicate, he clearly has some behavioral issues. What do you expect from a teacher? Charlie is indeed a bizarre cat and very odd fellow.

Lighting and focus on close shots would be a trademark of the series. Later, in his travels aboard the federation ship, Charlie would continue his attempt to connect with Yeoman Rand. He gives her some perfume and uses his strange mental powers to force her to acknowledge his gift. Picking interesting moments from Star Trek is always easy, because there are so many.

Charlie is definitely one clueless puppy. Kirk, Bones and Spock argue the point that Charlie needs a father figure and Kirk points to Bones in handling that role.

Spock handles the strange musical arrangements while Uhura handles vocal chores. In the recreation room, Spock plays a space harp for entertainment. It's an ever so bizarre-looking scene what with his ears and serious expression. He means space harp business. Nyota Uhura sings and continues her semi-flirtatious rapport with the green-blooded vulcan. It was interesting to see how the new film, Star Trek [2009], really took this thread and fleshed it out a bit more with some potency. Spock and Uhura were displaying real chemistry in the aforementioned film. Uhura is a strikingly beautiful woman and gets the edge over Rand. You even get a glimpse of her sexy red underwear. Sweet! Spock is unimpressed. I wish I had that kind of unemotive response especially around beautiful women. Spock is completely unmoved by sexuality. Man, that's a talent brother! Uhura is not a half-bad singer either. "Charlie's our new darling" she sings and Charlie is experiencing some anxiety over the attention and quickly renders her vocal chords useless. The X factor strikes again. He continues to wow Rand with some impressive card tricks. Socially, his communication skills have essentially stunted. He reacts with the emotional response of a child.

I love Kirk's discomfort in giving Charlie advice over ass-slapping. It's not easy when you've done your fair share of ass-slapping along the way.

On the bridge, the crew of the Antares attempts to reach Kirk and friends with a warning regarding Charlie [no doubt]. Charlie quickly nixes the transmission with his special skills. Upon further review we discover the Antares has been destroyed by Charlie. The boy has some pretty special, innate powers indeed. This is made all the more impressive when Charlie substitutes synthetic meatloaf with real turkeys. Now that is real power. Perhaps a role as Enterprise chef is an option.

Those stunning eyes scared the be-Jesus out of me. Charlie challenges Spock in a game of chess. Astoundingly, Kirk just beat Spock through "illogical" methods. This would be translated as Captain's gut instincts trumping logic when making decisions. It is one of Kirk's trademarks. This should be interesting as the boy genius takes on master Spock. Check mate. Charlie's eyes roll back as Spock exits and he melts away all of the white chess pieces in child-like anger.

Rand attempts to introduce Charlie to a yeoman his own age. He blows her off with interest in stalking, rather talking with Rand. Rand chastises Charlie for his behavior. He has a real infatuation with Janice.

Who can blame him? "When I see you I feel like I'm hungry all over." Now, there's a pick-up line to leave at home. Rand informs Kirk of the incident.

Kirk will speak with him. You have to love Kirk as a father figure. When it comes to women, you wouldn't mind being taken under Kirk's wing. This is one of those scenes I enjoy when Charlie gets irrationally heated.

He's got some striking blue eyes made all the more impressive by the remasters. Kirk does his best in the education of Charlie X.

Ladies, behold the spellbinding power of my dreamy, hairless chest! I know my female compadres out there have to be big fans of a shirtless Kirk. For all of the babes us gents get to enjoy, there is plenty of William Shatner eye candy here for the lassies. You get to see him shirtless in spandex with his protruding, bulbous crotch area highlighting the family jewels for all to adore. Physical exercise in the gym doesn't suit Charlie well. One of the trainers, Sam, laughs when Charlie is taken down in wrestling. "Don't laugh at me!" Suddenly, Sam disappears, but where? Kirk asks the obvious question. Where the hell is Sam? "I didn't mean to do that. He made me do it." As kids, we've all been there and Charlie embodies our insecurities perfectly in a perfectly twisted story. Kirk orders Charlie be escorted to his quarters, but he has his hands full with this guest traveller. Like a father to a son, Kirk tells him to go. "Go to your quarters or I'll pick you up and carry you there." Kirk is fearless and demands respect by presenting paternal responses to the mentally unstable Charlie Evans. In some small way, Kirk is held in high regard by Charlie as an authority figure. He relents and exits. Kirk assures him he will not be hurt by his people.

Uhura reports to Kirk that all phaser weapons have disappeared. Spock does some research on Thasians. It would appear Charlie is one of them. Spock surmises Charlie was responsible for the destruction of the Antares. His short temper and Id-driven needs display little regard for human life. Spock knows he has the power to destroy anyone on the Enterprise. How about the Enterprise? He can destroy that too if he so desires.

Charlie is brought to the briefing room to meet with Kirk, Spock and Bones. Kirk inquires pointblank, as only Kirk can, if he is responsible for the Antares' destruction and Charlie confirms it to be true. "Well they weren't nice to me." The men are stunned. "What about us Charlie?" asks Kirk. "I don't know." "We are in the hands of an adolescent" Spock affirms.

Uhura is zapped on the bridge by one of the electrical panels. Charlie is now messing with the ship. Spock is toyed with by the mental powers of Charlie. It is quite amusing to see the normally measured Spock out of control even if only briefly. Charlie wants to reach Colony 5, but the Enterprise attempts to change course.

Charlie is now becoming very dangerous as he turns Yeoman Tina Lawton into a lizard. He also makes Yeoman Rand disappear. Kirk and Spock try to stop Charlie. He is the X factor at this point indeed. "If you try to hurt me again I'll make a lot of people go away." So where is Rand? Charlie won't tell. "I can do anything and you can't." He does have a point. Kirk and Spock try to place him inside a force field protected room, but Charlie simply removes the walls.

Charlie turns one crewman into an old woman. He hears people laughing and removes their faces giving new meaning to the idea of a face lift. Charlie is in full control. He has the ship locked on to Colony 5. Kirk wonders if he's actually done away with anybody since taking over. Kirk assumes his powers are overtaxed. Kirk is ready to take Charlie on toe to toe. Charlies assumes the Captain's chair. Kirk toys with Charlie's juvenile mindset pressing him to anger. He forces him to blow. "You've got my ship and I want it back. I want my crew back whole." Charlie battles for control head to head against Kirk.

Rand is returned. Off the starboard bow a ship arrives from Thasis. They have arrived to take Charlie away. Charlie is fearful of being taken back. The Thasians indicate the ship and everyone aboard it has been returned. Kirk, with his genuine human compassion, believes the boy can be taught. The Thasians indicate the boy would use his powers to destroy the Enterprise. Charles is summoned back to his people. The thematic beauty of the entry is our compassion. It is our ability to still believe in and hope that people can change. Kirk could not help Charlie despite a desire and attempt to do so. Rand sheds tears expressing her own understanding and compassion for Charlie despite his flaws. It is one of humanity's greatest gifts.

Charlie X: B Writer: D.C. Fontana Director: Lawrence Dobkin

Dead Crewman: 0

Dead Crewman Total To Date: 4

Babe Alert: 0 [Janice Rand is a recurring character played by Grace Lee Whitney and is technically not a guest babe] [Still, she's a hot enough babe anyway and I relent]

Babe Alert: Grace Lee Whitney [1930-present]: American born. She released her own autobiography, The Longest Trek: My Tour Of The Galaxy [1998]. She was released after the first thirteen episodes of Star Trek: TOS Season One. She returned for Star Trek: The Motion Picture [1979]. Her book recounts the termination of her contract with Star Trek and her battle with drug use. She appeared in Gunsmoke, Bewitched [1964-1972], Batman [1966-1968] and The Outer Limits [1963-1965] [opposite Barry Morse from Space:1999 and the late, great Caroll O'Connor] in Controlled Experiment.

Special Guest: Robert Walker Jr. [1940-present]: American born. He also appeared in Irwin Allen's The Time Tunnel [1966-1967], Episode 22, Billy The Kid. He also appeared in The Invaders [1967-1968].