Showing posts with label gladiators. Show all posts
Showing posts with label gladiators. Show all posts

Saturday, January 15, 2011

#46 (2-16): The Gamesters of Triskelion

THE PLOT

Kirk, Chekov, and Uhura prepare to beam down to an automated communications station to do a routine check of the station's systems. Just before beam-out, they suddenly vanish. Not transporter vanished, but sudden and obvious jump-cut to them no longer being there vanished! As Spock attempts to find some trace of the three missing officers, Kirk and his companions find themselves on a planet known as Triskelion. The three have been taken to this planet to be trained as gladiators, to fight for the entertainment of the mysterious "Providers" for the rest of their lives!


CHARACTERS

Capt. Beefcake: Kirk's exhibitionist streak has been kept under tight control for much of the second season - likely a response to Shatner visibly packing on a few pounds over the course of the season. Per Memory Alpha, the production team stepped in by midseason and got Shatner to put himself on a diet. The diet took, and a slimmed-down Kirk gets to spend a fair amount of the episode running around with his shirt off again, all while tricked out in what looks suspiciously like bondage gear, complete with a "Collar of Obedience."

Kirk encourages rebellion against the Providers by his usual method: Identify the most attractive available female, and then teach her "What... is... kiss." We get treated to a lot of Kirk's hilariously gymnastic fighting style. Apparently, the somersault has a major place in mixed martial arts of the future. Kidding aside, both Kirk and Shatner get a genuinely pretty good scene near the end, in which he wheels and deals with The Providers in order to gamble for his crew's freedom.

Mr. Spock: Methodically searches for the only possible course to follow in attempting to get Kirk and the others back. He selects a course of action with a slim chance of success, on the grounds that it is the only one available... which does not stop him from having to endure endless scenes of Scott and McCoy questioning his decision and insisting that they should go back and search through the space dust around their initial position.

Uhura: If there's any doubt as to how much television has changed over the past 40-odd years, take a look at the scene in which Uhura is subjected to a rape attempt. She has been "selected" for breeding, which a "drill thrall" attempts to force upon her. The scene is genuinely disturbing, as Kirk stands by helplessly while Uhura struggles with her attacker. Even more disturbing is the way it's treated afterward. It isn't. This scene exists for a fade to commercial, with no consequences (emotional or otherwise) after. At the very least, Nichelle Nichols gets to display her considerable acting abilities in this scene, but having an attempted rape thrown in simply as a "dramatic sting" does leave a bad taste in my mouth.

Chekov: Gets to comedically deal with the advances of his large female drill thrall, whom he fears might be "selected" for him. Other than some strained comedy opposite her, he really doesn't get much to do, as per usual.

Hot Alien Space Babe of the Week: Angelique Pettyjohn is Shahna, Kirk's drill thrall. Being Kirk's, she is of course a statuesque model. She gets to deliver lines such as, "What... is... kiss," show herself to be a fast learner by kissing Kirk, writhe around in her bondage gear when her Collar of Obedience gets activated, and fight unconvincingly a few times. She requests to go with Kirk at the end, but Kirk dodges that bullet... er, thinks of her emotional development and insists she stay to learn about life. Then he gets out of that region of space at roughly Warp Factor 12, and tells Scotty he doesn't give a damn if the engines sprout wings and dance a jig, as long as he gets as far away as possible.

Villains of the Week: The writers. Oh, all right. Joseph Ruskin is moderately effective as Galt, the master thrall. His physical presence alone is effective, and his voice (presumably electronically treated) helps to make him a more unsettling figure than an episode this ridiculous deserves. The Providers themselves are less impressive, though I suppose there is something to be said for an episode whose resolution involves William Shatner emoting to a few lumps of Play-doh.


THOUGHTS

Likely the most outright stupid episode of the entire series. If The Gamesters of Triskelion has any value at all, it is comedic. It's impossible not to giggle while watching, with the low-rent bondage gear outfits, the bizarrely-choreographed fight scenes, and the rampant overacting by Shatner (and DeForest Kelly and James Doohan in the Enterprise scenes). Everything about this episode screams "crap," and the actors seem to be aware of this - which at least means that they're in on the joke.

This kind of episode can have good "cheese" value. Unfortunately, The Gamesters of Triskelion squanders this chance by being... well, boring. Once the episode's premise is set up, there is virtually nothing for the script to do except kill time until Kirk defies, then faces, the Providers. This makes the middle 25 minutes almost interminable.  Kirk and his comrades repeat their situation back to themselves multiple times, while Kirk tries to encourage Shahna's independence by repeating variations of the same scene with her multiple times. If you're going to make a simple-minded action episode, at least embrace that and put lots of simple-minded action in it!

The Enterprise scenes are even worse. Much worse, in fact. Every time we cut back to the Enterprise bridge, we are treated to Spock, McCoy, and Scotty having the same argument, sometimes with pretty much the same dialogue. Leonard Nimoy at least attempts to bring his game to bear, but DeForest Kelly and James Doohan seem clearly bored by the script and have no compunction about overacting heavily, probably to keep themselves amused.

I'm struggling to find much good to say about this episode. Other than inspiring some amusing send-ups in animated media, this is a poor episode that isn't even pacey enough to be "so bad it's good." I can think of a couple of Next Generation episodes that are worse than this, and there may be an Enterprise episode or two that give it a run for its money. But this is pretty bad stuff.


Rating: 1/10.

Previous Episode: A Private Little War
Next Episode: Obsession

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Sunday, January 2, 2011

#43 (2-25): Bread and Circuses

THE PLOT

The Enterprise traces the wreckage of a long-lost merchant ship to a pre-Warp planet modeled after ancient Rome, yet enjoying technology equivalent to Earth in the 1960's. After intercepting a television transmission that shows one of the missing ship's crew being killed in a gladiator contest, Kirk, Spock, and McCoy beam down (in full uniform, with full gear!) to see if they can find any other survivors of the crew - all while being careful to obey the Prime Directive, of course.

It isn't long before they are captured and taken to the city, where they discover that Merik (William Smithers), the captain of the derelict ship is now First Citizen, enjoying a life of luxury after having sold out the members of his own crew to Procounsel Claudius Marcus (Logan Ramsey). Marcus knows exactly who Kirk, Spock, and McCoy are, and demands Kirk accede to the same terms that Merik did. When Kirk refuses, Marcus attempts to force his hand by making him watch Spock and McCoy fight for their lives in the arena. With the Prime Directive blocking Kirk from ordering a rescue, it is left to Scotty to find another way to improvise without actually interfering with the planet's culture...

CHARACTERS

Capt. Kirk: Continues to defy his fan image of a reckless maverick who only stuck to the Prime Directive when it suited him. Here, we see that the value Kirk places on the Prime Directive is such that he is willing to sacrifice himself and his friends to uphold it, even when - as Marcus observes - his ship could easily rescue him from people who are comparative savages. Though he may be willing to sacrifice himself, he's not eager to, and does seize upon efforts to escape. He seems to hold Merik in as low regard as Marcus does, not even bothering to mention Merik's acts to save him in his final log entry... which oddly makes me think a bit less of Kirk.

Mr. Spock: Leonard Nimoy has a particularly good scene in the prison cell, in which he confesses his fear of revealing his own emotions. Despite his lifelong battle to suppress them, he isn't quite the master of his own "humanity" that he would like to be. His Vulcan strength and coordination allow him to hold his own in the arena without harming his opponent - though he does incur Marcus' ire when he "breaks the rules" to save McCoy from his opponent.

Scotty: Mr. Scott is one of the few characters outside of "The Big Three" who has actually been better-used in Season Two than in Season One. Scotty understands why Kirk issues the "Condition Green" order, and respects and obeys it. But he isn't content to simply accept helplessness, and insists on finding a solution to get the captain, Spock, and McCoy off that world rather than leaving them to their deaths.

Hot Roman Babe of the Week: Lois Jewell is Drusilla, the slave girl Marcus uses both as a "courtesy" to Kirk before his execution and, despite Marcus' claims to the contrary, a last-ditch hope on the procounsel's part at securing Kirk's cooperation. The tinfoil "slave girl" outfit is ludicrous, not terribly enticing despite the amount of skin shown.  Hint to costume designers everywhere: tinfoil is not sexy, no matter how little of it you use.  Jewell is, however, more than lovely enough to fill out her role as Kirk's, ah, present. It is somewhat disturbing that, given a sex slave for the night, Kirk's response is to enjoy his present and thank his captor for it, rather than make any attempt to free her. Still, it is Kirk we're talking about here...

Villain of the Week: Though it's virtually impossible to see him in anything now without thinking of his role from the MASH episode The Incubator, Logan Ramsey was a mainstay of television villainy in the '60's and '70's with good reason. His frame, voice, and bearing all speak of corruption even before he bothers giving a performance. It helps that his performance is rather good. Marcus is a villain through and through, but he's also quite shrewd. He knows exactly which buttons to push when dealing with Kirk. His open disdain for Merik betrays his fatal flaw - arrogance. By needling Merik over and over about how much of "a man" Kirk is and how weak and spineless he considers Merik to be, he probably helps prompt Merik's action at the show's end.


ZAP THE REDSHIRT!

Although a Roman gladiator arena would seem ready-made for a Trek Redshirt-palooza, I am disappointed to report that no redshirts were harmed in the making of this episode. I'm starting to think that, post-Apple, the Society for the Prevention of Cruelty to Redshirts stepped in and insisted on some kind of probationary period for poor old Kirk. No matter - I'm sure he'll contrive to get some more redshirts gruesomely killed any episode now.


THOUGHTS

The first-produced of Season Two's "parallel Earth" episodes. I gather these episodes became so common in the latter half of Season Two that they became to it what superbeing episodes became to Season One, which is probably why this episode (the first-produced but last-aired of the "parallel Earth" bunch) tends to earn rather middling regard. After the Planet of the Chicago Mobsters, the Planet of the Nazis, and probably a few others I'm not remembering offhand, the Planet of the Romans seemed stale. "Another planet just like a past Earth culture? Yawn."

Viewed in production sequence, that isn't a problem. I found it quite easy to enjoy Bread and Circuses. It wasn't a great episode. There are several logic gaffes, notably that Kirk, Spock, and McCoy happily beam down to a pre-Warp planet in their uniforms, with their weapons and communicators. Surely they should be trying to blend in with the citizenry, not stand out from it? I'm also not sure that mounting a rescue of Kirk and company would have actually constituted cultural interference, but I'll give the episode that much simply because there is no show without that (somewhat contrived) conflict.

As with Doctor Who's Vengeance on Varos, the episode gets some mileage from being set substantially in a television studio. This allows for a bit of commentary on the part of co-writers Gene Roddenberry and Gene Coon on the nature of networks in building ratings by going for the lowest common denominator of violent bloodsports, and even to use such TV studio standbys as canned applause.

Though hardly first-rank Trek, this episode is better than it's probably held up to be. It has a decent pace, a pretty good villain, and some good scenes for the main regulars. Not one I'd rush to re-watch, and I only barely remembered it at all. But it's solid, and suffers only by comparison with some of the truly strong episodes surrounding it.


Rating: 6/10.

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