What I've got is the new releases with the enhanced special effects - I'll comment on these as best I can, shame I haven't got the originals to compare and contrast, but such is life. I put up the "spoiler" just on the off chance that there's someone here that hasn't seen all these a million times - you never know, I suppose.

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This episode deserves a really big hand.

 

Awesome.

Who Mourns For Adonis was the reason why I started reading about Greek Mythology!

As for Carolyn Palamas (obviously Greek herself), I concur about her Blish-induced pregnancy. The episode did show her being "ravished", a classically polite term.

Also her gown was very risque for TV at the time.

Poor Scotty really got smacked around this time, didn't he?

I’m still catching up reading the pages I missed when I was busy, and I’ve just finished page 14. Back to “Court Martial” briefly, on outtake from the last scene appears on the season one blooper reel. If you’ve never seen it, Areel Shaw asks whether or not it would cause to much of a disruption if a “lowly lieutenant kissed a starship captain on the bridge of his ship,” but the way she initially said the line is, “Do you think it would cause a disruption if a lowly lieutenant kissed the star of ship captain on his bridge?” :P

Note to doc photo: Yes, it makes me feel better that this is one of your favorite episodes, too. :)

In many ways, WHO MOURNS FOR ADONIS? was a thematic follow-up to THE SQUIRE OF GOTHOS.  In both instances you have a being with superior powers (being helped along by some device), and Kirk refuses to play ball. The ending, when he fades away and his words repeat, also looks back to CHARLIE X, especially as the characters feel some regret over the way things turned out.

Leslie Parrish, who played Carolyn, also appeared in 2 BATMAN stories-- the 1st one with The Penguin (where she played a stuck-up movie star who gets kidnapped), and the 3rd Mr. Freeze story (where, inexplicably, she played a woman who was in love with the baddie).

I felt sure there was a hidden strap (under her left arm) holding that dress in place. The way it's designed, it's meant to look as though the long sash hanging over her left shoulder is all that's holding the front up!

Gene Roddenberry claimed he always wanted a Russian on the ship, but somehow they neglected to do so in the 1st season.  I've never heard that Chekov was introduced becuase Sulu was going to be missing from the show.  I suspect that was just a coincidence.  Incidentally, of the 1st 4 episodes produced, Chekov was in CATSPAW, Sulu was in METAMORPHOSIS, both were in FRIDAY'S CHILD and WHO MOURNS FOR ADONIS. Chekov seems to be filling in at Spock's station while Spock is off the bridge.  Meanwhile, they apparently added a new scanner to Sulu's station.  Twice, I've seen it unfold into place as it comes up.

Each of these first 4 episodes, so far, has had a new score written special for it, although Gerald Fried's score for FRIDAY'S CHILD does contain some elements reused from CATSPAW, notably the more "dramatic", action-oriented cues. For these, as far as I could tell, there were a slightly different arrangement, and not just using the same recordings.

Henry R. Kujawa said:

 

Leslie Parrish, who played Carolyn . . . .

I felt sure there was a hidden strap (under her left arm) holding that dress in place. The way it's designed, it's meant to look as though the long sash hanging over her left shoulder is all that's holding the front up!

I did some checking.  Fortunately, the culture of Star Trek is so pervasive that any and every aspect of the series is discussed some place on the Internet.

 

Keeping LT Palomas' gown in its strategic place---besides Miss Parrish's own impressive anatomy---were healthy applications of two-way tape.  In fact, Miss Parrish was not all that comfortable during the filming of "Who Mourns for Adonis".  During the original fitting of the gown, afterward, when the tape was removed, also removed were some strips of her skin.

 

Like all production companies, Desilu kept its costs down by recycling its costumes and props as much as possible.  Early in the following year, the gown was worn again, in a first-season episode of Mannix, titled "The Girl in the Frame".  And by one of those odd coïncidences, the actress chosen for the part of the girl who wore the gown was Leslie Parrish!

 

 

One can only imagine the look on her face when she reported to wardrobe for that Mannix episode.

 

 

Obviously she didn't gain any weight during that year! ;-)

I also read that the cape was supposed to "secure" the top by gravity of all things. Still impressive though.

As for Pavel Chekov, through all my readings of Star Trek (though I hardly call myself an expert), the three main reasons for his character were:

  1. Soviets were complaining that they were not represented as they were the first in space though Flash Gordon may argue that! Also it fit Roddenberry's vision of a peaceful future which was duplicated by Worf on Next Gen.
  2. George Takei needed some time off to make The Green Berets and they wanted another bridge crew member anyway, especially when Spock was on planet.
  3. They wanted to tap into the youth movement by having Walter Koenig "channel" Davy Jones of the Monkees, hence the bad wig (seriously, I kept expecting birds to pop out of it!). Chekov had a lot more romantic moments than either Uhura or Sulu or McCoy for that matter! I wonder if he got much play in mags like Tiger Beat at the time?

 

AMOK TIME-- what a classic.  I'm sure I've seen this DOZENS of times by now.  Still as powerful as it was when I saw it, first-run.

Christine Chapel makes only her 4th appearance on the show, but this one follows up on THE NAKED TIME, in that we see she's clearly in love with Spock.  You know, in a more just, sensible universe, Spock would have eventually married her and been done with it.  I think it's only rampant cynicism that it never happened... same as Kirk ever, ever giving up command of the Enterprise, for any reason.  (Yes, why don't we just pretend those movies NEVER happened, HMMM?)

The utterly contrived, convoluted situation which sets up Kirk having to fight Spock to the death continues to be a mind-blower.  Especially the point where T'Pau says, "This fight is to the death."  Kirk is rightly anoyed at this.  How could she NOT have told him this BEFORE he accepted the challenge???

Gerald Fried wrote the 5th brand-new score in a row this season, and amazingly, it blows the previous 4 completely out of the water... with the possible exception of his own score for CATSPAW.  I notice that, like FRIDAY'S CHILD, he once again utilized a few bars of music from CATSPAW, but re-arranged.  The rest of the score is new.  No doubt the highlights are "Spock's Theme"-- which utilized several notes from a classic folk song, "Lass From The Low Country" (about a low-born woman who tragically falls in love with a high-born nobleman), and the "Vulcan" music.  GREAT, FABULOUS, POWERFUL stuff!  Especially when you get to the fight scene.  The fight music was reused many times afterwards, but also turned up on both THE SIMPSONS ("Homer In Space" during the astronaut training sequence) and FUTURAMA (where it became the national anthem of Dr. Zoidberg's people).

That T'Pring.  What a B****!!!  What she didn't say was, she didn't pick Stonn because STONN might have been killed-- but she didn't care if either Kirk or Spock were killed.

I love the ending, when Spock lets his true feelings slip for a moment.  Kirk is polite enough not to make a big deal of it, but of course, McCoy can't help himself.  I also love the last line.  "Come on, Spock, let's go mind the store."

I looked into James Blish’s adaptation of “Who Mourns for Adonis?” last night as I said I would. There’s not much more to it than we’ve already discussed, but for the record, here it is.

WHO MOURNS FOR ADONIS? – (epilogue by James Blish)

McCoy, sauntering into the Enterprise bridge, strolled over to Kirk and Spock at the computer station.

“Yes, Bones? Somebody ill?”

“Carolyn Palamas rejected her breakfast this morning.”

“Some bug going around?”

“She’s pregnant, Jim. I’ve just examined her.”

What?

“You heard me.”

“Apollo?”

“Yes.”

“Bones, it’s impossible.”

McCoy leaned an arm on the hood of the computer. :Spock,” he said, “may I put a question into this gadget of yours? I’d like to ask it if I’m to turn my Sickbay into a delivery room for a human child—or a god. My medical courses did not include obstetrics for infant gods.”

The Changeling:

Written by John Meredyth Lucas

Directed by Marc Daniels

 

Synopsis: Our heroes encounter a rogue space probe.

 

Thoughts:

1)I note that with the second season Kelley has been moved up to the opening credits.

 

2)"You are the creator, the Kirk."

 

3)"This is one of your units, creator?"

 

4)"He's dead, Jim."

 

5)"That 'unit' is a woman."  "A mass of conflicting impulses."

 

6)So, are all of Uhura's memories gone? Or just her practical knowledge? I see see re-educating for lost factual knowledge, but not for lost personal memories.

 

7)"This unit is well-ordered." I like Spock's almost-smirk.

 

8)So, the mind probe works on a machine?

 

9)"It thinks I'm its mother."

 

10)I believe this is the first mention that the ship is powered by a matter/anti-matter reactor.

 

11)You'd think people would start programming their computers just to ignore any crap that Jim Kirk talks to them.

 

12)"Nomad, you are imperfect."

 

13)"My son, the doctor."  One of those rare moments where Spock and McCoy both look ready to strangle Kirk.

 

Overall:

A mediocre episode, later fairly shamelessly ripped off to make the equally mediocre Star Trek: The Motion Picture.

I am the one person who actually likes ST:TMP (for reasons I will discuss if/when we get to the movies), but the main thing I didn’t like about it was that it is so similar to “The Changeling,” just done on a larger scale. It’s the same feeling I get when I try to reconcile the movies Thunderball and Never say Never Again into the same “universe”.

The human mind being able to outwit a computer is a science fiction staple (one might say cliché), one utilized by Star Trek more than its fair share of times. There was a fairly pedestrian one used in The Prisoner, too. [SPOILER FOLLOWS] Number Six types four keystrokes on a computer data card and slips it into the computer du jour, which soon begins shaking and smoking. Number Six then smugly reveals the question he typed on the card: “W-H-Y-question mark. It’s insoluble.” Nonsense! When I was little, my parents used to answer it all the time: “Because.” [END SPOILER]

Regarding the loss of Uhura’s memories, the only possible way to interpret that is that the damage wasn’t as bad as initially thought, and a few sessions of re-education therapy unexpectedly recovered her memories.”

Choosing "The Changeling", a weak TV episode,  as the template for the Motion PIcture is one of the great "what were they thinking" moments in Trek history.

This is good a time as any to recommend David Gerrold's non-fiction Trouble With Tribbles book where he analyzes what makes a good Trek episode versus mediocre or downright bad. His analysis helps explain why episodes like "Amok Time" and "City On The Edge Of Forever" resonate with audiences while others fall flat. I still have my copy which I read several times - very entertaining and enlightening if you can lay hands on one.

I was going to wait until “The Trouble with Tribbles” came up in rotation to bring up Gerrold’s book, but now that Kevin has mentioned it, I will second his recommendation. I read it back to back with Ellison’s behind-the-scenes book about “City of the Edge of Forever.” (I had been telling a co-worker about the latter at the time, he mentioned that he had Gerrold’s book, and we traded.) Both books are interesting and worth reading (to any Trekkie), but talk about a difference in attitude and approach. Wow!

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