The Trek Mate Family Network in the UK has just released a podcast of an interview I did for their “Captain’s Table” feature in which they interview Star Trek prose authors. The discussion covers my Trek work, my Marvel novels and their audio adaptations, and Only Superhuman. You can find it here:
I really ought to post something about New York Comic-Con, but I’ve been too busy or too tired. I’ll try to keep it concise.
I ended up driving after all due to the cost of plane fare after waiting so long to buy tickets. I planned out my route carefully this time, so it went fairly smoothly — but I set out too early on the second day and had a hard time staying alert. I didn’t really feel recovered until after lunch. So on the way back, I think I’ll spend the morning of the second day in the motel just resting, then get a good lunch, then drive the rest of the way home.
I’ve been staying with friend and fellow author Keith R.A. DeCandido, his fiancee, a family friend, several cats, and a large Golden Retriever. I was nervous about the latter, but he’s a friendly dog and I’ve been getting used to having him around. Indeed, there’s something reassuring about knowing a dog that big is sleeping outside your bedroom door, on sentry duty as it were.
The two days I spent at the con are kind of a blur right now, so to sum up: both my signings on Friday went pretty well. The GraphicAudio booth is in a good location and drew a lot of attention from passersby, and we got to sell a number of copies of my audiobooks, along with free copies of the prose books as a bonus — courtesy of Tor in the case of Only Superhuman, plus a few Spider-Man; Drowned in Thunder copies which I provided myself. I was expecting Tor to be offering the paperback, but their giveaway copies (half of which I took over to GA, the rest of which I signed for them to give out at Tor’s booth) were hardcovers instead. I guess that makes sense — they want to use up the stock now that people will mostly be buying the MMPB. But it made it more of a slog to carry them over to the GA booth through the Comic-Con crowd. Anyway, the giveaway copies moved pretty well, I was told. My A Choice of Futures signing at the SImon & Schuster booth went well too; this time people actually came to see me specifically rather than just happening to pass by.
I got to talk with a number of colleagues — Keith, of course, and the GA people, and fellow Trek author Kevin Dilmore, who works for Hallmark and was manning their display. It was nice to catch up with him. Unfortunately my former Trek editor Marco Palmieri, now at Tor, was too busy to talk much. I also had fun meeting Lilly, a friend of Keith’s who’s a professional balloon artist, and who performed at his booth to attract passersby. It’s an interesting craft, improvisational yet requiring a lot of meticulous manual control and precision.
Today I just stayed in and rested while Keith et al. went in to the con. I needed a day of quiet to recover before undertaking the drive home tomorrow. I did go down to the local pizza place for lunch, though, and had an excellent slice of white pizza with spinach.
That’s all for now. Maybe I’ll mention more details later, if any come to mind.
In my last post, I voiced some concern about whether my New York Comic-Con tickets (or badges, I should call them) would arrive in time. I actually e-mailed their customer service over the weekend to ask about the delay, but I only got a response this morning, telling me that they’d been mailed last week and would arrive “any day now.” And a few hours later, there they both were in the mail. So if I’d just been a little more patient… Oh, well. I got a few extra hours of reassurance out of it.
So now I know I can get into the con, and I registered the badges so they can be replaced if I should lose them, so as long as I don’t have any travel problems, I’m now confident that I’ll be there for my signings on Friday the 11th (GraphicAudio, Booth 838, 11 AM and Simon & Schuster, Booth 1828, 4 PM). I’m still waffling a bit on whether to fly or drive, but I’ll probably fly, since it’s a rather long drive. The main advantage of driving — aside from getting to avoid airport security, which is awfully tempting — is that it’s cheaper. But I got my final advance check for Rise of the Federation: Tower of Babel today, and I have some other work lined up that I can’t talk about yet, so money isn’t particularly tight for me at the moment.
Speaking of tightness, apparently part of the reason NYCC was so unbearably crowded last year was rampant badge counterfeiting and lax security that let lots of people sneak in without badges. That seems to be why badges were in such short supply this year — they’ve really tightened up access. Also they’ve put RFID chips in every badge as a security feature against counterfeiting, hence the online registration. Hopefully this means the crowds will be more manageable this year, but it has put some limits on access. Apparently I’m not the only professional creator who missed their chance to get a pro badge because they ran out prematurely. They should work to refine the system so that doesn’t happen again.
Well, it’s been a bit of a mess trying to make arrangements for New York Comic-Con, since apparently they didn’t have enough tickets or something. They actually sold out of professional passes prematurely, before I could get one, so I had to buy regular tickets, and all they had left were Thursday and Friday tickets. So I’ll only be in attendance at NYCC on those two days — well, assuming my tickets ever arrive. The paperwork said they’d begin mailing them in mid-September, but I haven’t gotten mine yet. But there’s still two weeks to go, so I’m hopeful.
Anyway, I have two signings tentatively scheduled, both on Friday, October 11.
11 AM, Booth 838: GraphicAudio hosts a combined signing for the Only Superhuman audiobook, which will be on sale at the booth, and the mass-market paperback. which will be a free giveaway. There might be copies of the Spider-Man: Drowned in Thunder audiobook on hand too, though I’m not sure.
4 PM, Booth 1828: Simon & Schuster’s booth hosts a Star Trek signing, which was hoped to be a group signing but so far is just me. I assume I’ll be signing copies of Rise of the Federation: A Choice of Futures.
There won’t be any scheduled event for me at the Tor booth (2223), which is why I’ll be doubling up on the MMPB and audiobook at the GraphicAudio event (and I’m very grateful to the GA folks for accommodating me). But I’ll surely be hanging around the Tor booth for a fair amount of time on Thursday and Friday, and there will be signed copies of Only Superhuman there as giveaways. No doubt I’ll drop by the S&S and GA booths on Thursday as well. Ticket gods willing, that is.
If there are any changes to the schedule, I will of course announce them promptly.
The interview I did for GraphicAudio’s “All in Your Mind” newsletter/podcast is now available. I had a nice chat with directors Richard Rohan and Nanette Savard about Only Superhuman, Spider-Man: Drowned in Thunder, my work in general, and other stuff, running a bit under 40 minutes.
Here’s the direct link:
And if that doesn’t work, there’s also an MP3 link:
This is going back quite a ways, but I just came across this really detailed and thoughtful review of Ex Machina on “The m0vie blog”:
It’s hard to pick just one pull quote, so I’ll go with the wrap-up paragraph:
Ex Machina is a worthy and joyful celebration of an esoteric and oft-overlooked period of Star Trek history, at once an ode to a by-gone age and yet a clever modernisation of some of the franchise’s core qualities. It’s a clever and fun debut from Christopher L. Bennett, and one well worth checking out for anybody who likes a bit of social commentary in their Star Trek or even just occasionally wonders what an expanded version of The Motion Picture might look like.
I’m really impressed — the blogger, “Darren,” makes a lot of extrapolations about the motives and reasoning behind my creative choices, which can be a risky thing to do and runs the risk of projecting the reviewer’s own interpretations onto the writer; but in this case the reviewer is largely on the mark (although maybe that’s because I’ve written so much about my thinking in my annotations and such). Although he perceives a stronger connection to The Wrath of Khan than I’d intended.
Well, it’s been an eventful few days, with little time to post anything. The drive to Baltimore was agreeably uneventful, except for the night I spent in a very cheap motel with no amenities and spiders in the tub and corners. (Could’ve been worse. Spiders are basically harmless and keep other pests at bay.) And except for the sore shoulder I’m dealing with in the wake of my marathon writing session to finish Tower of Babel.
I got into the hotel around noon on Friday and promptly ran into Greg Cox, who, like me, was waiting for his room to be ready. We spent a while catching up, having a good long chat. Later that afternoon, he and I went to dinner with Marco Palmieri, Klingon language expert Lawrence M. Schoen (who just signed a book contract with Tor), and fellow Tor novelist (and one-time Star Trek: Strange New Worlds contributor) Rod Belcher, and we talked Tor for a while. I had a really nice hummus-and-pita appetizer followed by a pretty good spaghetti with tomato-and-basil sauce. Then we went to my first panel, announcing Tor’s recent and upcoming schedule — basically the same thing Marco and his fellow editor Margaret Clark used to do for Star Trek books, but now for Tor’s much broader line of books, including the upcoming mass-market paperback of Only Superhuman. David Mack helped run the slide show, and in return he was granted the opportunity to announce the exciting new Trek project reuniting him with his Vanguard collaborators Dayton Ward and Kevin Dilmore, Star Trek: Seekers, which you can read about here.
After that came the annual Meet the Pros book-signing event, which was pretty well attended this year, since William Shatner was at the con and thus it drew a larger crowd. I got to catch up with several of my fellow authors/friends. I only managed to sell one copy of OS that night, though, but I also managed to sell one of the copies of Spider-Man: Drowned in Thunder that I brought with me.
Saturday, after having breakfast in my room and finally figuring out how to get onto the Internet from the hotel, the first thing I did publicly was to visit the book dealers’ table, where I did the traditional one-hour shift in what Marco Palmieri (IIRC) has now dubbed the Author Chimney — a narrow space between two brick pillars, just wide enough for one person to sit and sign books for passersby. It’s right near the concession stand where they sell burgers and hot dogs (the only relatively inexpensive place to eat in the hotel now, since the cafe closed when the hotel changed owners recently), so I had my lunch there. I think I moved two copies of OS and convinced a couple of others to check out the e-book.
Then I had my marathon of panels, the topics of which I covered in my previous post. That’s all kind of a blur, but it went pretty well. As a bonus, for the panel “Did Man of Steel Tarnish Superman?”, Dave Mack and I had the privilege of being joined by a surprise guest, Paul Kupperberg, who’s written and edited many Superman comics and was more qualified than either of us to discuss the topic. The consensus: No, Superman’s untarnished since he still exists in many media, but the movie rather screwed up his depiction. I was glad to move from there to the Legend of Korra panel, which was a lot of fun. But by the time the final panel rolled around, I was feeling pretty worn out and punchy. Before it, I’d tried to get a granola bar from the vending machine in what was left of the cafe, but I misread “E5″ as “F5″ and got animal crackers instead, which I didn’t want. Then, after the panel, I got a microwave entree out of the carousel vending machine, but the microwaves in the cafe were too low-power to heat it adequately, as I found out when I got it back to my room. After another couple of tries, I just gave up on it and threw it away, and went out to try to find some other place to eat. A fellow guest, Steve Wilson (writer of a couple of my favorite DC Trek comic issues) reminded me that the grocery store across the road had a good deli, so I drove over, got a pasta salad, and finally, finally got to retire to my room for the evening.
Sunday began with the traditional authors’ brunch, and then I attended a talk that NASA scientist Paul Abell — husband of Trek author Amy Sisson — held about the Chelyabinsk meteor explosion last year. Turns out he’s one of the team members involved with detecting potential Earth-threatening asteroids, a division called “planetary defense.” But he tells me their offices do not particularly resemble the Hall of Justice.
Speaking of which…
EDIT: Here’s that scan:
Oh, here’s a funny sign I saw at the con and had to photograph:
After getting a hot dog and chatting with Greg and Keith DeCandido during the latter’s stint in the Author Chimney, I joined Paul for a panel on the science and fiction of asteroids, comparing what I did in OS with his real-life knowledge of the field — although, since this is me, there was nearly as much science on my side as his. The next panel in the same room, which mistakenly got left off the schedule grid, was on writing Star Trek: TOS and the challenge of finding something new to say. I ended up joining the panelists for that one and talking about my post-TMP work. Finally came my solo Q&A panel, which was rather poorly attended, since people were going home by that point. But the few people who were there got to be the first to whom I showed the cover for the upcoming Drowned in Thunder audiobook (which I’d downloaded onto my laptop just minutes before):
Which I think is a panel from the same comics scene that Marco wanted the novel’s cover artist to use for inspiration. (It’s not the exact same page, but it’s clearly by the same artist (John Romita, Jr.) and looks like an earlier panel in the same sequence.) I also got to talk for a while about my upcoming Analog novella “Make Hub, Not War,” which should be out in a month or so.
After that, I left the con and drove to the DC suburbs to stay with cousins Barb and Mark, and I’m typing from their guest room. I’ve just gotten back from my visit to GraphicAudio’s studio, which was very cool and which I think deserves its own post. To be continued…
Okay, first the good news: I turned in the manuscript for Rise of the Federation: Tower of Babel on time yesterday. Honestly, it was a close one. Even though I gave myself plenty of time, I had difficulty getting a handle on this one. I was sick when I put the outline together and it was very rough, so it was hard to get a grip on the story. I also made the story rather complicated, covering a lot of different places and events, which slowed me down because I had to create a lot of separate worlds and situations, and beginnings are the slowest parts because I have to take time to figure everything out first. Kind of like in film/TV — every new set needs to be designed and constructed, so the more sets you have, the more time and effort you have to expend. Anyway, I finally got a handle on it, refined and fleshed out the story, and made the deadline, but there may still be some polishing to do. And I drove myself so hard toward the end there that the stress and heavy typing have left me with a very sore and inflamed shoulder, so as soon as I turned in the MS I went to see the doctor and got a prescription for the pain. But last night I got the best, most relaxing night’s sleep I’ve had in months. (I even had a dream about my beloved old cat Tasha! Awwww.)
So hopefully my shoulder will be better in time to drive to Shore Leave in a couple of days. To that end, I should go easy on the typing and get on to the schedule that’s just been posted. Not sure if this is completely final, but here are the panels/appearances I’m scheduled for at the moment:
Tor Books: New and Upcoming — 9 PM, Hunt Ballroom
This will mostly be Tor editors Marco Palmieri and Greg Cox talking about the new books they have coming out over the next year, but I’ll be there to shill the upcoming mass-market paperback of Only Superhuman.
Meet the Pros — 10 PM, Hunt/Valley Corridor
The annual 2-hour mass signing event where all the author guests will be available to autograph whatever you bring or buy.
The Future History of Star Trek’s Past in Prose — 1 PM, Chase Ballroom
A panel about explorations of the Trek universe’s history in prose. Mainly an excuse for me to talk about Rise of the Federation, but it’ll also feature Michael Jan Friedman (author of Starfleet: Year One, the previous attempt to cover the beginnings of the Federation, which was overwritten by Enterprise) and David Mack (who dealt with the ENT era memorably in Destiny). I was hoping we could also get Greg Cox, who’s done so much with Gary Seven, Khan, and the like in his books, but he’s got a Superheroes on Film panel at the same time.
From Tie-in to Original — 2 PM, Chase Ballroom
The third annual panel letting us tie-in authors shill our original work, this time with me, Ann C. Crispin, Peter David, Keith R.A. DeCandido, and Jo Wymick.
Did Man of Steel Tarnish Superman? — 3 PM, Chase Ballroom
My third consecutive hour in Chase, and I was hesitant to sign up for this one, but yeah, I have some unusually strong opinions about Man of Steel and I guess this’ll be me and Dave Mack and the audience talking about it for an hour.
The Legend of Korra: Let’s Review — 4 PM, Salon F
Yayy, I finally get out of Chase! And I get to chat with Marco Palmieri and the audience about the glory that is Korra. (Good thing I just DVRed the whole series. I can spend the day catching up on the show and resting my shoulder.) Although I expect a very small audience since William Shatner will be in the big ballroom at the same time.
Writing Alien Aliens! — 5 PM, Belmont Room
My Saturday marathon wraps up as Rigel Ailur, Mary Louise Davie, and I talk about the science of creating interestingly exotic alien species and characters.
Science Fiction of Asteroids — 1 PM, Belmont Room
A rare crossover of the SF and science guests. I wrote a book set in the asteroid belt, and science guest Paul Abell is an asteroid expert, so I thought, let’s get together and talk ‘stroids! We’re joined by author Melissa Scott as well.
Christopher Bennett — 4 PM, Salon A
Yup, just me for an hour. I’ll be there to talk and answer fan questions about Rise of the Federation, Only Superhuman, the upcoming audiobook of Spider-Man: Drowned in Thunder, my upcoming “Make Hub, Not War” in Analog, and anything else I’ve done.
FYI — there will be a replica of the ’66 Batmobile – aka the only true Batmobile — at the con. I will definitely be there at some point and will probably want to be photographed in it. (I hope someone gets a photo of Shatner sitting in the Batmobile. That might cause a critical mass of geek nostalgia and tear a hole in the space-time continuum, but it will be worth it.)
Just saw this on The Trek Collective: Amazon is now listing a release date for Tower of Babel, my second installment in the Star Trek: Enterprise — Rise of the Federation series. The date given is March 25, which means it’s technically the April 2014 release.
And my deadline for finishing the dang thing is only 29 days from now, so I’d better get back to work.
I’ve just gotten the proofreading galleys for my new Hub story “Make Hub, Not War” from Analog, and they indicate that the story will be included in the November 2013 issue. I checked with the folks at Analog and they confirmed it. Now, the current issue is July/August, and apparently came out earlier this month, which would suggest that the November issue will be out in maybe 4 months, around September, give or take. Which happens to be around the same time Only Superhuman comes out in paperback! So that’ll be a big month (give or take) for my original fiction.
In other news, I’ve just updated my website with some preliminary discussion of Star Trek: Enterprise — Rise of the Federation: A Choice of Futures, though there’s little there that I haven’t already said here on the blog.
Empire Magazine‘s site has posted a feature on Pocket’s Star Trek novel line, focusing mainly on the series that expand the universe beyond the aired shows:
This includes some series that I’ve been a part of; Department of Temporal Investigations gets a whole page, and their “if you read only one” recommendation for Titan is my Over a Torrent Sea. Plus there’s an oblique reference to The Buried Age on their page for The Lost Era, though they don’t mention it by name. I do wish they’d spelled my last name correctly, but otherwise I appreciate the attention, both on my behalf and that of my colleagues.
“The Secret Sceptre Affair”: Napoleon and Illya parachute into a nameless Mideastern country to help Solo’s old colonel from Korea, Col. Morgan (Gene Raymond), who’s accused the nation’s Premier Karim (Jack Donner) of planning a coup which he intends to thwart. UNCLE has found no proof of his allegations, but allowed Solo to come on a personal mission. Morgan convinces him to join him in stealing the royal sceptre that the nation’s “primitive tribesmen” hold sacred, following whoever holds it “as if he were Allah himself” — which isn’t remotely how Islam works — so that Karim will lose his claim to power. Although it’s rather blatantly telegraphed that Morgan is up to something and Solo hasn’t been told the whole truth — and that Karim is clueless about the treachery of his own imperious, Celia Lovsky-esque mother (Lili Darvas). The innocent of the week is Zia (Ziva Rodann), a female soldier in Morgan’s outfit who’s unaware of Morgan’s secrets and who helps Solo try to escape after the theft — though Illya gets captured and Solo takes a detour to free him. It’s refreshing for the innocent to be someone who has a legitimate reason to be involved in events rather than a civilian who gets caught up in them somehow.
I didn’t find this one very well-written; the secrets are too obvious, and the attempts to make Illya sound profound just come off as meaningless. And the whole thing about Solo’s trusted mentor being unworthy of his trust makes Solo seem more gullible than sympathetic. There’s also a gratuitous deathtrap involving a bear pit, of all things, though at least they mostly keep the guy in the bear suit behind a cage door so that the fakery isn’t too obvious. Still, it’s a guy in a bear suit for no good reason. The score, credited to Jerry Goldsmith and Morton Stevens, is evidently stock, which seems to hold true for the next few episodes as well.
“The Bow-Wow Affair”: It’s our first episode that sidelines Napoleon in favor of Illya, as Solo, who’s emerged unscathed from battles with spies and mobsters, has been brought low by tripping over the office cat and spraining his knee. (Unfortunately the cat is never seen.) But he’s not the only one with animal problems. Waverly asks him to look into a threat received by a distant cousin — actually Leo G. Carroll in a dual role, though his performance isn’t greatly different. The threat involved a “Gypsy” dagger, and that’s been established before as a culture Illya knows well. And apparently someone is after some valuable stock that the cousin owns. Illya fails to save the lookalike cousin from being mauled to death by his own guard dog, and the investigation reveals that all the stockholders in the company are being attacked by their own dogs either to get them out of the way or scare them into selling their stock (and why do they all own dogs?). Yet the cousin’s slightly ditzy daughter Alice (Susan Oliver) is too busy flirting with Illya — successfully, for a change — to be bothered with grieving for her horribly murdered father. The episode overall is played for humor, and there’s a fun sequence where Illya and Alice consult with a dog expert (Pat Harrington, Jr.) for advice on how to deal with the attack dogs, and the number of (friendly) dogs in the scene keeps multiplying to a nearly tribble-like degree.
Remember how I said that the last “Gypsy”-focused episode was relatively respectful and light on negative stereotypes for a ’60s show? Well, this one’s the opposite. Here, the “Gypsies” are not only villains and charlatans, but possess eldritch power over animals, according to the dog expert. The nominal main villain, Delgrovia (Paul Lambert), initially shows up in a Dracula cape and seems quite menacing, but he’s almost passive in the climactic scenes, with more attention paid overall to Delilah (Antoinette Bower), one of the scammers, who initially shows up as a fortune-teller to try to frighten Waverly’s cousin, and ends up in a catfight with Oliver in the final act.
Despite the conceptual/cultural problems, though, this is actually a rather charming and witty episode by Alan Caillou, with a number of good gags and moments. And it’s nice to see Illya get the spotlight for once. Plus there’s a startling number of Star Trek guests here — not only Oliver and Bower, but bit players Tom Troupe, Reggie Nalder, and George Sawaya. Another notable guest is Leigh Chapman, who takes over from May Heatherly as UNCLE’s resident office babe/tech advisor; she appeared as “Receptionist” two episodes before, but here gets a promotion and a name, Sarah. She’ll be in four more episodes.
“The Four-Steps Affair”: We open with sexy THRUSH agent Angela (Luciana Paluzzi) tricking an UNCLE operative to his death. The operative’s name is Dancer — perhaps a relative of future Girl from UNCLE April Dancer? (Though the name is awkwardly overdubbed in some shots, suggesting it was changed after they were shot.) Anyway, he manages to get a partial message to Waverly before he’s cut off, and Waverly and Illya deduce its meaning with very little assistance from the somewhat vacuous agent Kitt Kittredge (overplayed by Donald Harron with a fake English accent). Infuriatingly, the show’s tendency to treat all Asia as one big jumble is worse than ever here: Dancer uses a line from the Rubaiyat, a Persian poem, as a code for Miki (Michel Petit), the 10-year-old reincarnated lama of a Himalayan country, and somehow Illya is able to deduce the meaning of this huge geographical non sequitur. Illya and Kittridge retrieve the boy, his nurse, and his regent or “potentate” Kaza (Malachi Throne) from a safehouse, but Illya, the boy, and the nurse are captured by THRUSH. Meanwhile, Solo has the more pleasant job of playing cat-and-mouse with Angela, who tries to seduce him into the same trap, though he’s more suspicious than Dancer was. Of course, he manages to keep up the flirty banter while keeping his guard up otherwise.
This is the second episode scripted by Peter Allan Fields, so I was expecting something good. I suppose if you can look past the geographical and cultural ignorance on display, it’s a decent episode, with some fun banter here and there, but overall it doesn’t hold together very well. The main appeal is Paluzzi’s Angela, who’s very nice to watch.
“The See-Paris-And-Die Affair”: The Van Schreeten brothers, Max (Lloyd Bochner) and Josef (Gerald Mohr), are petty criminals who’ve stolen enough diamonds to flood the market and crash prices, and are blackmailing the mob to pay them off regularly lest they release the diamonds. UNCLE wants to retrieve the diamonds and prevent the economic catastrophe or something. So Napoleon recruits the weekly innocent, Mary Pilgrim, a woman that both brothers desire and that Max has arranged to bring over to his Paris nightclub. It’s basically the same premise as the pilot, using the villain’s old girlfriend as a mole. Mary is played by Kathryn Hays, whom I’ve always known as the mute Gem in Star Trek‘s “The Empath,” and I think this is the first time I’ve ever heard her speak. I’d always kind of thought she was solely a dancer/mime and was hired for that purpose, but here she not only acts, she sings as well. Her voice is nothing like I would’ve expected, a salty, brassy alto, and her manner here is totally unlike the sad and poignant Gem, bright and lively with a big, adorable grin that she deploys at the slightest provocation.
Anyway, our UNCLE boys are competing with a THRUSH agent played by Alfred Ryder, another Trek guest (“The Man Trap”), and his boss, Kevin Hagen of Land of the Giants. No doubt THRUSH wants the diamonds for more nefarious reasons. So it’s a jolly chase between the two with lots of schemes and counterschemes, with Solo being unusually forceful about getting what he wants, but at his most impish while doing so. (At one point Mary’s overprotective voice teacher sics the police on Solo for supposedly kidnapping Mary, so he steals the police car at gunpoint, but before leaving he delivers the disclaimer, “In no way do I represent America’s foreign policy.”) I recently read a suggestion that David Tennant would be a better choice than Tom Cruise to play Solo in the recently-announced movie remake, and I could totally see that as I watched Robert Vaughn here.
Anyway, the whole thing leads to Max scarpering with both the diamonds and Mary (without consulting her about the sudden elopement), ultimately leading to a well-done action sequence with a helicopter chasing a van. And Mary acquits herself very nicely in dealing with Max and the cops while Solo and Illya are otherwise occupied. All in all, it’s quite a fun and madcap adventure, with lively dialogue courtesy of Peter Allan Fields once again. The music is credited to Scharf and Stevens, and there seem to be some new bits that are recognizably Scharf-like, as well as a fair amount of nightclub source music performed by a guest group called The Gallants. They’re credited with doing an arrangement of the main theme, but it must’ve been hidden in the background of a nightclub scene somewhere. Hays herself sings a song from the MGM library, “It’s a Most Unusual Day” by Jimmy McHugh and Harold Adamson.
“The Brain-Killer Affair”: When Director Waverly gets too close to identifying a pattern of important smart people suddenly losing competence, THRUSH poisons him so he’ll be taken to a clinic they control, where they plan to perform the same endumbening operation on him so he’ll undermine UNCLE from the inside. The mastermind of this subtle “assassination” method is Dr. Agnes Dabree, played by Elsa Lanchester wearing a frizzy, skunk-striped hairstyle that’s a clear homage to her defining role as the Bride of Frankenstein (though more backswept). She’s set up as a recurring villain, but is never seen again in the series. The innocent is Cecille (Batgirl herself, Yvonne Craig!), whose mentally crippled, mute brother was named by Waverly before he passed out, leading Solo to investigate. There’s a rather uninteresting thread where she’s resistant to cooperation and Solo keeps paying her off with bigger and bigger sums, leading her to become more and more enamored with money — not leading to any sort of lesson, even. It’s rather a waste of Craig’s talents — though I had no idea what a prodigious screamer she was (as we discover when she’s captured by Dabree).
This isn’t a very good episode, and I found myself particularly annoyed by how casually Solo waved a loaded gun around in various scenes — even pointing the barrel directly at Waverly’s head while checking his pulse after he’s poisoned. Vaughn and the director are treating his gun as a prop rather than a deadly weapon, and it undermines the illusion. But the episode surpasses even “Bow-Wow” for the number of Star Trek guests it features. In addition to Craig, we’ve got David Hurst, Nancy Kovack, and Mickey Morton as Dabree’s assistants, Abraham Sofaer as the substitute UNCLE director flown in from Calcutta when Waverly’s compromised (a nice bit of organizational exposition), Liam Sullivan as one of the “brain-assassination” victims, and even Bill Quinn (McCoy’s father from ST V) as a waiter. The only credited guests who weren’t in Trek were Lanchester, Henry Beckman as an UNCLE doctor, and Rosey Grier as an UNCLE bodyguard. Plus Trek’s second-pilot director James Goldstone directs, and Jerry Goldsmith contributes a few minutes of what sounds to me like new music and a lot of stock cues.
“The Hong Kong Shilling Affair”: Uh-oh. This show doesn’t do well with anything Asian. Anyway, this time, Napoleon and Illya are following a courier, Max, who’s with the Bondishly named Heavenly Cortelle (Karen Sharpe) while delivering a stolen item to a criminal organization that auctions state secrets to the highest bidder. For reasons I’m still not clear on, Max is attacked by the organization’s henchman (future Bond uber-henchman Richard Kiel). A passing student, Bernie (Glenn Corbett), sees the fight and runs in to be a good samaritan, but gets so distracted by ogling Heavenly that he lets Max get stabbed to death before he finally intervenes. This gets him mistaken for Max’s partner by everyone involved, including UNCLE at first. He tells them Max’s dying words that he was killed for a pine tree shilling, and why a single coin is so valuable is the mystery of the episode, along with its whereabouts and the identity of the villains’ unseen leader Apricot — though the latter two mysteries share a very obvious solution.
Solo recruits Bernie to spy on Heavenly and find out more, with strict instructions that Bernie blithely ignores, getting himself into bigger trouble and requiring his rescue. He continues to make matters worse through his bullheadedness and his growing (and reciprocal) crush on Heavenly, whose own loyalties and agendas are themselves a mystery. But he and a captured Solo manage to learn the identity of an incoming bidder, and Solo and Illya intercept him at the airport.
Here’s where it gets problematical. The bidder is a Mongolian warlord, and Illya impersonates him through heavy makeup and an accent — plus his voice is processed to sound a bit echoey and staticky, perhaps in an attempt to disguise McCallum’s voice, though it just makes it all the more obviously faked to the audience. The weird voice treatment is almost as annoying and unpleasant as the yellowface acting, though not as offensive. I mean, seriously — we’re shown that Hong Kong has its own UNCLE branch office, so shouldn’t they have agents of the right ethnicity to pull off a more believable impersonation, rather than sticking a Russian in unconvincing makeup?
All in all, it’s kind of a mess, and Bernie is the most unsympathetic “innocent” in the series so far (though Cecille was kind of unsympathetic too, with only Yvonne Craig’s innate charm redeeming the character). They did a decent job making part of the MGM backlot look like a Hong Kong harbor, with some help from stock footage, but really, I wish this show would just avoid portraying Asia altogether, because they’re terrible at it. The music is credited to Stevens, and it’s mostly in his generic-Oriental vein that we’ve heard before — if not the same cues, then at least the same style that’s hard to pin down to a particular culture. (Oh, and Solo is still casually pointing his gun at his friends and waving it around carelessly with his finger on the trigger. Now that I’ve noticed it, I can’t stop seeing it.)
This is interesting… a fan called Nikk Roy has put together book trailers for the segments of Star Trek: Myriad Universes — Infinity’s Prism, including my own Voyager-centric tale Places of Exile. How do you make a video trailer for an alternate-timeline book featuring events that never happened onscreen? Here’s how:
Pretty clever. There are also trailers for Bill Leisner’s A Less Perfect Union (thanks to Bill for bringing this to my attention) and James Swallow’s Seeds of Dissent. I think those were a little harder to find appropriate footage for, though.
Simon & Schuster has now posted the cover image and blurb for Star Trek: Enterprise — Rise of the Federation: A Choice of Futures.
A new nation has arisen from the ashes of the Romulan War: the United Federation of Planets, an unprecedented union of diverse species cooperating for the good of all. Admiral Jonathan Archer—the former captain of the Earth starship Enterprise, whose efforts made this union possible—envisions a vibrant Federation promoting galactic peace and a multispecies Starfleet dedicated to exploring strange new worlds. Archer’s former crewmates, including Captain T’Pol of the U.S.S. Endeavour and Captain Malcolm Reed of the U.S.S. Pioneer, work with him to secure that bright future. Yet others within the Federation see its purpose as chiefly military, a united defense against a dangerous galaxy, while some of its neighbors view that military might with suspicion and fear. And getting the member nations, their space fleets, and even their technologies to work together as a unified whole is an ongoing challenge.
When a new threat emerges from a force so alien and hostile that negotiation seems impossible, a group of unaligned worlds asks Starfleet to come to its defense, and the Federation’s leaders seize the opportunity to build their reputation as an interstellar power. But Archer fears the conflict is building toward an unnecessary war, potentially taking the young nation down a path it was never meant to follow. Archer and his allies strive to find a better solution…but old foes are working secretly to sabotage their efforts and ensure that the great experiment called the Federation comes to a quick and bloody end.
Admittedly, the cover image is a little inaccurate. Archer’s in the Earth Starfleet dress uniform he wore as a captain in the series finale “These Are the Voyages,” rather than the Federation Starfleet admiral’s uniform he wears in the novel. But this is as close as Pocket’s art department could come with the available and approved photo references, apparently.
Anyway, I returned the final galley corrections to my editor yesterday morning, so the text of the novel is now pretty much locked, and it’s scheduled to go out to the printers on Tuesday. Hopefully we caught all the mistakes. The book will go on sale in about two months now. In the meantime, I’ll be getting back to work on Book 2.
“The King of Knaves Affair”: Investigating a mysterious effort to buy uranium and the abduction of the racketeer making the offer, Solo and Kuryakin travel to Rome, where UNCLE HQ is situated behind the local branch of the Del Floria’s tailor franchise. (Clever to have identical UNCLE HQs all over the world, so the same standing sets can be used everywhere.) The local agents include Gemma (Arlene Martel, best known as Spock’s betrothed in Star Trek‘s “Amok Time”), who poses as Illya’s wife when they go undercover, and a receptionist who doubles as a dancer at the nightclub they investigate (played by belly dancer Tania Lemani, who uses a lot of the same dance moves she’ll use a few years later in ST’s “Wolf in the Fold”). The club’s proprietor is Fasik, a deposed Middle Eastern monarch played by the decidedly non-Middle Eastern Paul Stevens (a frequent Mission: Impossible guest, often playing characters impersonated by Martin Landau, whom he resembled). It turns out he’s building an army and recruiting allies as part of a genuinely clever multipronged plan to undermine the credibility, finances, and military strength of the populists who deposed him in order to pave the way for his reconquest. The innocent-of-the-week is Miss Pepper (Diana Millay), whom Solo suspects is a rival agent but who turns out to be a notary seeking the abducted racketeer’s signature on some document so some person back home won’t be rendered destitute — the explanation is very convoluted and not that important, mostly playing out in the background while Illya fights off an assassin on Solo’s balcony. It’s a fairly interesting episode overall — the villain’s plan really is most ingenious and alarmingly credible — but the show’s insistence on shoehorning an innocent civilian into every adventure is already starting to wear thin after just a baker’s dozen of episodes. It’s the sort of thing I feel would work better if they only did it when there was a good reason for it, rather than having to concoct all these contrived excuses to drag civilians into things every single time.
The episode makes effective use of the MGM backlot, including a castle courtyard set that we haven’t seen before on the show, though I expect we’ll see it again sometime. Jerry Goldsmith gets the music credit again, and this time I’m certain it’s a mostly or wholly original score. Some of the motifs are familiar, but from the thematic unity of the overall score and the way the music fits the action and editing, I’d say it’s not stock music, but Goldsmith developing his established motifs further. It’s a solid, effective score with a classic Goldsmithian flavor to the rhythms.
“The Terbuf Affair”: In a subtle bit of continuity, Napoleon and Illya are still in Rome on vacation, implicitly in the wake of their last mission. Napoleon is approached by old flame Clara (Madlyn Rhue, best known as Khan’s love Marla in ST: “Space Seed”), who seeks his help getting a “Gypsy” named Emil (Jacques Aubuchon) out of the Balkan country of Terbuf with proof of the corruption of its leader Col. Morisco (episode writer Alan Caillou). Clara is married now, but Solo still has a thing for her, and Illya determines he needs to go along to keep Solo anchored. But Clara confides in her husband Stefan, who turns out to be loyal to Morisco and tells him of the plan. Morisco doesn’t return his loyalty, having him imprisoned and ordering the smarmy Major Vicek (Albert Paulsen, whom I liked in his several Mission: Impossible appearances) to impersonate her husband, with the real Stefan held hostage to force her cooperation. Illya uses his familiarity with Roma culture to infiltrate the suspicious local “Gypsies” and convince them they can trust Solo with Emil. It’s an elaborate tale of plots, counterplots, false identities, arrests, abductions, rescues, and a couple of de-pantsings.
All in all, an entertaining story of intrigue, making further good use of MGM’s really impressive backlot (although I recognized one of the outdoor locations from the Kurt Russell episode, and it used the same interior prison set we just saw in “King of Knaves”). It makes up for last week’s contrived insertion of “the innocent” by having the innocent be the one who instigates the story in the first place. There are lots of familiar faces in the cast, including two more future Trek guests, Michael Forest and Rex Holman. The portrayal of the Roma is actually relatively positive for ’60s TV despite the use of the “Gypsy” label. And there’s a solid score (mostly new, I think) by Goldsmith and Walter Scharf.
Best of all, this episode is the strongest showing Illya’s had since episode 3, I’d say. Usually, even in episodes where Illya’s on the mission with Solo instead of sidelined back at HQ or whatever, he’s nonetheless been very much a second banana, with most of the focus being on Solo and his interaction with either the innocent or the villain. Here, though, he’s equal in prominence and importance to Solo, and we get a good feel for their friendship, the way their contrasts make them a good pairing. It’s not so different from the relationship Kirk and Spock would have in a little show that came along a few years later. It’s nice to see, and I hope it’s a harbinger of things to come.
“The Deadly Decoy Affair”: They’re playing with the opening again. There’s new music, and after the usual sequence of the shadowy figure shooting at Solo and cracking the pane of bulletproof glass in front of him — whereupon we usually get a freeze-frame for the episode title and then cut right to the main titles — instead Solo strolls out from behind the glass and gives the audience a little verbal teaser for the upcoming episode. Weird. I half-expected him to segue into talking about the sponsor’s product. Anyway, this is followed by a slightly modified arrangement of the main title theme, with the main melody a bit more clearly articulated than before. IMDb says Morton Stevens did the new arrangment.
The story is a comedy of errors as Solo and Kuryakin try to escort captured THRUSH lieutenant Stryker (Ralph Taeger) to Washington past a gauntlet of THRUSH agents trying to retake him, while Waverly leads a decoy intended to draw their fire, which proves unsuccessful — or does it? The way the innocent-of-the-week, Fran (Joanna Moore), gets dragged into the chase is the biggest contrivance yet, although I guess it’s forgivable since they were going for comedy. Illya gets left behind on a train and it becomes a three-person show as Solo and Stryker flirt with Fran and the three of them try to shake the relentless pursuers, and there’s a plot twist that became obvious to me about half an hour before it was revealed.
Kind of mediocre overall, with an underwhelming guest cast (and not just because it’s short on faces I find familiar). Its best feature is an all-new Walter Scharf score, the first one he’s done for this show that I’ve been impressed by, reminding me of some of his Mission: Impossible work.
“The Fiddlesticks Affair”: No talking to the audience this time, but we still get the Stevens arrangement of the main theme. The episode is another one that could be considered a proto-Mission: Impossible story: a casino heist to destroy THRUSH’s Western-hemisphere treasury, with Napoleon and Illya recruiting allies to form a team. They even have Lalo Schifrin doing the music, and his scoring during the heist portions is very reminiscent of some of his future M:I work. However, their recruits aren’t of the caliber that the IMF used. Their main specialist is a safecracker named Rudolph (Dan O’Herlihy) who gets pressured into helping and who’s more than willing to betray them to score points with THRUSH. The other is Susan (Marlyn Mason, herself a future M:I guest team member), a perky Midwestern girl trying to make a break from her wholesome life and do something scandalous, making her ripe for recruiting by Solo. (Though it’s rather startling that they’d draw a civilian into such danger rather than using a professional agent. What they need is some kind of, I dunno… girl from UNCLE, maybe. They should look into hiring one.)
Despite the sketchiness of the situation, it’s a fun, solid episode due mainly to a strong and clever script by future Columbo and Deep Space Nine scribe Peter Allan Fields. The character interplay and badinage between Napoleon and Illya is a lot of fun; this time out, we get the sense that the normally stoic Russian somewhat resents that Napoleon hogs the womanizing part of the mission all to himself. I didn’t care for some of the ridiculously implausible spy gadgets they used, though. For instance, a “treated” 100-dollar bill which, when placed in the casino vault, can somehow detect the turning of the combination lock and transmit the numbers to Solo’s receiver. Or a magnetic coating which, when rubbed onto ordinary dice, allows a special watch to control their rolls. Even with microcomputers and nanotechnology, that would be hard to pull off. In 1965, even with the sci-fi tech many spy shows used at the time, it’s just preposterous.
There’s a scary moment in the scene where Illya’s coercively recruiting Rudolph: David McCallum shoves O’Herlihy back onto the hotel-room bed, and it looks like O’Herlihy just misses hitting his head fairly hard on the corner of the bedside table. A centimeter more to his left and he could’ve really been hurt. He reaches back and puts his hand on the back of his head and goes “Sh…”, but then he recovers and they both just carry on with the take. A real trouper, O’Herlihy. And it makes the scene a lot more convincing.
“The Yellow Scarf Affair”: Oh, dear. It’s Napoleon Solo and the Temple of Doom, as Solo (without Illya) takes on the so-called Thuggee cult in India, replete with Western stereotypes about Hinduism, a lot of talk about how indigenous Indian culture is a relic of the past and how enlightened modernity equals Westernization, and plenty of non-Indian actors in brownface. It embraces the traditional media image of the Thuggees as a cult of assassins who preyed on travelers as a sacrifice to the “death” goddess Kali — in this case, a revived and modernized version in which they arrange plane and train crashes and the like and steal the victims’ valuables, including a top-secret lie-detector that an UNCLE agent had been bringing back home. Now, what I recall from Indian History class is that such cults of murderous fanatics were largely invented, or at least had their prevalence greatly overstated, by the British Raj in order to paint indigenous peoples as violent savages who needed British rule and Westernization to “civilize” them for their own protection. Even if they were real, they were an extreme fringe group whose practices were falsely held up as symbolic of Indian religion as a whole, and this episode is a classic example of that, implying that the Thuggee cult is synonymous with traditional Indian culture in order to paint that culture as primitive and well-forgotten.
The episode has other problems. For instance, the McGuffin’s case is said to have a nitroglycerin self-destruct capsule–quite implausible because the slightest jolt could set it off. What’s more, it gets jolted plenty in the climactic fight and nothing happens. Not to mention that Solo’s stunt double in said fight looks nothing like Robert Vaughn and there’s hardly any attempt made to conceal his face even by the standards of lower-resolution ’60s TV sets and broadcasts. Plus, while Morton Stevens’s music is generally good, he bizarrely uses a faux-Middle Eastern musical style to establish the Indian setting, presumably on the principle that American audiences would consider all things “Oriental” to be interchangeably exotic.
There are a few decent things about the episode, mainly Kamala Devi as the “innocent,” a flight attendant who helps Solo. Not only is she the only actual Indian performer playing an Indian character, but she’s quite lovely and delicately appealing, though she doesn’t show a lot of range as an actress. (And it’s quite silly seeing Murray Matheson standing next to her as her uncle — it just throws his cheesy brownface makeup into sharp relief.) There’s also an entertaining turn by Linden Chiles as the world’s most affable THRUSH agent, alternately competing and cooperating with Solo to retrieve the McGuffin from the cultists (a formula the show has used before). But my favorite part is probably Madge Blake’s brief appearance at the beginning, passing the McGuffin to the ill-fated agent. Aunt Harriet is a secret agent! The aunt from UNCLE! How awesome is that?
“The Mad, Mad Tea Party Affair”: Time for a bottle show, set mostly on the standing sets of UNCLE HQ and Del Floria’s tailor shop. UNCLE is preparing for a secret summit of world leaders, and a THRUSH mole within HQ, Riley (Peter Haskell), is planning to blow them all up — following a plan masterminded by Dr. Egret (Lee Meriwether), who’s narcissistic enough to demand that Riley join her in narrating the entire plan for the audience’s benefit, a deeply awkward scene. But a third party, an eccentric older man named Hemingway (Richard Haydn), is launching his own campaign against HQ, a series of seemingly harmless but high-tech pranks that expose some serious gaps in their security system — and it’s not hard to guess that that’s his whole intention. One of his pranks is to trick a random innocent, Kay (Zohra Lampert, whose voice I found very annoying), into the changing booth at Del Floria’s and through the secret HQ entrance therein. Kay is initially terrified, since for some reason UNCLE, the spy agency whose agents constantly go around telling people who they are and discussing secret missions at crowded parties, and whose HQ location is already well-known to their enemies, are suddenly so hyper-secretive that they refuse even to tell Kay who they are and where she is. But Kay turns out to be the second innocent in the past three weeks (and at least the fifth this season) to be tired of her ordinary life and thrilled by the chance to get involved in excitement and intrigue. It’s getting a bit repetitive, guys!
So yeah, you can tell I’m not enthralled by this one. It has some decent ideas, but the execution has a lot of flaws — particularly in the climax, where the bomb’s trigger device, which is supposed to be innocuous and understood to be a detonator only by Riley himself, is shown sizzling and smoking for a good 20 seconds or more, long enough that anyone could figure it out. Plus it criminally underuses Lee Meriwether, who’s only in one scene plus a voiceover later.
The music is credited to Goldsmith and Stevens, and is mostly built around familiar motifs, but at least some of it seems newly arranged and tailored to the scenes.
The contracts are signed, the outline approved, and the writing underway, so I’ve been cleared to announce that my next Star Trek novel, following this July’s Rise of the Federation: A Choice of Futures, will be a sequel entitled Star Trek: Enterprise — Rise of the Federation: Tower of Babel. That’s right — the buzz for Book 1 has apparently been so strong that I’ve already been asked for Book 2 (indeed, I got the invitation about a week before I even turned in the manuscript for ACoF!). It’s always been my hope that ACoF would be the first of a series, but for the past few months I’ve had to tiptoe around confirming that it now will be.
Tower of Babel will move the story of the Federation’s early years forward into 2164, and the title offers a hint about its subject matter. I can’t tease much about it yet, since there’s a lot about Book 1 that hasn’t even been publicized yet. But it will continue to develop the main story and character threads of Book 1 and will add some new ones, both following up on Enterprise and laying the groundwork for the world of The Original Series, and featuring more exploration of new worlds (at least, new to the characters, and not well-explored in canon or literature to date) than I managed to fit into Book 1. I don’t yet know what its publication date will be, but considering that the manuscript due date is about seven and a half months after the previous one, I daresay it’ll probably be sometime in early 2014.
As for A Choice of Futures, I was hoping the cover would be available sometime around now, but apparently there’s been some delay in the process, so nothing yet, alas.
I finally decided to buy the print-on-demand DVDs of Genesis II and Planet Earth, two of the failed SF pilot movies that Star Trek‘s Gene Roddenberry wrote and produced in the early ’70s. I used to have them on videotape, but I apparently lost the tape somewhere along the line, so this was the only way I’d get to see them again, and I found a place where I could get them pretty cheaply.
Genesis II (1973) was Roddenberry’s attempt to do another series built around the “thousand worlds” premise of ST, a team of heroes travelling to a different exotic society or environment each week. In this case, it was a post-apocalyptic future where the survivors of global nuclear war had fragmented into multiple diverse, bizarre societies — but, with typical Roddenberry optimism, the fall of civilization had cleansed the planet and let it (eventually) become a pristine paradise again. The hero was Dylan Hunt (played here by Alex Cord), a 20th-century scientist trapped in a suspended-animation experiment in 1979, and revived in 2133 by a society called Pax, nominally dedicated to rebuilding and restoring the best of civilization. But the woman who nurses him back to health, Lyra-a (Mariette Hartley), belongs to a civilization of superhuman mutants called Tyranians, and she claims Pax are aspiring conquerors and helps Dylan escape from them — whereupon he soon finds that Tyrania isn’t the paradise she claimed. (Really, a name like Tyrania is kind of a giveaway.) The cast also included Percy Rodriguez (Commodore Stone from ST: “Court-martial”) as the Pax leader, Primus Isaac Kimbridge, and genre stalwart Ted Cassidy as Isiah — the most unfortunate part of the film, supposedly a “white Comanche” who speaks in stereotyped TV-Indian broken English.
The premise made use of a vehicle called the subshuttle, essentially an underground bullet train system started in Dylan’s time (when fear of war had made aboveground transport seem too vulnerable) and expanded in the decades before the war. The system has survived and been maintained by Pax, serving as the means for Pax’s operatives to travel the world. (And it couldn’t possibly have worked as depicted. With so little clearance between the shuttle and the tube walls, with no evident vents, and with the tubes clearly not in vacuum, air resistance would’ve kept it from going as fast as it was shown to travel.)
It’s an interesting film and the concept had potential, but Cord is not the most appealing lead actor, and there are aspects of Pax that might’ve been offputting in a weekly series — they lived in underground bunkers in Carlsbad Caverns, and they embraced a rather ascetic “unisex” philosophy that disdained lust and sexuality as the cause of civilization’s downfall, as explicated by the uptight supporting character Harper-Smythe, played by Lynne Marta (though it was suggested that the young were starting to reject that view). All in all, it could be better, and it’s understandable why CBS rejected the series (instead opting for the similar Planet of the Apes TV series which lasted for only half a season), and why, when Roddenberry then pitched it to ABC, they asked him to retool it for the second attempt (Roddenberry had a knack for getting second pilots made, it seems).
This was 1974′s Planet Earth, this time starring John Saxon as Dylan Hunt and Janet Margolin as Harper-Smythe, with Ted Cassidy returning as Isiah (the only holdover from the original cast) and Christopher Cary added as Hunt’s fourth team member, the “esper” doctor Baylok. (Which is pronounced the same as Balok from ST’s “The Corbomite Maneuver” — a character that Cassidy provided the voice for, kind of. That always weirded me out a little.) This time out, Pax has relocated to a beautiful, advanced aboveground city (about where Albuquerque once was, judging from a shot in the opening titles), and the “unisex” beliefs are nowhere to be found — female extras in Pax City are wearing revealing William Ware Theiss outfits, and Harper-Smythe now appears to have a thing for Dylan. Isiah’s portrayed a little better, speaking more coherent English and no longer in what I guess you’d call “redface” makeup, but Baylok still calls him “the savage” at one point.
ST’s former associate producer Bob Justman was brought in as producer this time, and Roddenberry cowrote the script with future Rockford Files staff writer/producer Juanita Bartlett. The story is a very ’70s conceit: to find a missing doctor, Hunt and Harper-Smythe must infiltrate a society where women (primarily Marg, played by Diana Muldaur) keep men as slaves and pets — which Dylan actually describes as “women’s lib gone mad.” There are definitely ways in which it plays out as the kind of sex-preoccupied male fantasy you’d expect from Roddenberry, or from ’70s TV in general: Dylan uses his virility to seduce Marg and convince her that men aren’t so bad. But it seems to me that Bartlett’s hand adds some wit to the proceedings, so that Dylan’s seduction plays out more comically and tastefully than it otherwise might have, more about getting Marg drunk and philosophizing about mutual respect than getting her laid.
The movie also features villains called the Kreeg, a brutish, warlike band of mutants with electronically deepened voices and knobbly head ridges that appear to be a prototype for the revised Klingon makeup that would be introduced five years later in Star Trek: The Motion Picture. (I can’t find a makeup credit for Planet Earth, though, so I don’t know if it was designed by the same person, Fred Phillips.)
All in all, despite the iffy gender politics of the premise, Planet Earth is an improvement on the first pilot. Saxon is a much more charismatic and sympathetic lead than Cord, as much of an improvement as William Shatner was over Jeffrey Hunter as the Enterprise captain. Margolin is also a more appealing Harper-Smythe than Marta. There’s more charm and wit to the writing. The aboveground setting and the new Pax-team uniforms are an improvement (despite the uniforms’ unappealing color scheme), and Pax’s society seems more worth fighting for. Isiah is less offensive, and Baylok could potentially be an interesting character, but was quite underutilized here. The downside is that there’s less ethnic diversity in the lead cast; the first pilot featured a team member named Singh (seemingly the only South Asian surname Roddenberry knew) in a fairly prominent role, but here, Dylan’s team is all-white, and the one major black character, Kimbridge (here retitled “Pater” and recast as Rai Tasco), is sidelined. This is something of a reversal from the Trek pilots; in “The Cage,” the main cast was all-white, but the network pushed for more diversity in the second pilot (since recent analyses had revealed the buying power of minority viewers), and that’s how we got characters like Sulu and Uhura. Here, things unfortunately went in the reverse direction.
Planet Earth didn’t succeed as a pilot any more than its predecessor did. In his entire career, the only non-Trek series that Roddenberry ever got on the air was his first, the non-SF series The Lieutenant in 1963, and that only ran for one season. However, in 1975, ABC attempted to rework the post-apocalyptic premise one more time without Roddenberry’s involvement, keeping Saxon as the lead and retaining the name Pax, and using the Trek-inspired title Strange New World, but changing the rest of the premise and the character names. (The leads were astronauts on a sleeper ship who returned to an Earth devastated by asteroid bombardment.) So it doesn’t count as part of the same series and I haven’t bothered to track it down.
Of course, the concept of a hero named Dylan Hunt who slept through the fall of his civilization and fought to rebuild peace and stability in the post-apocalyptic world was resurrected after Roddenberry’s death as the premise of Gene Roddenberry’s Andromeda, transposed to far-future outer space and starring Kevin Sorbo as Hunt. A couple of other elements from the original films made their way into Andromeda: Harper-Smythe inspired the Harper character in name if nothing else, and I daresay the genetically superior Tyranians inspired the genetically superior Tyr Anasazi and his Nietzschean race. But otherwise it was a very different show, more the creation of Robert Hewitt Wolfe than Roddenberry, and blending the fragments of the Dylan Hunt universe with concepts from other failed Roddenberry pitches (such as the idea of an intelligent starship as a lead character, from an unused premise called Starship). Not to mention that the show went badly astray once Wolfe was fired after a season and a half. I really don’t want to get into that here; it would be reopening old wounds.
One reason I decided to buy these movies was to test a hypothesis. I’ve long entertained the conceit that maybe the G2/PE universe was an alternate timeline of the Trek universe, maybe one where the Eugenics Wars were more extensive and escalated to a nuclear conflict. That was never more than an idle musing before; but in recent years, since Pocket published its Mirror Universe and Myriad Universes anthologies, I’ve taken to cataloguing alternate Trek timelines more systematically in my personal chronology notes, and I got to wondering about whether I could actually add these movies to my list.
At first I was concerned it might not work, because the state of things in 1979 in G2 already seemed rather different from what we know of the Trek world in that time (not too different from ours, but with a more active space program). But then I thought, what if the divergence was earlier? What if, say, Gary Seven hadn’t intervened in “Assignment: Earth” and after? In that case, Earth would’ve begun an orbital nuclear arms buildup starting in 1968, which would fit neatly with the mid-’70s war fears that led to the creation of the subshuttles in G2. Also, according to the novel continuity, without Gary Seven’s intervention, the eugenics program that produced Khan and the Augments would’ve been more extensive, and the Eugenics Wars would’ve been bigger, potentially escalating to the level of global cataclysm. And the “mutant” Tyranians and Kreeg, claimed in the films to be the products of radiation, make far more sense if they’re descendants of the Augments. The timing works too. The undated cataclysm had to be after 1992, the date given for the construction of a subshuttle station seen in PE. However, the most advanced technology Pax has dates from Dylan’s century according to dialogue, suggesting that the end came no later than roughly the turn of the millennium. Which is no doubt where I originally got the idea that it was a bigger, alternative version of the Eugenics Wars. So I think it works rather neatly. The Dylan Hunt timeline could well be the future that Gary Seven was sent to Earth to prevent. (Which would mean that in the Trek universe, without the war fears driving things underground, Dylan’s hibernation experiment would’ve most likely happened elsewhere and he would never have been trapped in stasis by a cave-in. Indeed, his research could’ve led to the cryogenic technology of the Botany Bay.)
The other question I had was whether the two films could fit in the same timeline as each other, given the changes between them. The recastings are easily waved away, just like any TV or film recastings (e.g. Saavik or Cochrane in Trek). The change in Isiah’s makeup and hair can be just as easily ignored, or rationalized by saying he was in disguise in G2. The character changes can be rationalized; Isiah could’ve learned better English, Harper-Smythe could’ve softened in her unisex views after Dylan deflated some of her cherished myths about his era, and Kimbridge’s change in title could’ve been the result of either a promotion or a retirement from the Primus council. The hardest thing to rationalize is the Pax city suddenly materializing between movies; but maybe Pax had had the city all along, yet had retreated to the Carlsbad bunker due to the threat of Tyranian attack, a threat which was resolved by PE. Alternatively, maybe Pax made an alliance with the city and relocated there between movies — which might better explain the different, non-unisex clothing style. (If the city’s about where Albuquerque was, that would make it a bit under 300 miles NNW of Carlsbad Caverns, explaining why we didn’t see it in G2. The climax of G2 suggests that Tyrania is considerably closer to Carlsbad, though, not far over the horizon. Since they had nuclear weapons, they might’ve been somewhere around Alamogordo or White Sands, perhaps. Lyra-a mentions Phoenix as they ride toward Tyrania, but it can’t possibly be that far away.)
One other minor discrepancy: in G2, Majel Barrett plays Primus Dominic and Titos Vandis plays Primus Yuloff; whereas in PE, Barrett has a tiny role as a character credited as Yuloff. But Barrett’s PE character was never addressed by name onscreen, so the credit could simply be an error. Or maybe Dominic married Yuloff in the interim.
The timing’s also a bit tricky. In PE, Dylan says he was born on February 3, 1944 and is 189 years old, adding up to 2133, the same year as G2. But it’s easier to reconcile the movies if you assume some time passes between them to allow for the changes. But there’s an easy handwave: Dylan was drunk when he calculated his age. He could easily have been off by a year or two.
So I think the two movies can be treated as a single continuity if you squint a little — which is true of a lot of continuity in any TV or movie universe. Sure, if I’m defining them as an alternate Trek-universe timeline to begin with, I could just as easily say they were two slightly variant timelines; but with only two movies, I’d rather treat them as a connected series if possible.
Of course, this all has to remain strictly informal speculation. The copyright on these movies is owned by Warner Bros., not CBS, so I wouldn’t be allowed to incorporate these characters and ideas into a licensed Trek novel. But that’s why it’s fun to think about. It lets me get back to speculating about something Trek-related purely for recreation, rather than for work.
It’s worth noting, however, that Roddenberry himself may have worked some ideas from G2/PE into his ST:TNG pilot, “Encounter at Farpoint.” The chronology precluded them from fitting in the same universe even then, but a lot of concepts in TNG were recycled from earlier, failed Roddenberry projects: Riker and Troi were reworked from Decker and Ilia in TMP and the failed Phase II sequel series, while Data was a blend of Phase II‘s Vulcan character Xon and the android lead of the 1974 pilot film The Questor Tapes. The depiction of “the post-atomic horror” in “Farpoint” bears some similarities to the G2/PE universe, so I wonder if maybe Roddenberry had the idea that Trek history could’ve happened similarly but with different timing, that the Federation could be descended from a group equivalent to Pax which had rebuilt the Earth after a less extensive WWIII. It definitely reflects the same idea that things would have to get much worse for humanity before we finally came to our senses and built a better world. Of course, later Trek installments, primarily First Contact, depicted Earth history in a very different way. But it’s interesting to speculate about what Roddenberry may have intended.
More U.N.C.L.E reviews…
“The Giuoco Piano Affair”: A sequel to “The Quadripartite Affair,” as UNCLE finally tracks down evil mastermind Gervaise Ravel (Anne Francis) and her rich husband/backer Bufferton (John Van Dreelen) and tries to draw them out for capture. The title references a chess gambit that, according to Solo, involves using a lesser piece as bait to draw the queen into a vulnerable position. This involves bringing back Marion Raven (Jill Ireland) for a return appearance. Ireland was David McCallum’s wife at the time, and there was an idea that Marion could be Illya’s recurring love interest, though this would be the character’s final appearance (though not the actress’s). The plan is to use her as bait for Gervaise to kidnap so they can use her as bait to capture Solo when he tries to rescue her, and then track her to Gervaise’s lair using an implanted transmitter. Except the execution doesn’t make sense, because Solo is right there with her in the Andean town where she’s paraded as kidnap bait. He’s already on hand for Gervaise’s goon to try to assassinate before the abduction and Bufferton to make contact with after — so why would Gervaise feel she had to abduct Marion to lure Solo into her reach if Solo was already in her reach? It just doesn’t make sense.
Also, even though this episode is by the same writer who created Marion, Alan Caillou, she doesn’t seem to be as assertive and adventurous a woman as she was before, instead being portrayed as more traditionally timid. Plus the way she’s recruited is weird — Illya comes to her while she’s throwing a party (whose guests are the show’s production staff, including the episode’s director Richard Donner — yes, that Richard Donner – as a drunk), and they have a loud conversation about the secret mission he’s trying to recruit her for right in front of all these party guests he’s never met. As before, UNCLE has an oddly cavalier approach to operational secrecy.
Walter Scharf does the music, and again, it’s sadly less memorable than his Mission: Impossible work. It’s largely source music for the party and the South American village, plus some cues that sound recycled from Scharf’s earlier episodes.
“The Double Affair”: Only eight episodes in and we already get an evil twin! Robert Vaughn gets to flex his acting muscles again by pretending to be someone pretending to be Napoleon Solo, as THRUSH replaces him with an impostor in order to gain access to the super-top-secret August Affair (and yes, UNCLE really does call its missions “The [Something] Affair”). The first act is a much better chess match than the previous episode which was named for a chess gambit; as THRUSH tries to abduct Solo by having the waiter summon him to the telephone, he quickly catches on that it’s an attempted abduction and gets the upper hand on his lovely abductor (Senta Berger, who somehow gets billed above David McCallum here), but THRUSH anticipated his anticipation and has countermoves, and so on. It’s a nice dance between players who see each others’ moves coming, but THRUSH has the advantage of having had more time to prepare. And so they manage to gas him unconscious and spirit him off to their hideout in the Austrian Alps, which looks exactly like the Griffith Park Observatory. Those fiends! On top of everything else, architectural plagiarism!
Unfortunately, the cleverness and perceptiveness drops off on both sides starting in Chapter 2. The Solo impostor, who was so carefully altered and trained to imitate Solo exactly, has one glaring and obvious flaw in his impersonation: He doesn’t flirt with every woman he encounters, and indeed doesn’t even notice them. This includes not recognizing the flight attendant Solo was on a date with before his abduction — even though the impostor was right there in the restaurant and should’ve recognized her! And even though Illya supposedly knows Solo so well that THRUSH tried to assassinate him before starting the mission, he totally fails to notice Solo’s uncharacteristic asexuality or any of the other anomalies that should’ve tipped him off.
(By the way, the attempt on Illya’s life is enacted by a pair of rocket-firing robot/toys right outside Del Floria’s Tailor Shop, the front for UNCLE HQ. If the bad guys know where HQ is, why even hide it? Again this show’s use of spy tropes is hard to reconcile with its portrayal of the UNCLE as a fairly open global-security organization.)
The rest is a bit of a mess too. There’s a sci-fi twist to the secret behind the August Affair, but it serves little story purpose. There’s a big mistake the impostor makes, a clue he accidentally leaves in a damning place, but it serves little purpose other than to give him an excuse to kill off the token black agent in Chapter 3 — again, part of Illya’s total failure to notice anything wrong. And when Solo manages to escape from Griffith East, his escape is made easier by the most poorly-designed evil-lair self-destruct mechanism since… well, actually most evil-lair self-destructs are poorly designed in one way or another, but this one you just have to see to believe.
The music is by Morton Stevens, and I found it much more striking this time, a very interesting, somewhat avant-garde sound. Stevens, I’ve discovered, was a protege of Jerry Goldsmith, and he’s best known for writing the Hawaii Five-O theme. Oh, and this episode also introduces a new, briefer prologue — instead of the instructional-film tour of UNCLE and the leads introducing themselves to the audience, we get a tauter, more stylish opening built around the scene in the pilot that gave us our first look at Napoleon Solo. It’s a much more effective beginning.
“The Project Strigas Affair”: This is the one episode of The Man from U.N.C.L.E. that I’ve seen before (not counting the ’80s reunion movie), an episode I’ve been aware of for a long time as a piece of Star Trek trivia — the one time that William Shatner and Leonard Nimoy worked together before ST. But they’re on opposite sides here. The episode has a somewhat Mission: Impossible-ish setup (though it predates M:I by a couple of years): an Eastern European warmonger, Kurasov (Werner Klemperer), is threatening to destabilize international relations, so our heroes are assigned to discredit him so he’ll be removed from power, and they employ an elaborate con game to do so.
Like M:I’s Jim Phelps, Solo and Kuryakin recruit a specialist to help them with the scam, but unlike M:I’s team members, that specialist, Michael Donfield (Shatner), is taken rather by surprise and needs to be talked into it. He’s a chemical engineer who’s given up a lucrative job to open a small exterminating business with his wife Anne (Peggy Ann Garner), which is something that S&K can spin to make it look like a cover for a secret government project. The idea is to get Colonel Klink, err, Kurasov to believe Donfield’s working on a secret weapon called Strigas (rhymes with bypass) and get him to think he’ll score a major career coup by obtaining the formula for his nameless country, thus humiliating and ruining him when it turns out to be nothing. But the plan hits rather more snags along the way than your typical M:I scheme, and there’s a fair degree of improvising. It doesn’t help that Kurasov’s aide Vladeck (Nimoy), an ambitious sort who resents Kurasov’s constant insults, does some digging of his own and disrupts plans on both sides.
It’s a pretty fun episode overall, with nice performances from Shatner, Nimoy (if you can get past his unconvincing accent), Klemperer, and Woodrow Parfrey as one of Kurasov’s agents. I always enjoy seeing Shatner in this early phase of his career, when he tended to give more laid-back and unaffected performances. Donfield, though reluctant at first, gets into the thrill of the spy game much like Pat Crowley’s character in the pilot — and unlike her, he has his spouse right there to wipe the grin off his face when he’s told he has to assume the role of a womanizer. The role is a good fit for Shatner. Mainly, though, I must admit that the principal charm of this episode is watching Napoleon Solo and Captain Kirk take on Colonel Klink and Mr. Spock. It’s a little hard to look past who the actors are to focus on their characters.
Again, Scharf does the music, and again it doesn’t stand out as much as I would’ve expected.
“The Finny Foot Affair”: Ugh, let’s just get through this one quickly. Solo and Illya play Andromeda Strain, investigating a Scottish island where everyone’s died of old age due to a bioweapon that some supposedly Japanese bad guys are also trying to get hold of (it was made by one of their countrymen during WWII and then lost until now). True to ’60s form, the speaking bad guys are white actors with eye prosthetics and phony accents and the only real Asians are in nonspeaking roles. The bad guys wing Illya so he’s stuck at London HQ while Solo pursues a lead to Norway, where the infectious agent originated. Teenage Kurt Russell latches onto Solo as a potential replacement for his dead father, and tags along to Norway, being annoyingly cute and Opie-ish the whole way. Solo keeps trying to ditch him but keeps having to drag him along as the fake-Japanese henchwoman and her muscle pursue him. Illya passes along a screamingly obvious clue (a strange oversized ring with an inscription to “marry the maiden” — I caught on in seconds that it was meant to go on a statue’s finger to reveal a clue) that Solo totally failed to figure out for two acts (though in his defense, he is a confirmed bachelor). Baby Snake Plissken remains mawkishly cute and rather stupid throughout, even as the boy is forced to experience abduction and killings and other stuff that would turn a real kid into… well, into Snake Plissken, maybe. And it all turns out to be for nothing. In-story and out.
Nothing good to say here. Morton Stevens’s music wasn’t enough to impress me this time. And even famously curvaceous ’60s exotic dancer/martial artist/actress Tura Satana was mostly wasted as the henchwoman; she had a token dance scene early on that was kind of interesting, but was too mired in confused Orientalism to be really enjoyable (why is a fake-Japanese woman dancing to belly-dancer music?). Let’s just move on before my headache gets any worse.
“The Neptune Affair”: Illya is mad — not because he’s hardly in this one, but because some rogue faction in America is launching missiles containing a fungus that’s destroying wheat fields in the USSR. Solo has 3 days to stop the next launch or they’ll retaliate and nuclear holocaust begins. Heather McNabb makes her final appearance, alas, and hypnotizes Solo with a hayseed cover identity (just an act for the most part, but he can trigger himself to really believe he’s the guy for a few hours if he’s caught and interrogated). Robert Vaughn’s performance here isn’t as interesting as the fake persona he adopted in the Carroll O’Connor episode. There, he seemed like a totally different person; here, he just seems like Solo putting on a corny accent.
Solo searches for the scientist who developed the fungus, and meets his daughter, played by Lost in Space‘s Marta Kristen, as well as her fiancee Gabe (Jeremy Slate), who’s working for a Mr. Lockridge, who’s played by Henry Jones so you know he must be evil. Solo wheedles his way onto their boat when it goes out for “night fishing,” and they knock him out and interrogate him with help from — hey, it’s Sgt. Schultz! Yup, John Banner’s being his usual jovial self, but more evilly than usual. But true to form, Schultz sees nothing and hears nothing; Solo has activated his cover persona, so their interrogation is unproductive. Their fishing expedition a failure, they cut him loose.
Later, Marta Kristen catches on that he faked his cover, but manages to clue him in that the bad guys must be based on an oil derrick just offshore. She convinces him to take her with him in exchange for the use of her rowboat, since he wants to sneak aboard. But it’s no use, since they’re monitoring everything and catch them, bringing them down to their deep undersea base where Lockridge’s band of scientists plan to wait out the apocalypse they’re about to trigger, after which they’ll ascend and rule the world scientifically and emotionlessly. Solo (who annoyingly keeps up his fake persona well after they’ve figured out he’s a spy) manages to appeal to Gabe’s emotions to get his help in stopping the plan.
Hey, just imagine if UNCLE weren’t around — WWIII happens just on the schedule that Captain Shark from “The Shark Affair” thought it would, because Lockridge triggered it. Civilization is wiped out, and the only survivors are Shark’s group of well-intentioned utopians aboard their ship and Lockridge’s group of conquest-minded technocrats in their undersea base. That could make for an interesting post-apocalyptic struggle between the two factions.
An okay episode, but the past two have sort of a similarly awkward format — a tense, high-stakes setup being largely ignored as it’s just an excuse for the ensuing hijinks of the episode. I suppose plenty of Mission: Impossible episodes, Bond movies, and the like are structured similarly — the evil plot being just a McGuffin to motivate the story — but in these cases I didn’t find the hijinks as interesting as the setup.
The music this time is credited to both Goldsmith and Scharf, though a lot of it sounded like stock. Goldsmith’s work remains my favorite among the composers so far.
A weird dubbing issue here — there’s an explosive gas that’s a plot point here, and every time they say its name, it’s awkwardly dubbed over with “hydro.” I’m guessing it was originally “nitro” and they changed it at the last minute, but why?
“The Dove Affair”: This one’s too convoluted to summarize point-by-point, so I’ll just given an overview. This is the most Illya-free episode since the second; he isn’t even mentioned. It’s Solo truly solo, playing a cat-and-mouse game against Ricardo Montalban as Satine, the charming-but-deadly secret police chief of a fictional Balkan country. Solo was sent to retrieve the premier’s dove medallion containing vital information about THRUSH, but the premier was murdered just before he got there, and he must steal the dove. The cabinet secretary works for THRUSH and wants Solo arrested and accused of the crime to discredit UNCLE. Satine’s boss, the new, weaker premier, doesn’t want that, so he orders Satine to retrieve the dove (which they need for reasons of their own) and keep Solo from being taken alive — by either helping him escape or killing him. So Satine and Solo keep charmingly and deviously going from working together to battling each other, and a school tour group led by teacher June Lockhart gets caught in the middle. It’s fun to watch Vaughn and Montalban banter and play out their gentlemanly rivalry, but there are some plot contrivances like a couple of convenient hangups Satine has that give Solo an edge over him at key moments, and some conveniently accidental interventions by a couple of Lockhart’s schoolkids (the kind of TV “kids” played by actors in their 20s).
I also have to wonder why a spy chief in a Balkan country would have a Mexican accent, but then, I’ve often wondered the same thing about Khan in Star Trek. Montalban was like Sean Connery, I guess: you want him, you get the accent with him.
The music’s credited to Goldsmith, but I think by this point in the season it’s reasonable to assume it’s all stock. I definitely recognized some of it.
I’ve been sent the galleys of Rise of the Federation: A Choice of Futures (the text formatted as it will appear in the final book) for my perusal, and I’ve been going over them. They were sent to me as a PDF file, and I’ve been checking the text against the last revised and copyedited draft of the manuscript, looking at them in side-by-side windows on my monitor to compare them line by line. And in looking over my Adobe Reader’s menu options, I discovered that it comes with a function called “Read Out Loud,” which will recite a highlighted paragraph or selected page in a synthesized voice. I thought I’d give it a try — maybe listening to the PDF while reading along in the manuscript would be an easier way to compare than darting my gaze back and forth between them every few words. It’s not a perfect system, since I still need to keep an eye on punctuation here and there (though it’s pretty consistent at rendering periods and commas with intonation and pause duration). I think it’s slower going than my own reading would be, even with reading two texts at once; it’s not really worth doing with short paragraphs.
But it’s been worth it just for the entertainment value. The synthesized voice it uses is like a cross between Ben Stein and Eeyore — this slow, deep voice that usually just drones but sometimes puts a really hilarious, depressed-sounding intonation on the end of a line, kind of like Tim Conway’s old-man character from The Carol Burnett Show. Which can be a lot of fun when it’s reading a line like “I can’t maintain more than warp three-point-two” (or as it reads it, “warp three-point-twoooo,” descending a perfect fifth on the final syllable). It also does weird things with pronunciation — it renders “navigational” as “nah-vih-gah-tee-on-al” despite having no problems with other “-tion” words, and “redesignated” with a short a. Surprisingly, an ordinary word like “important” comes out as “imper-tahnt.” It thinks T’Pol is named Paul (well, no, there’s a barely audible T sound at the start), except “T’Pol’s” becomes “tee-single-quote-paul-single-quote-ess.” Hoshi Sato is “hawshee suhtoe.” And “NX-class” becomes “N-X-C-L-A-S-S.” On the other hand, it’s done surprisingly well with the alien and technical words I’ve tossed at it so far. In particular, there’s an alien outpost that I named Qhembembem (because I was in a silly mood), and it handled it fairly nicely, having no problem with the “Qh,” though it gave it the interesting pronunciation of “Kem-bem-eem.”
Still, I’m not sure I’ll keep using it. It could wear out its welcome after a while, and I’m concerned its quirks may be more a distraction than an aid. Maybe I’ll use it intermittently depending on the scene and my mood. But it’s helped add some fun to the tedious proofreading process.
UPDATE: One particularly weird glitch of this voice-synth program — it pronounces the word “point,” and only that word, as though it were French. “Phlox pointed out” becomes “Phlox pwaahn-ed out.”
While I’m at it, I’ve found that there are pre-order links available for Star Trek: Enterprise — Rise of the Federation: A Choice of Futures as well. Here ya go:
Still no cover art available, though. I don’t know when to expect that or what it might look like. Currently I’ve got the copyedits in hand, and those are due back on Friday. I’m also told that the manuscript has been officially approved by CBS, so I should be getting the remainder of my advance shortly!
I’ve also just turned in the outline for my next Trek novel, which I can’t talk about yet. I’ve got until the end of July to write it, so once I’m done with the copyedits on ACOF, I’m planning to shift focus for the next month or two and work on some original short fiction.