Commentary: Trek Stars: The Work Of Star Trek Creators Outside Of Star Trek

Lindelof Part 4: Recap. Since the end of Lost, Damon Lindelof has written two movies, with another two coming out this summer. After one more movie next year, he will return to the small screen for a new series on HBO. This week, Mike and Max look back at Lindelof’s first two movies, Jon Favreau’s Cowboys & Aliens, and Ridley Scott’s Prometheus. We also look ahead at his next three, J.J. Abrams’s Star Trek Into Darkness, Marc Forster’s World War Z, and Brad Bird’s Tomorrowland, as well as his upcoming television series, The Leftovers, based on the novel by Tom Perrotta. 

Lindelof Part 3: Prometheus. 23 years after his groundbreaking film Alien, Ridley Scott returned to the beloved franchise with Prometheus. He hired Damon Lindelof to re-write Jon Spaihts’s original screenplay. With Lindelof, the movie became less of a prequel to Alien, and more of a standalone story inside of that universe. This week, Max and Mike are joined by Mehul to talk about Lindelof’s second feature film. We discuss whether or not Prometheus lived up to the expectations of Alien fans, its depiction of science, the differences between the Spaihts and Lindelof drafts of the screenplay, Scott’s influence over the writers, the intention behind distancing Prometheus from the rest of the franchise, and the career path that Scott has taken in later years.

Lindelof Part 2: Cowboys & Aliens. Following the conclusion of his hit television series Lost in 2010, Damon Lindelof made the jump to the big screen in 2011 with Jon Favreau’s Cowboys & Aliens. The script, which was Lindelof’s first, was co-written with his Star Trek collaborators Roberto Orci and Alex Kurtzman. The film stars Daniel Craig as a wanted man in the old west who wakes up with an unusual piece of technology on his wrist, and no memory of who he is. Craig is forced to team up with a rancher, played by Harrison Ford, in order to fight an alien menace that has been abducting the town’s citizens. This week, Mike and Max are joined by John Mills of Words with Nerds to talk about Lindelof’s debut screenplay, and how it relates to his career on the whole. We discuss how Lindelof’s collaborations compare to his solo work, what makes Harrison Ford’s movies so special, why the film did not live up to expectations, who is to blame for the movie’s failure, where Lindelof’s touch is visible in the fil

Lindelof Part 1: Trek. In 2007, J.J. Abrams was handed the keys to the Star Trek franchise. He quickly assembled a “Supreme Court” of collaborators which included writers Alex Kurtzman and Roberto Orci, executive producer Bryan Burk, and producer Damon Lindelof. With Lindelof’s background as a television writer, most notably the creator of Lost, it was clear that his role on Star Trek would be a creative one. With Lost now behind him, Lindelof has joined Kurtzman and Orci as the franchise’s newest writer for Star Trek Into Darkness. This week, Max and Mike begin a new series on Lindelof’s career as a movie writer. In Part 1, we are joined by Robert Reyes to look at Lindelof’s work in Trek. We discuss Lindelof’s time on Lost, Abrams’s reasons behind hiring Lindelof as a producer on Star Trek, whether or not the 2009 film lives up to the standards of the franchise, why the Lost team was chosen to reboot Trek, what our expectations are for Into Darkness, and of course, whether or not the new film’s villain is Kh

Wilkerson Part 2: Houdini & Lovecraft, The Ghost Writer. This week, Mike and Max are joined once again by Star Trek writer Ron Wilkerson to discuss his new novel, Houdini & Lovecraft, The Ghost Writer. In the book, the great illusionist Harry Houdini teams with the struggling writer H.P. Lovecraft to investigate a supposedly haunted house. In this episode, Ron talks about the origins of the novel, creating a fictional dynamic between two real-life characters, the struggle of building interest in the book among Star Trek fans, working in the sci-fi horror genre, the inspiration of Lovecraft’s work on his own, his fascination with Houdini, the differences between writing for screenplays and novels, the new book he’s working on called Crossover, and the new television show he’s working on called Dreamland.

Wilkerson Part 1: Trek. This week, Max and Mike are joined by Star Trek writer Ron Wilkerson in the first of two very special episodes. Ron has written seven hours of Star Trek, including “Imaginary Friend,” “Schisms,” “Lessons,” and “Lower Decks” for The Next Generation, and “Learning Curve,” “Fair Trade,” and “Ashes to Ashes” for Voyager. He has also written a new novel entitled Houdini & Lovecraft, The Ghost Writer, which is available on Amazon.com. In this episode, Ron tells us about his work on Star Trek, including the origins of “Lessons,” building stories around pre-existing characters and elements, collaborating with other writers, having his scripts re-written by others and re-writing other people’s scripts himself, tackling the issue of Maquis integration, what his relationship was with Star Trek growing up, and what he thinks about the current incarnation of the franchise. We also discuss how it is perfectly reasonable to get the cheese to sickbay.

Meyer Part 8: Recap. While Nicholas Meyer may be best known for his career in film, he is also a rather prolific author. Over the past seven weeks, Mike and Max have covered all six of Meyer’s novels, and this week we recap his writing career on the whole. We touch on each of his novels, including Target Practice, The Seven-Per-Cent Solution, The West End Horror, Black Orchid, Confessions of a Homing Pigeon, and The Canary Trainer, and try to draw some conclusions on his career on the whole. 

Meyer Part 7: The Canary Trainer. After a twelve year hiatus, Nicholas Meyer returned to the medium of books for one last novel in 1993. Once again, he chose to tackle the character of Sherlock Holmes. The Canary Trainer looks at what happened to Holmes after The Seven-Per-Cent Solution, where we find him in Paris on the case of The Phantom of the Opera.   This week, Max and Mike are joined by Augie Aleksy of Centuries & Sleuths Bookstore in Forest Park, Illinois, to discuss what Holmes was up to during The Great Hiatus, How Meyer fits his story inside of both Arthur Conan Doyle’s canon and Gaston Leroux’s novel, how the character of Holmes works without Watson, and how Meyer’s books encourage readers to seek out their source material.

Meyer Part 6: Confessions of a Homing Pigeon. After a string of successful mystery and adventure books, Nicholas Meyer chose to tell a more personal story for his fifth novel, Confessions of a Homing Pigeon. The book is an autobiographical coming of age tale about George Bernini, an American boy who is sent to France to live with his alcoholic Uncle Fritz after his parents are killed in a trapeze accident. This week, Mike and Max discuss the personal nature of the novel and how it deals with universal themes of adolescence, the reasons why Meyer felt compelled to tell this story, the similarities to Catcher in the Rye, how the book works as a road story, how this novel’s style differs from Meyer’s other novels, whether or not the book suffers from “The Dawson’s Creek Syndrome,” why the 14-year-old protagonist reminds Mike of Roy Scheider, what makes this book Meyer’s Driving Miss Daisy, and how the book is essentially the story of Robin the Boy Wonder gone wrong.

Meyer Part 5: Black Orchid. In 1977, Nicholas Meyer teamed up with his University of Iowa classmate Barry Jay Kaplan to write his fourth novel, Black Orchid. The book was Meyer’s first attempt at something outside of the mystery genre, specifically historical fiction. It looks at the Brazilian Rubber Boom of the late Nineteenth Century, and the United Kingdom’s attempt to steal rubber seeds in the hopes of breaking up Brazil’s rubber monopoly. This week, Max and Mike are joined by Matt Rushing of Trek.fm’s Literary Treks and The Orb to discuss the book’s strengths and weaknesses, whether or not Kaplan’s influence hurt the overall work, the protagonist’s similarities to Indiana Jones, the real life history behind the fiction, the inherent drama of seed-stealing espionage, the finale’s similarities to the Battle of the Mutara Nebula, and why The Undiscovered County is the perfect title for Star Trek VI.

Meyer Part 4: The West End Horror. Two years after the success of The Seven-Per-Cent Solution, Nicholas Meyer returned with his second Sherlock Holmes novel, The West End Horror. This time, Meyer chose to write a much more traditional Holmes adventure which features the detective investigating a murder set against the backdrop of the British theater scene of the late 19th century. This week, Mike and Max are joined by Tony Powers, a public librarian and Holmes aficionado, to discuss how Sherlockians compare to Trekkies, how Meyer’s books stack up against other Holmes pastiches, how the story is used to shed light on various historical characters of the era, the difficulties of simultaneously satisfying both the long-time fan and the newcomer, the passion of the Baker Street Irregulars, the work of Holmes scholar William Baring-Gould, and Meyer’s ability to stay true to source material while adapting it for a modern audience.

Meyer Part 3: The Seven-Per-Cent Solution. Star Trek fans know Nicholas Meyer as the man who took a great franchise and made it even better. But prior to delving into the lives of Captain Kirk and Mister Spock, Meyer left his mark on another beloved fictional character: Sir Arthur Conan Doyle’s Sherlock Holmes. This week, Mike and Max are joined by Nicholas Meyer expert John Tenuto to look at Meyer’s first Holmes novel, The Seven-Per-Cent Solution. We discuss the book as a piece of fan fiction, the idea of re-writing canon to make it work better, how the book stacks up against other expanded universe Holmes stories, Meyer’s ability to work within a pre-existing continuity, the similarities between this book and Meyer’s other works, Meyer’s fondness for pairing historical figures with fictional characters, the film adaptation, and the Undiscovered Country connection. We also touch on the possibility of Khan appearing in Into Darkness, and John reveals the premise for a very dark subplot which was cut from The

Meyer Part 2: Target Practice. 1974 was a rather tumultuous year for the United States. Vietnam had just ended and Watergate had just begun. These events greatly affected young Americans such as 29-year-old Nicholas Meyer, who was beginning his career as a novelist. This week, Mike and Max take a look at Meyer’s first novel, Target Practice. We discuss its use of time-tested detective fiction conventions, how it utilizes those conventions to tell a modern-day story, how it fits into Meyer’s overall career, whether or not it’s too straightforward, how it uses Watergate as a backdrop, how it looks at Vietnam from a civilian perspective, and whether or not it simplifies the issue of warfare’s psychological impact on veterans. We also analyze Meyer’s love for The Bridge on the River Kwai, and wonder if The Love Story Story is of Star Trek: The Next Generation Companion quality.

Meyer Part 1: Star Trek. In an attempt to bring cohesion to the disparate concepts which would eventually make up the most revered film in franchise history, Harve Bennett hired relative newcomer Nicholas Meyer to re-write and direct Star Trek II: The Wrath of Khan. And so, the world of Trek would never be the same again. But before he saved our favorite franchise, Meyer had written a number of very successful books. This week, Max and Mike begin a new series which will look at Nicholas Meyer’s career as a novelist. Over the next couple months, we will cover all six of his novels, including Target Practice, The Seven-Per-Cent Solution, The West End Horror, Black Orchid, Confessions of a Homing Pigeon, and The Canary Trainer. But first, a look at his contribution to the world of Trek. In this episode, we discuss why getting an outsider to make The Wrath of Khan was a key to its success, how Meyer’s decision not to return for The Search for Spock, was the right one to make, the similarities between The Voyage H

Roddenberry Part 8: Recap. Gene Roddenberry is obviously best known as the creator of Star Trek. But over the course of his career, he created numerous other television series—most of which never made it past the pilot stage. This week, Mike and Max conclude their look at Gene Roddenberry as a television creator with a recap of his career. We take a look back at all of his shows, including The Lieutenant, Star Trek: The Original Series, Assignment: Earth, Genesis II, Star Trek: The Animated Series, The Questor Tapes, Spectre, Star Trek: Phase II, Star Trek: The Next Generation, Earth: Final Conflict, and finally, Andromeda, in an attempt to draw some conclusions on his body of work overall.

Roddenberry Part 7: Andromeda. With the relative success of Earth: Final Conflict, the Roddenberry estate, along with Tribune Entertainment, began production on a second series based on Gene Roddenberry’s unused concepts. Andromeda was developed by Deep Space Nine writer Robert Hewitt Wolf in 2000, and lasted five seasons in syndication. It starred Kevin Sorbo as Dylan Hunt, the Captain of the starship Andromeda, and featured many elements which had originally been tested by Roddenberry in Genesis II. This week, Max and Mike are once again joined by Colin of Trek News and Views to cover the final series created by Gene Roddenberry. We discuss which elements originated from Roddenberry and which ones came from Wolfe, whether or not the budgetary limitations were a hindrance, the reasons for Wolfe’s departure from the show, the casting of Sorbo, the Jason X connection, Captain Hunt’s superpowers, the post-Wolfe era’s lack of direction, and whether or not Roddenberry would have created the show himself.

Roddenberry Part 6: Earth: Final Conflict. Six years after Gene Roddenberry’s death, the first of two shows based on his concepts was produced. Earth: Final Conflict dealt with a futuristic society in which aliens, seeking refuge on Earth, share their advanced technology with humanity. This week, Mike and Max are joined by Colin, the host of Trek News and Views, to cover the posthumous work of Gene Roddenberry as a television creator. We discuss the show’s ever-changing premise, its ever-changing cast, its unrealized potential, the proposed spinoff, the head writer’s other work, how much of the concept was Roddenberry’s, and whether or not he would have made the show himself.

Roddenberry Part 4: Genesis II. Throughout the 1970’s, Gene Roddenberry developed numerous pilots which never went to series. The first of these was Genesis II, starring Alex Cord, about a scientist who wakes up from suspended animation to find a post-apocalyptic future. In this week’s episode of Commentary: Trek Stars, Mike and Max take a look at Genesis II as well as its revised pilot, “Planet Earth.” We discuss the show’s similarities to other science fiction of the time period, the portrayal of the main character, the other incarnations of the concept, and the awesomeness of Percy Rodriguez’s voice.

Roddenberry Part 3: Assignment: Earth. After two seasons on the air, the cancellation of Star Trek seemed to be inevitable. In order to hedge his bets, Gene Roddenberry designed the probable series finale to be a backdoor pilot for a new show entitled Assignment: Earth. This week, Max and Mike are joined by Trek.fm’s TOS editor Drew Stewart to discuss what “Assignment: Earth” is and what it would have been, how it differs from Trek’s portrayal of Roddenberry’s world view, how it worked as a self-contained pilot and as an episode of Star Trek, and whether or not season one of Assignment: Earth would have been preferable to season three of Star Trek.

Roddenberry Part 2: The Lieutenant. Star Trek is not the only show to be created by Gene Roddenberry. Three years prior, Gary Lockwood (aka Gary Mitchell) starred as The Lieutenant in Gene Roddenberry’s debut series about a U.S. Marine Corps officer serving during peace time. This week, Mike and Max examine an episode which features numerous Trek cast and crew members (including Leonard Nimoy) in an attempt to determine what the series on the whole was like. We discuss what makes The Lieutenant different from other military shows, how those differences reflect Roddenberry’s world view, how the Vietnam War killed the show, what the similarities are between The Lieutenant and Star Trek, and how the failure of The Lieutenant may have shaped Star Trek into the show it would eventually become. We also examine the landscape of television in the early ’60s and debate whether or not “Mitchell” is the best episode of Mystery Science Theater 3000.