Having previously covered Gene Roddenberry’s failed 1970s SF pilot movies Genesis II, Planet Earth, and The Questor Tapes, I’ve finally managed to complete the set with 1977’s Spectre, a supernatural-horror show starring Robert Culp, Gig Young, and John Hurt. While Roddenberry tended to prefer to keep his science fiction grounded and plausible — in principle if not always in practice — he made Spectre with the intent of taking the supernatural seriously, disdaining what he called the Scooby-Doo approach of treating it as a hoax. Which means, going in, that there’s no chance of treating this pilot as a possible offshoot of the Star Trek multiverse as I prefer to do with G2/PE and TQT. I had wondered if maybe there was a chance of treating the supernatural forces as alien phenomena, a well Star Trek went to on multiple occasions, but I doubt that would work here.
Spectre, scripted by Roddenberry and Samuel A. Peeples and directed by Clive Donner, opens with Dr. Amos “Ham” Hamilton (Young) answering an urgent summons from his old friend William Sebastian (Culp), an eccentric criminal psychologist who has now become an expert on the occult, to Ham’s disbelief. Sebastian explains that he was almost killed by a voodoo curse of some sort that’s left him with a weak heart, and he needs Ham to keep him alive as he investigates a case involving the Cyon family in London. He says he was saved by his spell-casting housekeeper Lilith (Majel Barrett, an inevitable presence in any Roddenberry production), who also casts a spell to cure Ham’s alcoholism, which has come close to costing him his hospital practice. It soon becomes clear that Sebastian and Hamilton are modeled on Holmes and Watson, if Holmes were an occult detective and Watson a skeptic (and if they were both womanizers, this being a Roddenberry show).
Sebastian is visited by a seductive woman claiming to be Anitra Cyon (Ann Bell) and telling him that she was mistaken in believing something supernatural was going on at her estate. Sebastian figures out that she’s a succubus and burns her up with a book, though Ham is locked out of the study and doesn’t see it happen. Later, when flying to London in a private jet piloted by Mitri Cyon (Hurt, who looks amazingly young), the jet loses power and almost crashes, in what Sebastian interprets as another supernatural attempt to scare him off. Perhaps these are simply tests of his resolve?
In London, Sebastian takes Ham to meet an occult expert, but his house is on fire and they rush inside, finding him dead just short of the center of a pentacle drawn on the floor. They’re oddly untroubled by the flame and smoke as they examine the scene, then get into the pentacle to evade a demon of some sort that’s driven away when the fire department arrives along with a Scottish inspector (Gordon Jackson) who’s the Lestrade of the piece, I guess. The inspector, Cabell, is investigating a string of murders and desperately does not want the influential Sir Geoffrey Cyon linked to them.
Cyon Manor is an old abbey, refurbished inside with lots of erotic-themed artwork. Sir Geoffrey (James Villiers) leads an openly hedonistic lifestyle and keeps a household staff of sexy young women, who (among other services) entertain prominent leaders of finance and government from time to time. The real Anitra, looking more “spinsterish” than her succubus impostor, believes Sir Geoffrey is possessed by a demon, though he insists she just disapproves of his lifestyle, and she privately admits to Sebastian and Ham that she may just be jealous of the more attractive women surrounding her, though Ham says he finds her more attractive. Oh, and Sebastian finds the coffin from his voodoo doll in the house (but not the doll), and there are various attempts on their lives including glass shards in the wine and a breakaway balcony railing. Sebastian reads the journal of the dead occult expert, who feared that “Cyon” was possessed by Asmodeus, the Prince of Lechery, though it’s unclear which Cyon he meant. (The mythology presented for Asmodeus has only the most cursory connection to the real lore.) Later, Cyon’s women make a comically exaggerated attempt to seduce Ham, but Sebastian interrupts. He takes Ham to investigate strange wails coming from a small henge called the “Druids’ Firepit,” only to be waylaid by a Creepy Groundskeeper (TM) and his hounds. According to the journal, the Firepit is where Asmodeus was bound by the ancient druids until Cyon’s excavations released him. Sebastian explains to Cabell that Asmodeus takes the form of a dead person whose body has not yet been found, but Sir Geoffrey has alibis for a couple of the murders. (At this point, is anyone not expecting John Hurt to be the demon?)
Still, the movie keeps trying to make Mitri seem sympathetic and Sir Geoffrey look guilty, while arranging things so Sebastian and Ham can discover the underground catacombs where Asmodeus escaped from and prepare magical defenses. But they may be too late — Anitra is reported missing, and when our heroes witness a debauched ceremony in the catacombs below (complete with extra nudity added in the European release), they find not only that Mitri is Asmodeus and Sir Geoffrey is his disciple, but Anitra is their sacrificial victim. Suffice to say that good triumphs and evil is destroyed, and along the way, John Hurt turns into a really silly-looking lizard monster. Then there’s an obligatory Roddenberryesque tag where Anitra shows up at Sebastian’s home and charms Ham with her newly glamorous appearance.
Well, this was a mixed bag. The idea of a Holmes-like supernatural detective had promise, and Robert Culp did a terrific job as usual. But Gig Young was disappointing as Ham, not managing to achieve the same kind of chemistry with his co-star that Shatner had with Nimoy or The Questor Tapes‘ Mike Farrell had with Robert Foxworth. Casting Young would’ve been problematical if this had gone to series — not only was he unreliable due to his heavy alcoholism, but a year after this was made, he killed himself and his new wife for reasons that were never understood. Which makes it creepier to watch him than John Hurt.
The Roddenberry preoccupation with sex got a little tedious too, but by ’70s standards I guess it wouldn’t have been too bad. It’s odd that, both here and in Roger Vadim’s Pretty Maids All in a Row (which Roddenberry scripted and produced), Roddenberry portrays characters as licentious as promiscuous as himself as villainous figures. Was that just the only way he could sneak such things past the censors, or did it reflect some ambivalence about his own proclivities? We’ll probably never know. Anyway, the constant debate between Sebastian and Ham about whether the supernatural had a rational explanation was a little tiresome as well, but I suppose that’s because I’m looking back from an age where there are countless series that take the supernatural for granted — and even they generally go through the same beats of skepticism and doubt in their pilots. Ham was fully convinced of the supernatural by the end of the pilot, so that wouldn’t have been an ongoing issue except where guest stars and authority figures of the week were concerned. This could possibly have worked as a series, given a better co-star than Gig Young. But it would’ve had its problems that might have kept it from holding up too well today.
I’ve also finally gotten around to watching the 1978 Dr. Strange pilot movie, the one ’70s live-action Marvel Comics adaptation that I don’t remember seeing. I was curious because it was reportedly more authentic to the source than other contemporary Marvel adaptations like The Incredible Hulk and The Amazing Spider-Man (both airing on CBS, like this pilot). Apparently it’s the one project that Stan Lee consulted on most closely. Although it’s still pretty revisionist compared to the recent feature film version. It was written and directed by Philip DeGuere, Jr., who would later head up the 1980s Twilight Zone revival.
After a main title sequence featuring the distinctive Blaster Beam musical instrument, we go to a Steve Ditkoesque dimensional plane where a vaguely seen, multi-eyed stop-motion demon called the Nameless One assigns Morgan Le Fay (Jessica Walter) to strike at the current Sorceror Supreme, Lindmer (John Mills), before he can pass his power to Stephen Strange (Peter Hooten), who works as a psychiatric resident at a New York hospital and is apparently quite the ladies’ man, like most ’70s TV leads. Lindmer sends his aide Wong to locate Strange, whom he knew years before. Wong is played by Clyde Kusatsu, later ST:TNG’s Admiral Nakamura and one of three Star Trek veterans to have played the role (George Takei voiced him in the ’90s Spider-Man cartoon, and onetime DS9 guest Paul Nakauchi voiced him in the 2007 animated DVD movie). The next day, Morgan strikes at Lindmer by possessing a young woman, Clea (Eddie Benton), and pushing him off a bridge. He survives, but is concerned that Clea is now in danger, since such possession has consequences.
That night, Strange and Clea both fall asleep watching Abbott and Costello Meet Frankenstein (a reminder of the days when there were only a few channels on TV) and share Clea’s nightmare as she relives her possession and is stalked by Morgan. Clea flees into the street and almost gets hit by a cab, whose driver finds her amnesiac and takes her to the hospital, where Strange recognizes her and has her admitted. She insists she’ll die if she falls asleep, so she’s upset the next morning when Nurse Ratched (well, the nearest equivalent) tries to give her a sedative. While Strange argues with Ratched and the uncaring hospital administrator about his more compassionate admissions policies, Morgan tests the wards on the Sanctum Sanctorum (with its iconic window accurately rendered) and Lindmer uses a straight-up Jedi Mind Trick to get in to see Clea. He instead ends up talking to Strange, who turns out not to be aware of him or his world. But Lindmer gets him interested enough that, when the uncaring administrator tricks Clea into taking a tranquilizer that puts her in a coma, Strange goes to Lindmer and gets the expository speech about sorcery. Turns out Lindmer and Strange’s father were friends and worked together to protect Strange from the demonic forces that killed his parents. Lindmer convinces Strange to take a journey into the astral planes to rescue Clea’s wandering soul, and it’s a very psychedelic journey with Strange flying through a 2001/Time Tunnel corridor of trippy lights and fighting a Ted Cassidy-voiced black knight in a blurry astral realm before spiriting Clea’s spirit back to her body.
Dormammu — err, the Nameless One is mad at Morgan for failing to kill Strange because she thinks he’s hot, so he gives her one more chance. But Strange is still unconvinced even after his mystical journey, walking out on Lindmer — and Morgan uses the old “pretend to be Lindmer’s cat trying to get out of the rain so Strange will carry you across the threshold” trick to get into the Sanctum, strike Wong down, and overpower Lindmer, calling on the demon Asmodeus (oh, hi again, how’ve you been?) to spirit him away. Morgan then interrupts Strange’s date with Clea (now his ex-patient, so it’s ethical, allegedly), sends her back to sleep, and takes Strange with her to the astral plane, where she seduces him with wealth, power, knowledge, and, err, other stuff. But he resists the temptation and finds the power to battle her, rescuing Lindmer and foiling Morgan’s plans. He then accepts the transfer of Sorceror Supreme power from Lindmer to him, under the auspices of an Ancient One that’s just a bright light with Michael Ansara’s voice. And somehow Morgan is back pretending to be a motivational speaker or something, a hook for the theoretical series to come, despite her fate at her master’s hands just minutes of screen time before.
This is very ’70s, but actually pretty good. It’s a decent interpretation of the material, it’s pretty well-written, and the effects are rather good for a ’70s TV movie (although it occurs to me that this was the same studio and the same year as Battlestar Galactica, though a different effects house, Van Der Veer Photo Effects, who did some Star Trek work a decade or so earlier). I’d expected it to go a bit differently, with Lindmer dying due to Strange’s mistake and Strange vowing to make amends. But I guess if CBS’s Spider-Man wasn’t willing to use that origin for Peter Parker, I shouldn’t have expected it here. TV heroes at the time were generally expected to be more infallible and pure than that. And I imagine, given that Strange was a practicing resident here rather than an ex-surgeon, that the intent would’ve been to use a lot of standard hospital-drama tropes, with Strange continuing to clash with his uncaring administrator much like Quincy or Trapper John, and to use that comfortable formula to ground the more fantastic elements and make the show more palatable to the general audience, much like how many genre shows today get shoehorned into a crime-procedural mode. Which could even have worked, with good enough writing, and De Guere did a pretty good job of that. Stan Lee blamed its poor ratings on being scheduled opposite Roots; if not for that, maybe it would’ve gone to series. I doubt it would’ve been as good as the contemporary Hulk series, but it would probably have been better than Spider-Man. Too bad the pilot is all we got.
I’ve been making a bit more writing progress lately. Last week, I received, proofread, and returned galleys for both my upcoming Analog short story “Abductive Reasoning” and my third Star Trek: Department of Temporal Investigations e-novella Shield of the Gods. I’d been starting to wonder when “Abductive Reasoning” would show some movement toward publication, so this is a good sign, though I don’t know the release date yet. As for Patterns of Interference, I got the word last night that the manuscript has been approved by CBS and my final advance payment is routing for approval even now. I hope it arrives before tax day.
Meanwhile, I’ve been working on a review and polish of my previously published original stories with an eye toward putting them together into a collection. That entailed making sure my manuscripts were updated with all the changes made in the final printed versions, except in cases where I wanted to undo those changes or make additional changes. Mostly I tried to be faithful to the published versions, though. Anyway, I’ve gotten that done and now it’s a matter of getting a publisher interested. We’ll see how that goes. With that and the galleys out of the way, I’ve refocused on some new original stories I was working on last year but had to postpone in order to write Patterns of Interference. Well, I actually kind of got stuck because I started writing a story too hastily, before I really had the whole plot worked out. But coming back to it after a break has helped give me a new perspective, and I’ve worked out a couple of things I was stuck on before.
The new Kroger superstore nearby is open now, and I’ve been there three times already — once on foot, twice by car. It’s nice to be able to make smaller grocery trips when I need a few things, instead of just making 2-3 big trips a month and going without certain things for much of the interim. The new store isn’t as big as the other superstores I’ve been to, since its location is more constrained; in fact, they’ve actually had to put the “behind-the-scenes” employee areas up on the second floor, an unusual feature. There’s also an upstairs area for customers, but I haven’t visited it yet. And the shelf space is a bit less expansive. I read an article claiming that they’d compensate by restocking more frequently, but I’ve already noticed a couple of things that they didn’t have in stock while I was there — although there was one they did have in stock by the time I needed it. Anyway, it’s definitely a lot bigger than the old store, and has a lot more features like a pharmacy, deli, Starbucks, and pizza counter. The produce section is laid out pretty much exactly like the one in the gigantic Kroger that opened a year or two ago across from the movie theater I usually go to; I guess it makes sense that the two most recently built stores would use the same design. But it was kind of disorienting the first time I was there.
Reading-wise, I got a couple of new DC trade paperbacks from the library the other day, the second volumes of Batman: The Golden Age (reprinting all the original Batman comics in order from the start) and Wonder Woman ’77. The latter is theoretically based on the Lynda Carter TV show, but my problem with the first volume was that it didn’t feel like the show, just like generic Wonder Woman stories with the likenesses of Carter and Lyle Waggoner. Much of the second volume is like that too, but a couple of the later stories felt more like the show, or more ’70s-oriented at least. (One story brings back a major villain from the show, and another is steeped in ’70s nostalgia like funk music and CB radio.) As for the Batman volume, it’s good to get to see how quickly the character’s tropes fell into place within the first 2 years. These days, you’ll see a lot of people online claiming that the ’40s Batman was a dark, violent, gun-toting character until the Comics Code crackdown of the ’50s, but that’s just wrong. Even though the first year or two of stories were in a violent, pulpy vein, Batman only rarely used guns in them, though he did kill by other means like breaking a neck with a kick or flinging people off roofs. But as early as Batman #4 in December 1940, the dialogue and narration were insisting that Batman and Robin never killed or used weapons — although exceptions were still being made for causing recurring villains Hugo Strange and the Joker to fall to their apparent deaths, since of course they’d surely survive anyway. And B&R were portrayed in a pretty upbeat way, trading wisecracks and bad puns as they fought villains. Volume 2 shows other familiar Batman tropes emerging in 1941, like the Batmobile (a sleek red convertible with a small bat-shaped hood ornament) and the term “Dynamic Duo.” No Stately Wayne Manor or Batcave yet, though — Bruce and Dick live in a house in the suburbs, with a secret tunnel leading to the barn where the Batmobile is kept.
Food-wise, I serendipitously discovered a nice new way to make a sandwich last week. I decided to make a sandwich with tomato, sharp cheddar cheese, and Romaine lettuce on whole wheat bread with olive-oil mayonaisse and spicy brown mustard, served with a pickle spear and a small amount of olive oil potato chips. It was surprisingly yummy, and I’ve made that combo two more times since then, but somehow they weren’t as good as the first. I also recently discovered a second new type of sandwich that’s pretty good: cheddar cheese and apple butter.
Aside from that, I’ve mainly just been watching TV, but maybe I’ll talk about that later in another post.
In the interests of having something to post so this blog doesn’t go dead again (it’s already been 10 days since my last post — sorry), I’m going to repost something fun I contributed to a TrekBBS thread last year musing about what TOS might’ve been like as a radio adventure show from the ’30s or ’40s. Based on the binge-listen I’d done of old The Adventures of Superman radio shows online a couple of years earlier, I ended up putting together a hypothetical scene from an episode, a riff on how radio characters had to narrate the action for the audience’s benefit. I’m reposting it here, with a bit of narration added in response to other posters’ comments:
“Yes! Punching the Gorn’s ears seems to have disoriented him. I’ve got to get away… get some distance! Yes! That rise over there.”
“Yes… this rock should do nicely.”
(Grunt of exertion.)
“He’s recovering. Now — heave!”
(Sound of object whooshing through the air and striking a leathery surface. Growl of pain from the Gorn.)
“Yes! A hit! But — no, it’s barely staggered him! What incredible strength! Now he’s — no — he’s heading for that large boulder! There’s no way he could — but he is! He’s… lifting it above his head! It must weigh over a ton! Could he possibly throw it hard enough –”
(A loud grunt of exertion from the Gorn, and a heavier whooshing sound.)
“He did! Have to dodge, dodge for all I’m worth!”
(Heavy thud of the boulder striking rock, rolling downhill.)
“Whew! That was close! I could feel the breeze as it blew past! Better not take any chances — up the mountain, quickly! My speed is my only advantage!”
(The sound of swift footsteps on stone, and Kirk panting. Fade out these sounds and asteroid ambience; fade in bridge background audio.)
“Meanwhile, far out in space, the star cruiser Enterprise is trapped, held motionless in a powerful force ray by the mysterious Metrons! Under the cool, logical leadership of the half-Vulcanian Mister Spock, the crew now strives to break free of the Metrons’ relentless grip!”
“Have you tried overload, Mr. Scott?”
“Aye, Mr. Spock. It does no good…”
Just something I tossed together on a lark, but I was happy with how it turned out. Credit where it’s due: This is, of course, an adaptation of a scene from “Arena,” written by Gene L. Coon, from the story by Fredric Brown. Acknowledgment is also due to The Adventures of Superman‘s star Bud Collyer and narrator Jackson Beck for inspiration.
Hello, everyone — sorry I haven’t been posting lately, but I’ve been really wrapped up in trying to finish Rise of the Federation: Patterns of Interference. This was kind of a rough one, since there were delays getting the contract and approvals through, so I was late getting started and I had to work fast. Which proved difficult, since I was suffering from a vitamin D deficiency that I think was causing me some mild depression and making it hard to focus. So I’ve spent the last month striving to finish the book, which left little mental attention for other writing such as blogging (though I still posted on my bulletin boards regularly because I’m addicted to those). I’m afraid I’ve really been neglecting this blog, and I need to try to refocus on it.
So anyway, PoI is finally done, and we’re expediting the editing process to make up for lost time. It helps that it came out relatively short, about 83,000 words. I figured that, after the big epic 2-part saga of Uncertain Logic and Live by the Code, it was good to do a story that was a bit more intimate in scope. I was influenced by The Next Generation‘s “Family” and Enterprise‘s “Home.” Although that’s only part of the novel’s story. Basically, there’s one really big adventure plotline at the heart of the novel, and a number of more character-driven subplots around it. But there are some major events and changes to the status quo on both scales. So it’s a smaller story, but with big consequences.
Another thing that helped with the tight writing schedule was that I’ve once again managed to recycle a concept from one of my old, unsold original stories as a subplot in PoI. It’s actually a double-recycle of sorts, because I was going to use the premise as the basis for a second Star Trek: Corps of Engineers novella, but that series was cancelled before I got a contract for it. For this version, I kept some of the new worldbuilding ideas I was going to add in the CoE tale, but I’ve actually been able to incorporate a lot more of the original story’s plot and dialogue in this version than I would’ve been able to do there, albeit revised to fit the new characters and relationships. So that saved me some time — although not as much as it could have, since there was a pair of supporting characters that were originally just names spouting dialogue in the material I copied, and I didn’t really work out who they should be and what motivated them until the revision phase, so parts of that sequence got rewritten several times.
I even got to the point where I was afraid that the book would run short, so I was looking through my old unsold fiction (just about all writers have a ton of early stuff they never sold, while they were learning the trade), trying to find some short story or subplot that I could adapt as a story arc for some supporting character to meet my word count. But I couldn’t find anything that was both adaptable to the 22nd-century Trek universe and well enough written to be usable — at least, not from the stuff I could remember, and taking the time to re-read a bunch of old stuff to refresh my memory would’ve defeated the purpose of trying to speed up the process. Fortunately, I managed to come up with enough new material to do the job, and it naturally worked better to add material that grew from the story and characters I had, rather than trying to shoehorn in some unrelated story. As a matter of fact, when I finally reached the end of the novel in the first draft, I was still a little bit short of 80,000 words, and I’d already decided there was one more scene I needed to go back and put in earlier. I did that later the same day, and it put me over the limit, and it wasn’t until I finished it that I finally felt the rush of euphoria and satisfaction that came from finally being finished. Although it didn’t last long, since I still needed to clean up and tighten the draft before I turned it in.
So now I’m finally done with PoI, and I’m free to resume work on some original projects that I’ve had to put off. Currently, I’m starting to explore the possibility of putting together a collection of my original stories, though it’s too early to say whether that will happen. Once that’s done, I need to get back to work on some new stories I have on the back burner, one of which is unfinished. Hopefully I can make some real progress on those and one or two other things before my next Trek project comes along — although I hope that next Trek project comes fairly soon, because I still need to make a living. That’s the paradox — my Trek work is what lets me make enough of a living to pursue the other stuff, but it tends to take up a lot of time that I could be spending on the other stuff instead. Well, I shouldn’t complain — I actually got a lot of original writing done in 2016 while waiting for the go-ahead on PoI. But there was some of it that I didn’t quite get to finish before I had to throw myself fully into Trek writing. Of course, it wouldn’t be as much of a problem if I were better at time management and self-discipline. But I’ve been telling myself that for ages and it hasn’t helped much.
Let’s see, I don’t have much to talk about beyond writing, because I haven’t had much of a life otherwise lately. One bit of good news — the fancy new Kroger they’ve been building next to the university for the past year and a half is finally opening in just a few days, so I’ll finally be able to get groceries from somewhere within walking distance again (although I doubt I’ll try biking there, since I don’t think the adjacent intersection is very safe for biking). And it’s a much larger, more elaborate superstore than the old one in that location, or than the next-nearest one in Walnut Hills, which I never liked going to, and which is actually closing the night before the new one opens. Makes sense, in a way — the store is twice as big, so it’s taking the place of two adjacent ones. Meanwhile, the local co-op store that replaced the old IGA up by Burnet Woods opened last month — nearly a year later than originally touted — and it’s not bad, though not as suited for my needs as the new Kroger will be. I hope it does well, though, since it’s good to have both options. After a year and a half with no grocery stores in the neighborhood, there are now going to be two. (Well, not really — the co-op is about the same distance from me as the Walnut Hills Kroger, but it feels closer to me, probably because I’m more familiar with its neighborhood.)
Well, that’s about all I have to report for now, and it’s lunchtime. I’ll try not to wait so long before posting again.
Just a heads-up that I’ll be at Joseph-Beth Booksellers in Cincinnati’s Rookwood Pavilion tomorrow, January 26th at 7:00 PM, to sign and discuss Star Trek: The Original Series — The Face of the Unknown and my Analog novelette “Twilight’s Captives.” Here are directions.
A while back, I noticed something interesting about the history of Star Trek terminology. We’ve all come to think of “mind meld” as the standard term for the telepathic contact used by the Vulcans, and it’s been used consistently and near-exclusively in most Trek productions over the decades. But in fact, it was never used in the original series until the third season, and then only twice. TOS was quite inconsistent in its terminology — as with so many things, they made it up as they went and it took time for the concept to settle down. Here’s a list of the terms they used, and how they were depicted (originally posted in a thread on Tor.com, and put together with the help of the Star Trek Script Search app):
- Dagger of the Mind: “an ancient Vulcan technique to probe into Van Gelder’s tortured mind” — The template for the mind meld as we know it.
- Devil in the Dark: “the Vulcan technique of the joining of two minds” — Also a very deep fusion and blending of identities.
- The Changeling: “mind probe” — Ditto.
- By Any Other Name: “mind probe” and “mind touch” to refer to the telepathic suggestion used with the Eminian guard and Kelinda, much less of a connection than we’ve seen before.
- Patterns of Force: “mind probe” to refer to Spock reaching Gill’s mind, but we didn’t see how deep it went.
- Spectre of the Gun: Debut of the term “mind meld,” to refer to what was basically hypnotic suggestion.
- Elaan of Troyius: “mind meld” suggested but not used as an interrogation technique.
- The Paradise Syndrome: “mind fusion” used for a full “our minds are one” joining.
- Is There in Truth No Beauty?: “mind link” to refer to the full union of two minds.
- One of Our Planets is Missing: “mind touch” for Spock allowing the cloud creature to see and speak through him, much like his “link” with Kollos.
- The Infinite Vulcan: “mind touch” to refer to a full transfer of mind/memory from giant Spock to original Spock.
So that’s “Vulcan technique” in season 1; “mind probe” and “mind touch” in season 2; “mind meld,” “mind link,” and “mind fusion” in season 3; and “mind touch exclusively in the animated series. The usage was all over the place, and “mind meld” was the third-most common term after “mind touch” and “mind probe.” And the writers’ bible for TOS refers only to Spock’s “strange Vulcan ‘ESP’ ability to merge his mind with another intelligence.” In the first major Trek reference book, The Star Trek Concordance by Bjo Trimble, the version that gets the longest lexicon entry (29 lines) is “Vulcan mind touch,” with “mind link” (non-Vulcan) getting six lines, “Vulcan mind fusion” five lines, and “Vulcan mind meld” only four, the shortest entry (though no “mind probe” anywhere in sight). I always used to have the sense that “mind touch” referred to a shallower, more basic telepathic communication while the “meld” or “fusion” was a deeper, more complete blending, but as you can see above, the terms were used more interchangeably than that.
And yet the 1977 writers’ bible for Phase II, the TV revival project that later turned into Star Trek: The Motion Picture, did use the term “mind-meld” for Vulcan mental abilities. The term was then used in onscreen dialogue in TMP itself, for the contact between Spock and V’Ger’s memory crystal. It was also used in The Search for Spock (referring retroactively to Spock’s katra transfer to McCoy in TWOK) and The Voyage Home (for Spock’s mental communication with the whales). And it’s been the exclusive term in every subsequent Star Trek production. (“Mind probe” was used twice, in The Next Generation‘s “Menage a Troi” and Deep Space Nine‘s “Extreme Measures,” to refer to mind-scanning technologies akin to the Klingon mind sifter, but never for Vulcan telepathy.) So sometime between TAS and the movies, the term became standardized.
It also occurred to me to check into the tie-in fiction that came out between TOS and TMP. 1970’s Spock Must Die! by James Blish used yet another unique term, “mind-lock.” But the next original Bantam publication, the 1976 anthology Star Trek: The New Voyages (which was mostly reprinting earlier fanfiction stories, though newly revised for the anthology), uses “mind-meld” consistently in multiple stories. As far as I can tell, it was pretty standard in Bantam’s books from then on (though I don’t have them all in my possession). So in both screen and prose Trek, the term “mind meld” somehow became the default by the late 1970s — but how? Why that term, when it was so infrequently used in TOS and never in TAS?
When I checked my nonfiction text sources, I found that The Making of Star Trek, written by Stephen Edward Poe (as Stephen E. Whitfield) and Gene Roddenberry during season 2 of TOS and released shortly before the premiere of season 3, refers to Spock’s ability as “mind-melding” — making it the earliest public use of the term. It’s possible Poe/Whitfield got it from the scripts to “Spock’s Brain” and “Elaan of Troyius,” though, depending on how early they were written. Or maybe it’s just the term Roddenberry had decided on, and so it got around behind the scenes.
People today often don’t realize it, but TMoST was the definitive ST reference book in its day, the source of a number of things that became conventional fan wisdom even though they were never stated onscreen, such as Kirk being the youngest starship captain, McCoy’s divorce backstory (proposed by DeForest Kelley for the second-season writers’ bible but first publicized by TMoST), and the Romulan-Klingon alliance (from development notes for “The Enterprise Incident” to explain the Romulan use of Klingon ships, which seems to confirm that Poe had access to early third-season scripts). Not to mention technical details that weren’t canonized until later, like the idea of the forward parabolic dish being a navigational deflector. TMoST was also the second work to establish a 23rd-century setting for TOS, preceded by James Blish’s “Space Seed” adaptation in the collection Star Trek 2 seven months earlier.
So if all these things became conventional wisdom because they were in The Making of Star Trek, it follows that TMoST’s use of the term “mind-melding” is the reason that term became standardized later on. And it does seem that it used the term because it was written around the same time as the two TOS episodes that did use it. If it had been written a few months earlier, we might’ve ended up talking about “Vulcan mind probes” for all these years.
Just a reminder that Star Trek: The Original Series — The Face of the Unknown officially went on sale yesterday. I’ve updated this site’s homepage and Star Trek Fiction page with ordering links, and I’ve added a book discussion page, although I haven’t had time to do the spoiler annotations yet.
Also, as I mentioned a couple months back, this is my first Star Trek novel to get an audiobook version, something that Simon & Schuster seems to have begun doing regularly with Trek novels now. The narrator is Robert Petkoff, and judging from the sample I heard on Amazon, he does a good job capturing the TOS cast’s voices.