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[Bud Brewster]

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Bogmeister is undoubtedly the finest creator of message board posts to ever display their work on All Sci-Fi of any other message board.

His posts included photos, YouTube videos, links to addition data, and well-written reviews on hundreds of movies. When ASF crashed in 2014 after existing for seven years, well lost thousands of posts — including all the amazing contributions Andrew Bogdan added.

The posts below at not copies of Andrew’s ASF posts. They’re original review he creatred for his own board, The Galactic Base of Science Fiction — which he never told anybody on ASF about, for reasons we’ll never understand.

But at least I’ve managed to save 500+ posts from his “lost board” and added them to ASF.



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TOS episode #5 -The Enemy Within

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____ Star Trek - The Enemy Within - Music video


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~ Footage with music audio of Gravity of Love by Enigma - an interesting experiment,by TrekkieGirl

Classic Trek Quotes:

McCoy: "It's dead, Jim." - the first episode McCoy utters this "dead" line, though it's in reference to an alien dog here; usually it's about a crewman or other human.

________________ "Back to the bottle again Captain?"

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Here's some background information on The Enemy Within... Richard Matheson wrote the script and his original ending was even more provocative that the one filmed with Spock & Rand! As is well known, in the finished episode Spock hinted to Rand at the end that she might have liked some of the brutal Kirk's attentions and Rand acted like a team player in response, rather than slapping the Vulcan. Here's the original script:

MATHESON'S ORIGINAL ENDING

In Sickbay McCoy tells Kirk not to worry about the crew finding out about his dark side:

McCOY
The same thing would have happened to any one of us
who'd gone through the Transporter at that particular
time. We all have an enemy within.
(beat; smiling)
It's the human condition.

Kirk smiles back and the doctor pats his arm, leaves to help his patients. Kirk starts for the corridor.

INT. BRIDGE - MOVING SHOT - CLOSE ON KIRK

As he emerges from the elevator and moves to Mr. Spock who is at his customary place at the Library-Computer station.

SPOCK
Captain.

KIRK
I want to thank you, Mr. Spock.
I couldn't have made it without you.

SPOCK
(nods once)
What will you tell the crew?

KIRK
That the impostor was put back-
(pause; smiling)
- where he belongs.

JANICE'S VOICE
To die, Captain?

INCLUDING JANICE

JANICE
The... "impostor" told me what
really happened.

KIRK
(a little stunned)
Oh?

JANICE
And I just wanted to say that I
hope he hasn't died.

KIRK
(still off balance)
Why?

JANICE
Because he has some very interesting qualities.

She turns away, smiling cooly. Kirk stares after, then looks at Spock who clears his throat and moves off. Repressing a smile, Kirk goes to his chair, sits. Briefly, he savors the moment, then flicks on his Communicator.

KIRK
(with full authority)
This is the Captain speaking.

EXT. SPACE - FULL SHOT - U.S.S. ENTERPRISE

As it moves off into the night of stars.

FADE OUT.

THE END

It's beginning to look to me that they changed it to make Spock a bit of a villain so as not to make Rand appear like a lady really into S&M abuse and so on. Here's the site from where I sourced this: ENEMY WITHIN BACKGROUND MATERIAL

It has also come to light that some scenes in the finished version of the episode were edited into a slightly wrong order. For example, I always thought there was something off about that scene where Kirk is told of the transporter problem and "if this should happen to a man..." and Kirk starts to say "Oh my G.."


BoG
Galaxy Overlord Galactus
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TOS The Naked Time - episode #7

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____________ Classic Star Trek: The Naked Time


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THE NAKED TIME (1st season; episode #7)
Directed by Marc Daniels / writer: John D.F. Black / Air Date: 09/29/66



This is the episode which is well known for scenes of Sulu, stripped to the waist, running around the ship's corridors with a sword (nearly all stills for this episode are of him). However, a few of the other actors get to shine in their roles as we learn a few new things about their characters, early in the series - this episode functioned as a 'get-to-know-the-characters' episode.



We learn that Kirk secretly yearns to walk on a beach somewhere, perhaps with Yeoman Rand; that nurse Chapel secretly yearns for Spock; that Sulu secretly yearns to be a swashbuckler; and Spock? he tends to weep a lot, in secret. A lot is revealed and I didn't look at the characters in quite the same way for awhile after viewing this episode (especially Chapel; I looked on her with a wary eye since then, waiting for the next time she might try some seduction; see Amok Time for the closest we got to that). This was a more interesting 'bottle' show than the later remake The Naked Now, on the 1st season of TNG, where it was very one-note by comparison.

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We were also introduced to crewman Riley (Bruce Hyde) in this episode, in the first of his two appearances on the show (the next was The Conscience of the King). Riley provides most of the dark humor in this episode, taking over the engine room as he succumbs to the latest space malady, a disease which removes inhibition. Hyde seemed to be a very natural performer on TV and it's a little strange that he didn't have a bigger career; I think he was more interested in playing a guitar in some small club somewhere or just hanging out. Click here - INTERVIEW WITH THE HYDE MAN - for an interview with a much older Bruce Hyde.



One thing, it's too bad Uhura did not fall victim to this - strange in that she had prolonged contact with the sweaty Sulu - that's how the disease spreads, through such social contact; the cause is altered water. The episode builds to a crescendo, as Kirk loses control of his ship and then himself. He and Spock have another intense confrontational scene. Some of the later scenes, as things build to a fevered pitch, are almost surreal. A very good early episode. BoG's Score:

9 out of 10

______ Star Trek: The Naked Time -Video Synopsis


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Extra Trek Trivia: Another guest star in this one was Stewart Moss as a doomed crewman; only months earlier, Moss guested on an episode of Bonanza, "Ride the Wind," as a doomed Pony Express rider and which also guested DeForest Kelley and featured scenes filmed at Vasquez Rocks; Moss also guested on a later episode of TOS, By Any Other Name; some firsts in this episode: 1st shot of the Jeffries Tube, where Scotty usually has to effect some repairs; 1st mention of antimatter as a power source for the warp engines; besides Riley, the 1st appearance of nurse Chapel. This episode was designed as a 2-parter; but, the 2nd part was broken out into the separate episode, the time travel tale Tomorrow is Yesterday. The concluding scenes here, when they go several days into the past, are shown on a video screen in a late scene of X-Men: Days of Future Past (2014), a film in which early scenes revolved around time traveling several days into the past.
by Spockboy

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_______ Star Trek-Trailer TOS-season 1 episode 6


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Just another day at the office... 23rd century style!


BoG
Galaxy Overlord Galactus
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TOS season 1 episode 8 — Charlie X

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________________ Classic Star Trek: Charlie X


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CHARLIE X (1st season; episode # Air Date: 09/15/66
Directed by Lawrence Dobkin / writers: D.C. Fontana, Gene Roddenberry



The first episode to feature a human being acquiring extraordinary powers was the pilot, Where No Man Has Gone Before, though, through the vagaries of network scheduling, Charlie X aired first in the sixties, as the 2nd episode, followed by the pilot. So, technically, despite how early it aired, Charlie X is not the first such Trek story, being the 8th to be filmed. The angle with this episode is that the human being in question is a teenager, 17-year-old Charles Evans (well played by actor Robert Walker, Jr., in his mid-twenties at the time). It's bad enough when adults get delusions of godhood; when it's a teen, all bets are off.

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__________ Star Trek - Charlie X's Anger Issues


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Kirk brings on a sector worth of trouble on board his ship when he accepts a transfer of a young guest from a smaller ship (the Antares, not seen in the classic original episode, but visualized in the remastered version). The Charlie character spent all his years up to this point on some planet without other human beings. His introduction to the fairer sex (Yeoman Rand - probably Grace Lee Whitney's best episode) is painful in itself; his growing pains are accentuated by his complete ignorance of common social customs. Charlie swiftly develops an intense crush on Janice Rand, who is a bit older and, of course, not interested in that kind of a relationship with him. Rand attempts to right things by introducing Charlie to a younger female crew member and this quick fix fails miserably; teens can be troublesome, don't we all know?



All this is uncomfortable to watch because Walker imparts an uneasy, twitchy psychosis to his character. Then, in the second half of the episode, he reveals his unlimited powers - he literally seems able to do anything, whether making people disappear or transforming them into lizards. The story now begins to take on a more horrific tone; in his frustration, Charlie is not beyond torturing crew members, terrorizing the entire ship. And, what else can we expect? Power such as this, as we've seen in other episodes & films, can corrupt most adults; how can we expect a teen to handle it any better? If anything, this scenario is even worse.



All this is alienation taken to the nth degree. In a way, Charlie is in a no-win situation - no matter how he behaved, there would always be someone who was uncomfortable around him, knowing what he was capable of, probably many such people. The episode makes a strong case for the issue of parental control - even more on the topic of maturing without parents (think of the famous story of Superman/Clark Kent, for example, and if he'd grown up without the influence of the Kents; the positive version of this has been on display for the past few years on the series "Smallville"). In this particular episode, the parental duties fall on Kirk, but it's too little too late - far too late. One drawback to this episode: an extended scene of Uhura singing about Spock and then Charlie - the one point that Charlie's surreptitious use of his powers seemed warranted.



As with most of the Trek episodes in the original series, the strongly structured scripts included excellent endings, as is the case here. There are no pat unrealistic conclusions, i.e. a happy ending, where-in Charlie is somehow able to remain with the human race (due to the miraculous removal of his powers, for example). No, even in this sector of space, you reap what you sow and things are not solved for you. There's a genuinely tragic tone to the ending - Charlie's main weakness, after all, was just a great need, an overwhelming need, for other people to like him. That need will never be fulfilled at the end. As with the previously aired The Man Trap, total incompatibility between two sets of entities shows that some things are beyond our ability to set right, even with future technology. Alas, poor Charlie, we knew him well.

BoG's Score: 7 out of 10



Extra Trek Trivia: the original title was "Charlie's Law" - the same as was used for the short story adaptation by James Blish; as with a few other memorable characters and / or villains on TOS, Charlie was brought back in other media, namely in one of the Star Trek comic book storylines published decades later, as an older, meaner version of himself. Further, his character also returned, older & vengeful, in the recent independent Trek film, Star Trek - Of Gods and Men (2007).

Great quote from a Thasian: "We gave him the power so he could live. He WILL use it - always - and he would destroy you and your kind, or you would be forced to destroy him."

remastered trailer:

_______Star Trek-Trailer TOS-season 1 episode 7

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_ Supply the Caption... here's mine: "Too much make-up..!"




BoG
Galaxy Overlord Galactus
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Is there no man on Earth who has the wisdom and innocence of a child?
~ The Space Children (1958)