SOMETIMES COMICS ARE JUST CRAP: 2014

IDW TAKES STAR TREK FANS BACK TO HARLAN ELLISON’S CITY ON THE EDGE OF FOREVER

June 15, 2014 by dailypop

The most memorable classic Star Trek adventure also has the most complex back story.and a terribly written one.Thank god-Gene Roddenberry,DC Fontana and Gene L.Coon rewrote-despite you will from the likes of Peter David,the late DeFostest Kelly and IDW.
As Kirk and Spock bide their time in 1930s New York, Kirk finds himself doing the unthinkable - falling in love with a woman of the past! And all the while, a murderer from their own era draws ever closer, threatening to alter the very fabric of history! Harlan Ellison's Hugo and WGA Award-winning teleplay, visualized for the first time!And proves Harlan Ellison"s just a rabble rousser

he City on the Edge of Forever:

IDW Re-imagines Harlan Ellison’s Original Teleplay

by Ian Dawe | in Reviews | Thu, 14 August 2014

The original draft of City on the Edge of Forever by Harlan Ellison is one of the more famous unproduced screenplays in television or indeed film history. The final episode itself was justly recognized as one of the best, if not the best episode of the entire original series of Star Trek. It has warmth, character, action, suspense, a compelling dilemma, moments of true poetry and one of William Shatner’s best performances as Kirk. In fact, as a rule of thumb, I think you can always spot the good Shatner performances based on the quality of the script. When the script is weak, or he doesn’t have a strong director, Shatner goes over into hamminess as we all know.

But if you give the man a good script and then take the reigns with him and make him get his hamminess out on early takes (this was a trick Nicholas Meyer learned in the later films), Shatner can really be a quite effective actor. He shows it in this episode, underplaying (seriously, he does!) and gracefully allowing his leading lady, Joan Collins, to steal scenes as Edith Keeler, probably the most fascinating “woman of the week” even in Trek. It’s the novelistic, refined writing that’s at the core of what makes the episode successful, and won it a well-deserved Hugo Award.

Many, if not most Trek fans leave it right there. It’s a great episode. But Ellison’s original draft, which did emerge in the 1970s in print, is a step beyond what would have been possible or even conceivable for Trek at the time. Ellison, as he admits himself in the afterward to issue #1 of this handsome new comic adaptation, wrote the episode having never really seen Star Trek. He was working from a early production “bible”, a document issued by Gene Roddenberry (and his collaborators such as DC Fontana, Bob Justman and Gene Coon) to guide potential scripts. Thus, there are many things in Ellison’s original draft that don’t square with the show Star Trek was in its first season. For example, Yeoman Rand plays a prominent role in the first draft and is absent from the filmed draft. And the main character who motivates the action is not Dr. McCoy, accidentally overdosing while helping Sulu, but another character named Beckwith, a full-on drug addict. It also featured elaborate sets and settings that were probably beyond the budget and technology of a TV show in the mid-sixites, such as postulating a huge city with ancient men speaking out of crystals, something only barely possible in the Krypton sequences from the original Superman: The Movie from 1978, a decade down the road and with millions to spend. So, there were practical and creative reasons why Ellison’s draft, like all TV scripts, was subject to re-write by the producers. Ellison made (and still makes) a big stink out of this, but it’s just how the business works. The producer or show-runner of a TV show has to keep the “big picture” in mind, and make sure every episode, no matter who wrote it or directed it, feels like the same show. Ellison’s first draft teleplay, though elegant and beautiful, simply wouldn’t have worked as a season one episode of Star Trek. But Ellison didn’t see it that way, famously confronting Roddenberry angrily at the Hugo Awards (Roddenberry brushed him off, saying, “He’s young…”).

The great thing is that now, almost 50 years later, Ellison has collaborated with Scott and David Tipton and helped to create a new comic book adaptation of his original teleplay for IDW. Issues #1 and 2 are now available, and we can finally see what all the fuss was about.

Firstly, the artwork by J.K. Woodward is magnificent. Evoking Drew Struzan at his best, these carefully painted renderings are clearly based on stills and film from the original series, but artfully placed in another context. So, we almost get to see Shatner, Nimoy and especially Grace Lee Whitney as Rand give the performances that were in mind at the time. And the style is perfectly suited to the majestic and mysterious crystal-like city in which the crew meets the “guardians of forever”.

The essential story, in its broad strokes, seems to be the same as we all know. The Enterprise encounters temporal turbulence, and studies a distant planet that seems to be the source. One crewmember (McCoy in the filmed version, Beckwith in this version), out of his mind on drugs, goes down to the planet, travels back in time to the 1930s and changes history because, in the Guardians’ words from issue #2, “He will seek that which must die, and give it life.” Kirk and Spock have to go back to the 1930s, stop Beckwith from doing whatever it is he does (preventing the death of Edith Keeler) and restore history.

There are, of course, some important differences in this version. The overall tone of the piece is quite a bit more “adult” than the average Trek episode, although this particular instalment sticks out as a Trek outing very light on cheese and heavy on drama. There’s no joking around in this version, no light witticisms. Kirk is serious, and so is everyone else. Another major difference is that lack of a supporting cast. Other than Kirk, Spock and Rand, no other familiar characters appear. There’s no Sulu, no Scotty, no McCoy and no Uhura. (Chekov, as I’m sure someone out there is already saying, didn’t appear until the second season.) As a result, Rand’s character becomes much more important, not simply eye candy or “Kirk’s girlfriend”, but an essential part of the command team, brandishing a phaser rifle to cut through a door, physically taking on an enemy and leading detachments Kirk leaves to guard the ship. She’s a strong, capable female character, completely unlike anything seen in Trek at the time and frankly not seen even in JJ Abrams’ action movies that bear the same title.

The planet itself is much more elaborate in this version, with huge vistas and landscapes that, as previously mentioned, would have been difficult to impossible to produce for TV in the 1960s, even with a high budget and plenty of shooting time. Kirk, Spock, Rand and a few Red Shirts traverse a reddish desert before reaching the crystal canyons, where several old men’s images in the crystal walls identify themselves as “The Guardians of Forever”. (And Kirk, significantly, refers to the glimmering city set in these mountains as “A city on the edge of forever,” a name that only makes sense in this context.)

The Guardians speak some of the same lines we are familiar with from the TV version, featuring only a single set but an effective abstract shape playing the Guardian, a choice that seems equally effective, but quite different. For example, in this version, Kirk asks, “You live in that city?” referring to the city in the mountains, and the response is, “Since before your sun burned hot in space and before your race was born.” Compare this to the TV version, in which Kirk simply asks, “What is it?” and the donut-shaped Guardian responds, “A question! Since before your sun burned hot in space and before your race was born, I have awaited a question!” It’s a subtle change, but an important one. For one thing, later dialogue establishes that the Guardians haven’t had contact with another species in 200 000 years, and haven’t traveled through time for 100 000 years. Both figures are an absolute eternity for our species, and certainly before modern civilization, but not before the birth of our species and certainly not the 5-6 Billion years before our “sun burned hot in space”. Ellison’s version is actually more scientifically plausible, more poetic and more intelligent, relying less on exaggerated statements and hyperbole and more on a reasonable conversation between two intelligent people. This small difference is illustrative of the changes that were made for the TV edit to dialogue that betray a lack of understanding of “hard” sci fi.

Issue #1 features the crew meeting the Guardians, and ends with Beckwith jumping into the time portal. Issue #2 is about the consequences of that. In the TV version, the Guardian simply tells Kirk and company what happened. Here, we’re shown, with the landing party beaming back to what is now the Condor, under the command of ragtag mercenaries due to Beckwith’s changing of history. They fight with the goons (Rand included, throwing punches with the best of them) and Kirk and Spock beam back down, leaving Rand leading a team to guard the transporter room. Kirk speaks with the Guardians and there is a long exploration of the notion of time as a “river”, which Spock only brings up tangentially and after the fact in the TV version. Issue #2 ends with Kirk and Spock jumping back into the 1930s, where instead of having a funny conversation with an Irish cop about Spock being Chinese and having his head caught in a mechanical rice picker, a crowd instantly singles him out as a Chinese foreigner “taking American jobs” and they are chased by an angry crowd, taking refuge in a basement.

This last change from the TV version shows what I suspect to be a motif of the editing here: cynicism vs optimism. Roddenberry imagined a world without drug abuse (ergo having McCoy accidentally inject himself rather than a drug addict do so on purpose). He also imagined and wanted to present a world without racism, and this apparently stretched into revising the past, as he wasn’t about to show real intolerance, realistically. This, I think, is understandable to a public in 1967 or 1968 who got violence and racial tension (not to mention the Vietnam war) on the news every night. Roddenberry wanted to show them something better, not remind them of what really was. But Ellison belongs to a different class of writer, who uses the truth poetically and isn’t about to shy away from controversy. Ellison may indeed be the bolder, more creative and more talent artist, but that doesn’t make Roddenberry any less correct in making the changes he made.

And sadistic way

To put it another way, and to paraphrase, in reference to Harlan himself: “He was right. But at the wrong time.”-Actually no.

I’ll be back with more reviews of this limited series as it continues.

While it remains an iconic adventure, Ellison’s script was so heavily edited and rewritten that he requested his name removed from the credits or at least altered to reflect his dissatisfaction. Finally, fans will have an opportunity to see the story as intended in a special comic book adaptation released this week (on 18 June, 2014) from IDW.

Star Trek: The Original Series episode “City on the Edge of Forever” is regarded by many (including a TV Guide poll of the “100 Best TV Episodes of All Time”) as the greatest Star Trek episode of all time, but there’s much more to the story than fans saw on TV.This is the filmed version and not this. Harlan Ellison’s original teleplay for “City on the Edge of Forever” was modified before the episode was filmed, but now, at long last, fans will be able to enjoy his original teleplay in the form of an all-new miniseries coming from IDW in June: Star Trek: Harlan Ellison’s City on the Edge of Forever: The Original Teleplay.

Ellison’s original teleplay won both the prestigious Hugo Award for Best Dramatic Presentation as well as the Writer’s Guild of America’s Award for Most Outstanding Teleplay.

For decades, legions of fans have speculated about the episode’s history, but few people have read the original teleplay, which is very different from the televised version. This comic-book miniseries, produced under the guidance of Harlan Ellison himself, now offers fans everywhere the opportunity to see a classic Star Trek episode the way no one has seen it before.

Adapting the teleplay for the comics series are writers Scott Tipton and David Tipton, no strangers to IDW’s Star Trek comic universe; interior art will be painted by J.K. Woodward, coming off the well-received Star Trek: TNG/Doctor Who maxi-series written by the Tipton brothers. Each issue of the series will feature a special cover by artist Juan Ortiz, whose artistic interpretations of every episode of Star Trek: The Original Series were recently published in an oversize hardcover collection, Star Trek: The Art of Juan Ortiz. Variant covers will be provided by movie poster artist/Star Trek: Khan cover artist Paul Shipper.

“Presenting Harlan Ellison’s NOT SO brilliant original script for ‘City on the Edge…’ has been a goal of ours since IDW first began publishing Star Trek comics in 2007,” said series editor and IDW Chief Creative Officer/Editor-in-Chief Chris Ryall. Whoopey-SOME PEOPLE WILL PUBLISHING ANYTHING“The episode justifies its position atop ‘best Star Trek episodes’ lists but even it ain’t nuthin’ compared to what Ellison did in his original teleplay. This is truly going to be a Star Trek adventure unlike any other, even to fans who have that beloved episode memorized.”

Harlan Ellison says: “It was a superlative joy of my long life to have worked with Leonard Nimoy, who became my friend, and many others at Star Trek; and an equally heart-happy joy to be working with J.K. and the Tipton Bros. and Chris Ryall on this long-awaited visual of my (humbly, I say it) brilliant original ‘City…' BLAH BLAH BLAH-TIME TO SHOUT THE FUCK UP,DIPSHIT.YOUR ORIGINAL SCRIPT STUNK-THATS WHY THEY REWROTE AND YOUR EGO COULDN'T TAKE THAT,WHORE”

bkBLAH

Star Trek’s “City on the Edge of Forever” originally aired on April 6, 1967, as the penultimate episode of Star Trek’s first season. The episode is, at its most basic, a poignant love story as well as a breathtaking trip through space and time, from the future all the way through 1930s America, as Kirk and Spock race to apprehend a renegade criminal and restore the order of the universe. IGN awarded it the number-one spot in their list of the Top 10 Classic Star Trek Episodes. Further, TV Guide named the episode one of its 100 Most Memorable Moments in TV History. The first-ever comic-book adaptation of the teleplay as Harlan Ellison originally intended it is a true publishing event.

Star Trek: Harlan Ellison’s Original City on the Edge of Forever Teleplay #1 (of 5) will be available in June and is under license by CBS Consumer Products TM & ©2014 CBS Studios Inc. STAR TREK and related marks and logos are trademarks of CBS Studios Inc. All Rights Reserved.

First Off-bite me about the spoilers.

Great Movies Bad Endings Superman 10 Good Movies Ruined By Bad Endings

We all know that Richard Donner’s Superman: The Movie will forever be considered the ‘best’ film version of the superhero by many. Promising to make audiences believe that a man can fly, the film did just that – which is why its ending was so puzzling. The film’s climax saw Lex Luthor’s devious plans come to fruition, with Superman forced to choose which American coast to save, resulting in the death of Lois Lane (Margot Kidder).

Enraged, Superman lets out a scream as he takes to the skies, and begins flying around the Earth – against its rotation – as fast as possible. What appears at first to be a tantrum is soon revealed to be much more, as the catastrophe and destruction rewinds, revealing the Kryptonian to gain control over time itself. No matter how you explain it, suddenly granting the hero such power is never explained, despite forever changing the mythology. The film’s place in history allows this ending to be overlooked (like the memory-erasing kiss in its sequel), but shows the corner the filmmakers backed themselves into with a story meant to shock, but refusing to commit.

Superman the Movie-other an ok first Superman.Not great,but way better anything tried George Reeves on tv.But to this,I must I hate the whole turning back the world thing.Physics professor hate it.Comics fans hate it.The whole sequence is just nuts.Bad science-bad writting.We are to believe Lois Lane,while driving through an earthquake,her car fas into a crack and she suddenly dies-maybe far to quick for Superman to save her.So whats the Man of Steel,when finds her dead?Greive and months later start dating Wonder Woman ?No,he flies in space,dissabeys Jor-El and flies faster than the Earth can rotate and then starts flying in the other direction,causing the Earth to spin backwards.Earth,like its a film projector begins move backwards in time.Nobody flies off the earth.Worste yet,Superman violates movie causes and effects by meeting an undead Lois,who apparently jump over the timeline passed the earthquake to survive.Talk about stupid.The only thing worste-the big Superman hypnotic kiss at the end of the next movie.When did Superman learn to not fractor the time barrier and alter past events by flying backwards and forwards in time,but hynotise Lois Lane by kissing.Don't remember those powers in any comic or film storyline?Call those big time movie cheats?Yup.