The genius of bill Shatner

Not a day goes where I don’t think about James T. Kirk. When ever I come to a moral crossroad, I just sit and think about that time when the legendary Starfleet captain lost his memory then went native, and yet that somehow solves nothing. And that’s all thanks to the nuanced performance of William Shatner.

I sincerely wish that people would study his acting more closely because he really stepped up his game for the Star Trek movies. For instance, when we’re introduced to ADMIRAL Kirk in The Motion Picture, he clearly hates his job and is just itching to jump back into the captain’s chair. It should be noted that The Motion Picture is a shitty screenplay that the screenwriter wrote in his basement over the weekend. If it weren’t for Douglas Trumbull’s special effects, the movie would have been a complete disaster. But Shatner understood the character. He knew, as Spock explained to him in Star Trek II, that being a Captain was his “best destiny” and that he had no business being a desk jockey.

Was his performance hammy and caricature-like? Absolutely. He was given nothing to work with and director Robert Wise clearly didn’t understand Star Trek. So Shatner did what he does best: ACT.

We laugh at Shatner’s trademarked delivery and cadence, but we’re sorta missing the point. For one, that’s a very effective way of communicating, which is something you want from a leader. When Shatner is doing that, that’s a performance he’s adding on top of another performance. In short, Shatner understands that there’s James T. Kirk the CAPTAIN and James T. Kirk the MAN. We only saw glimpses of that nuance in The Motion Picture, but this is fully explored in Star Trek II: The Wrath of Khan.

In Khan, Kirk not only hates his job, but he’s straight out depressed. He’s a man without a mission; a purpose. That is until a foe from the past steals a deadly device and suddenly he’s thrusted into action. I’ve said many times before that Shatner’s performance here is one the greatest ever. Had this not been science fiction, I’m sure that the Oscars would have given him a nod.

One of the best scenes is towards the end when the Enterprise is limping away from certain doom. Sulu, perhaps rhetorically, asks “we’re not gonna make it, are we?”. Kirk looks to his son, who quietly shakes his head. Kirk says nothing in return. Shatner sits in the captain’s chair, hands and legs crossed, for the first time facing his certain mortality. That scene always gives me goosebumps.

Of course everyone remembers that sequence because of Spock’s sacrifice and Ricardo Montalban’s over the top performance, but Shatner is doing something here too: the facade between Kirk the captain and Kirk the man is slipping. It’s really the first time where we see Kirk powerless and unsure of himself. We sense that and and yet it goes unspoken of. That’s the genius of Shatner and Nicholas Meyer’s direction.

After Spock’s death, Kirk continues this moodiness into Star Trek III. But he completes this arc which culminates in Star Trek IV: Kirk is fully restored to the hero we know and love. So I implore all would-be actors: study this performance.

Something’s off

After shitting the bed one too many times, Alex Kurtzman and company finally did something right with the first season of Star Trek: Strange New Worlds. Then, almost as if we’re in the Twilight Zone, they went out on a high note with the third season of Picard. It seemed like Kurtzman finally had this Star Trek stuff figured out and for the first time in awhile, the future of the franchise looked bright.

And maybe it still is. But considering Prodigy and Discovery got (mercifully) axed, it’s now up to Strange New Worlds to carry the banner (Lower Decks doesn’t exist in my eyes). The first season was solid, not great, but it seemed like writers figured out that you don’t have to do too much to tell a good Star Trek story.

Thankfully they’re still doing that. Unfortunately the writing has regressed in a way that’s difficult to put my finger on. Season 2 is simply poorly written. Not in a stupid Alex Kurtzman way, it’s just plain bad.

Truth be told, I hardly remember the first episode other than I cringed a lot. I love Carol Kane. But her character is straight up annoying. And the fan service is unnecessary. Stealing the Enterprise?! Where have we seen THAT before?!

The second episode was marginally better: a simple courtroom case to determine the fate of first officer Una Chin-Riley. Obviously they were going for a Measure of a Man vibe, but it was a little too on the nose. Star Trek has a history of doing courtroom drama, almost ALL of it good. Additionally, courtroom drama should be the easiest thing for a television writer to produce; everything is front and center and self-contained. The gold standard for Star Trek courtroom drama is, of course, The Measure of a Man, but what was brilliant about it was that it contained five actors and showcased Patrick Stewart’s acting skills. It was amazingly simple. In SNW S2 Ep. 2, there was too much focus on interpersonal drama and the speeches went on far too long. Perhaps if they waited later in the season to have this court case, it might’ve been more impactful. But where it stands, the episode fell flat.

But what really pissed me off was the third episode. Going back in time to present day Toronto (where the show is conveniently filmed)? Lame. And more fan service bullshit by introducing child Khan? Yes, Star Trek II is an incredible movie but it’s time to let it go. But there’s also the issue of Paul Wesley as James T. Kirk.

Wesley seems like a competent actor and a nice guy. But let’s be frank: no one is sold on him being the greatest Captain in Starfleet history. And I don’t think it’s his fault. No one in Kurtzman’s production team has probably told him how to play the role.

As I’ve said a million times before, William Shatner is actually a great actor. He understood that when you play a Starfleet captain, you’re playing two roles: the captain and the man. Patrick Stewart and Avery Brooks understood this too. When you play the captain, it’s okay to be over the top and hammy; being in command of a ship is a performance in itself. The drama occurs when the captain doesn’t know when to drop the facade.

I don’t think Chris Pine does this with his interpretation of Kirk, but he has a unique charisma of his own. Plus he has the luxury of playing an alternate Kirk. Wesley is playing the OG Kirk. While I understand that he doesn’t want to mimic William Shatner, I’m just suggesting that he probably needs to. Don’t be afraid to speak in Shatner’s unusual cadence. It’s actually a VERY effective way of communicating. It’s theatrical, it’s bold, it’s memorable…just like James T. Kirk!

Dissecting the Scene: Emotional Climax Moments From Star Trek Films (Part II)

Star Trek V: The Final Frontier- Release the Pain

Sybok, played brilliantly by Lawrence Luckinbill (in a role originally intended for Sean Connery) is Spock’s half-brother turned religious charlatan. He amassed a following by tapping into the emotions of a down-trodden people who later helped him gain control of the Enterprise. In this scene, Sybok uses his emotional trickery to tear apart the the Original Series triumvirate…Kirk, Spock, and McCoy…and nearly succeeds: McCoy is forced to relive the pain of euthanizing his father, and Spock is reminded of his half-humanness that caused him to be a pariah in Vulcan society and feel less loved by his father.

Kirk, meanwhile, sees through this bullshit and reject’s Sybok’s offer to be “released from his pain.”

Regardless of how you feel about Kirk’s rationale for clinging on to his pain (to me, Sybok and Kirk seem to have the same philosophy of “deriving strength through pain,” it’s just that Kirk kept his eye on the ball…regaining control of the Enterprise…while everyone else succumbed to Sybok’s charisma) this is actually a very well directed and well written scene. And it just so happens to be in the worst Star Trek movie there is (personally, I think Insurrection, Nemesis, Into Darkness, and Beyond and WAY worse, but whatevs).

This is why I think director William Shatner isn’t to blame for STV. When it comes to the character interactions, this might be the best that Star Trek has to offer. By the time this film was made, the actors had been playing these characters for over 20 years and it certainly shines through in this scene.

Shatner made the right decision to not create an elaborate set design. It’s like an intimate theatrical production and it’s one of the highlights of the franchise.

Star Trek: First Contact- “The Line Must Be Drawn HERE”

The Enterprise follows the Borg back in time to the late 21st Century and it’s up to the TNG crew to save history. Meanwhile, the Borg take over the Enterprise and Picard goes on a warpath.

Now this might be the most famous example of an “emotional climax” moment in Star Trek, but it’s got some problems. While Alfre Woodard delivers an Oscar-worthy performance, as any Star Trek fan could tell you, it should have been Beverly Crusher who confronted Picard. Additionally, Picard is out of character. While Patrick Stewart is an incredible actor, in my opinion, he never quite understood Star Trek OR the appeal of his famous character. And it was Stewart’s push to make Picard more vengeful and heroic in this installment. While that doesn’t make a lick of difference to the average viewer, things like that DO matter to Trek fans, which is why First Contact has fallen out of favor with some.

That being said, everything is well executed. This is also director Jonathan Frakes’ (who plays William Riker) first motion picture and it doesn’t show. Star Trek seems to excel when one of the actors is allowed to direct.

Oddly enough, science fiction is somewhat secondary to Star Trek. First and foremost, the franchise is about HUMAN stories that uses science fiction as a backdrop. That’s why Trek is such fertile ground for actors. And I think the sequence above highlights that point.

While the stuff between Woodard and Stewart is incredible, I also like the mini-arc between Worf and Picard. The Captain’s judgment had clearly been clouded and Worf was absolutely correct in confronting him. Picard was in the wrong, plain and simple. Which is why I love the payoff when Captain Picard makes his apology and states his admiration for his longtime security officer.

It’s a small moment, but for longtime fans, it was an impactful one.

Dissecting A Scene: Emotional Climax Moments in Star Trek Films (Part I)

So over the Thanksgiving weekend, I made my family watch arguably the worst Star Trek film, Star Trek V: The Final Frontier. When the Sybok interrogation scene of Kirk, Spock, and McCoy came up, it occurred to me: “Star Trek is REALLY good at doing this.”

Doing what exactly?

They’re good at creating emotional climax scenes where character arcs come full circle. Trek films may not be the flashiest of the science fiction genre, but that’s not really their intention. Star Trek is at its best when it’s theatrical, or allowing the actors to fully explore their characters. Two of the franchise’s most notable faces, William Shatner and Patrick Stewart, are quite effective stage actors and that’s where Star Trek is at its strongest: being character driven.

So you have to let the actors ACT.

Star Trek II: The Wrath of Khan: Mutara Battle/Death of Spock

This is probably one of the most famous and most parodied death scene in all of film. But this sequence is quite remarkable on multiple levels.

It’s a shame that William Shatner didn’t get any accolades for his performance in Star Trek II. His portrayal of Captain/Admiral Kirk is often viewed as hammy, but in truth, Shatner was quite nuanced in his approach. Director Nicholas Meyer figured out that his leading man was far more effective when doing more takes, which caused the actor to slowly dial back his performance. In short, Meyer wore out Shatner, which perfectly suited a beat down and aging Kirk at the beginning of the film. Obviously, Meyer let Shatner return to form at the end which had a huge emotional payoff.

Not only does the villain Khan get his comeuppance by succumbing to his own wrath but…in pursuit of vengeance…he ends up becoming a force for creation. Spock, of course, delivers the ultimate sacrifice, but Kirk finally faces the very thing he’s cheated his way out of throughout his illustrious career: a no-win scenario.

Thus, everything comes full circle.

Of course, it also helps that there’s exceptional editing and the score that made James Horner a sought after composer is playing in the background.

Star Trek III: The Search for Spock: Stealing the Enterprise

James Horner is typically given credit for the success of this scene. But you have to tip your hat to the editing and, again, the performances.

While we can criticize Shatner’s acting choices all we want, he always makes it perfectly clear what his characters are feeling. And James B Sikking’s arrogant-ass performance almost makes you forget how shitty the Excelsior bridge set is.

It’s a shame that Leonard Nimoy didn’t direct more movies. While he directed some television before, it’s hard to believe that this was his first motion picture because he REALLY elevated this scene. If you pay attention, not much happens here: the Enterprise slowly backs up to the space doors before they magically open and then the Excelsior begins its failed pursuit. But it’s fucking intense! The hairs on my neck always stand when the Enterprise clears space doors and Kirk orders warp speed. That’s a testament to Nimoy’s superb direction of an otherwise ‘meh’ script.

While this isn’t the “emotional climax” to the film, it is an emotional highlight for the Original Series crew; they’re sacrificing EVERYTHING to save Spock. Now Star Trek III isn’t the best Trek film, but the “stealing the Enterprise” scene is one of the best in the franchise.

The 90s Reevaluated

Sorry, still sick so here’s another phoned in post.

Pierce Brosnan has been blowing up my news feed for whatever reason. I guess he’s playing some superhero or whatever, but I don’t watch that stuff. Unfortunately this has created a lot of (likely clickbait) opinion pieces that reevaluate his James Bond tenure.

I’ve always placed Goldeneye in the top 5 Bond films, which is where most 007 fans have historically placed it. But there’s a massive drop off with Brosnan’s other three films. The consensus is that while Brosnan could have been a great James Bond, his movies were either mediocre or terrible.

Or, I should say, this WAS the consensus during the Daniel Craig era.

Now that Craig’s moody and brooding Bond is dead and gone, perceptions on Brosnan’s portrayal have shifted. Craig’s 007 matched the times while Brosnan’s seemed clownish by comparison.

But after two years of a pandemic, record high inflation, and superhero movies flooding the theaters, audiences seem primed for a more tongue in cheek James Bond. So the Daniel Craig era is looking more passé by the second.

People are looking to return to a simpler time. And the most (relatively) simpler times in recent memory is the 1990s. At least this is my best explanation for why Pierce Brosnan is undergoing a micro-renaissance.

As a side note, the Star Trek: Next Generation films (which were also released in 90s) are being reevaluated. This is probably due to the cast returning for the final season of Picard. So Generations, released in 1994 and which infamously killed the original Captain Kirk, is being discussed again.

Why I bring this up is because a fourth “Kelvin era” Trek film, starring Chris Pine as nu-Captain Kirk, has stalled for probably the 10,000th time (thank god). While that (hopefully) means we won’t ever see Zachary Quinto as Spock and Karl Urban as McCoy again, that does NOT mean we won’t see Pine as Kirk again.

Why?

Because as any Trek fan can tell you, while Shatner’s Kirk was killed in Generations, technically his existence is preserved in some “ribbon” that floats around in space where time doesn’t mean anything blah blah blah. And this “ribbon” hasn’t been mentioned in Star Trek since.

So you can see where I’m going with this: when another Trek film makes it to the streaming services sometime this decade, the original Captain Kirk will be pulled out of this ribbon to be played not by William Shatner but by, you guessed it, Chris Pine.

Anyways, enjoy the 2020s, aka the 90s Reloaded.

A gene Roddenberry production of a Robert wise film

Because I’m a chump, I finally broke down and paid for Paramount+.

Available on the service is the newly remastered version of Star Trek: The Motion Picture starring William Shatner, Leonard Nimoy, DeForest Kelly, and renowned sex pervert Stephen Collins.

When Robert Wise’s Director’s Cut came out years ago, it greatly improved what was an otherwise interesting but clunky and boring movie. Unfortunately, this version of the film wasn’t updated for high def until recently.

It looks incredible. Douglas Trumbull’s special effects have been vastly improved. Jupiter, V’ger, the Enterprise…it all pops in ways that it didn’t before. That element alone makes the film much more watchable.

However, while some aspects of the film have been improved, it only only highlights its weaker aspects. While the special effects, music, and (most of its) production design are incredible, that only makes the direction, script, editing, and acting look that much more terrible.

It doesn’t matter how hard they try, they can’t disguise the fact that this movie was hastily thrown together. At the time, I think, it was one of the most expensive movies ever made. And to be honest, it doesn’t look it.

Oddly enough, I think fault lies on the shoulders of legendary director Robert Wise and his DP. Much of the film takes place on the bridge of the Enterprise. And the set looks godawful. It’s too claustrophobic, too cheap, too bland. And the editing doesn’t do much to improve it as actors awkwardly wander on and off the set without much of a purpose.

It’s not the best design for the Enterprise bridge. But Nicholas Meyer and Leonard Nimoy…both novice directors at that time…make that same set look like a million dollars in subsequent Trek films. Meyer especially puts the claustrophobic aspect to good use in Star Trek II.

Fortunately, I think most of this could be easily fixed. And that requires jettisoning most of the journey through the V’ger cloud. While visually it’s interesting, it adds absolutely nothing. The immensity of V’ger itself is also established in the next sequence (which also needs to be cleaned up a bit editing wise) therefore making the cloud voyage redundant.

It’s a small change, but it would go a long way in improving the pacing. I’m sure there’s a fan edit floating around the internet somewhere that does this.

The uniforms also look underwhelming. I don’t hate them. Some internet genius explained that these surgeon-like uniforms actually highlight the delicacy of the matter: the characters have to be precise in their decision making. In that light, the uniforms add a nice touch. Nevertheless, the film could have used an updated version of William Theiss’ iconic designs.

Unfortunately nothing will fix the caricature performances and phoned-in script. But that’s okay. This high-def version of the Director’s Cut…which will presumably be the final cut…elevates what was one of the worst Trek films into a pretty solid sci-fi movie.

And that’s good enough 👍

star trek v: the final assault

This was the first Star Trek movie I saw, so maybe I have a soft spot for it.

For the record, I don’t think Bill Shatner is the problem here. I’ll defend that man till death. The problem with this film is the poor special effects (mixed in with what I presume to be budgetary constraints) and some of the strange science that flies in the face of the grounded science of Star Trek.

I don’t think the script is the problem either. Sure there were some strange decisions. The romance between Scotty and Uhura was odd, especially since it was never hinted before (or after). Trek fans hate the idea of Sybok, Spock’s half-brother…which was also never mentioned before in Trek canon… but Sybok is actually an interesting character. However, the heart of Star Trek, particularly with the original cast, was the trifecta of Kirk, Spock, and McCoy, and this film contains some of the best scenes of them together.

The “antagonist”, the aforementioned Sybok, was originally intended to be played by Sean Connery. If that had managed to work out, I’m sure this film would be looked at more favorably. That being said, Laurence Luckinbill does a stellar job making this religious charlatan both sympathetic and charismatic, enough for you to believe that he could rip apart the friendship between the trifecta. I’d say he’s the second best villain in Trek film (behind, of course, Ricardo Montalban’s Khan).

But I applaud Shatner’s ambition here. Harve Bennet, then the head of Star Trek films, hated the idea of “the Enterprise searching for God, but finds the devil instead,” which may be a controversial concept within Star Trek, but it is an interesting idea in-itself.

Did it work?

Not entirely.

Could it have worked?

Yes. Which is why it’s a shame that Shatner never got a chance to do a proper Director’s Cut, especially given advancements in CGI technology.

They gave Robert Wise that opportunity with Star Trek: The Motion Picture, and its reputation has greatly improved.

But there is an interesting fan theory floating around the internet: the main plot of the film is Kirk’s dream while camping with Spock and McCoy in Yosemite. You watch the movie, and you can definitely draw that conclusion.

That’s how I watch it. And it becomes the greatest Star Trek movie ever made.

Maybe the internet isn’t such a bad place after all.

leadership

As you know, I have nothing but regrets.

I’m reaching that age where some of my superiors are younger than me. I don’t begrudge them. They all deserves their spots. Some older guys I work with don’t appreciate that they got passed over, but I think it’s our responsibility…as the “elders”…to bestow upon the younger generation what wisdom we have learned (in my case, what little wisdoms I have learned).

I don’t know if this is a regret I have, it’s more like a big “what if”. I spent some time in the military. Even did three years of ROTC in college. It’s laughable to think I could have been an officer now, but it almost happened (before I realized that I loved drinking WAY more than I loved the military). Despite the abysmal failure of that endeavor, a few lessons stuck with me.

“Just make a decision,” I’d always hear, “don’t worry about if it’s the correct one.” I thought that was stupid advice at the time, especially in a military situation where people’s lives might depend on it. But it seems to make a little more sense now.

Who are the three greatest military commanders of all time? It’s obvious: Captain Kirk, Captain Picard, and Captain Sisko.

“But they aren’t real,” you might say.

So? Real life isn’t real.

I remember Mike Stoklasa praising Bill Shatner’s acting capabilities (in a video discussing Shatner’s hatred of Mike Stoklasa). You can laugh all you want, but it’s true: Shatner is an extraordinarily effective actor. And, for better or worse, Captain Kirk is Bill Shatner and Bill Shatner is Captain Kirk.

Kirk understands that he is playing a part as Captain of the Enterprise. He has to project confidence as its leader because the survival of his ship might depend on it. Shatner, I think, understands that Kirk himself is playing a part, which might explain some of the strange speech patterns he exhibits throughout the series and films.

That’s why I think it’s great that the handlers of Star Trek (at least back then) cast classically trained thespians for the role of the Captain. Just the ability to “play the role” is necessary for the crew to rally behind, even when the leader isn’t completely confident in his (or her) decisions.

Obviously Picard is the superior Captain. No disrespect to Shatner, but Patrick Stewart knows when to dial up the acting and when to hold back (even if, in my belief, Stewart didn’t completely understand the appeal of his character or Star Trek). But what Picard does better than anyone is embrace his mission: “explore strange new worlds”. He seeks out moral quandaries and mysteries because he understands that these hold the secrets of the universe. He’s an explorer but not in the usual sense of the term.

I think to be a leader, one has to be open to that sort of exploration.

Of course, Sisko was far more grounded than either Kirk or Picard. He had a life outside of Starfleet and his job was to navigate the political complexities of a particular section of the galaxy. While Kirk and Picard were explorers, Sisko’s mission was different: he was an ambassador attempting to bring together warring factions. But just like everyone else, he had to “play the part.”

“But those were actors that had scripts,” you might say. “Real life doesn’t have a script.”

True that, but if you understand the more technical aspects of your work, in a sense you kinda already do have a script. You can’t just willy nilly your way through a job, you are confined and in many aspects you have direction. It’s just making the best decision with the options you have.

So I think it’s interesting that the three best Captains in Star Trek history each explore the three most important aspects of leadership: confidence (or the projection of), eagerness to accept challenges, and being the middle man between conflicting parties. But most importantly, “just play the part.”