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Nicholas Meyer

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt XI – ‘Live Long and Prosper’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

Given how powerfully The Wrath of Khan ends, it is easy to miss the beauty in it, certainly in terms of how perfectly it caps off a character journey for Admiral James T. Kirk that we’ve witnessed almost from minute one. It may be Spock who dies in The Wrath of Khan, but the film unquestionably throughout is about Kirk.

It is also hard to overestimate how much of a shock Spock’s death might have been at the time. Characters like Spock didn’t die. You didn’t kill off someone like Leonard Nimoy. Star Trek had emerged from an era of largely safe, colourful, now even kitsch television in which America reflected its aspirational virtues for the post-war future in the 1960’s in heroes. Kirk. Bruce Wayne. Jim Phelps. Cinema had James Bond or Matt Helm. Morally flawed or compromised at times they might have been, but they were designed to save us from the hopeless devastation a generation had lived through. Star Trek’s heroes would fight battles, defeat foes, explore new worlds, but they would always at the end finish on TV with a little joke or the acknowledgement that they’ll be back next week for another adventure.

Even The Motion Picture, which tones down the colour and comedy of The Original Series to depict a post-Watergate, late-1970’s cooler vision of Starfleet’s future, saw Admiral Kirk and the Enterprise—with Spock having regained his purpose as a Starfleet officer—warp away toward a sequel. The human adventure, after all, was just beginning. Nicholas Meyer’s sequel is an incredibly humanistic film but it acknowledges that with humanity, with hope, has to come the balance of pain, and of sacrifice. While Kirk’s arc of spiritual rebirth has a resolutely Christian bent, Spock giving his life to save the Enterprise makes him the Christ figure who saves the crew from Khan’s defeated Devil. Kirk’s first best destiny is to lead, is to find his way back to himself, and to do that he must lose someone he takes for granted for much of The Wrath of Khan. His anchor. His best friend.

To even contemplate such a remarkable ending to a story like this proves just how special The Wrath of Khan is. That ending of Avengers: Endgame? It wouldn’t exist without what The Wrath of Khan dared to try.

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Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt X – ‘Sauce for the Goose’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

What is the sequence in The Wrath of Khan that you most remember? Kirk’s bellow of KHAAAAAAANNNN!!!! in frustrated rage. The surprise attack on the Enterprise by the Reliant. What about the moment Chekov realises he is in the “Botany Bay… Botany Bay??!”? All of these are possibilities. Chances are, however, you’re imagining that fantastic last act.

Once Kirk, Bones, Saavik and the Marcus’s are back on the Enterprise, their ruse with Spock having duped Khan and the Reliant into believing their repair time is much longer than in reality, Nicholas Meyer plunges straight into the thrill ride of the so-called Battle of the Mutara Nebula, the gaseous cloud nearby the Regula moon where the Enterprise runs on empty, running low on power, as the Reliant closes in for the kill. It is one of the most exciting, well-staged and powerful action sequences in science-fiction cinema, the culmination of a psychological and theological conflict between Kirk and Khan, between Heaven and Hell, between virtuous Starfleet and a rebel force incompatible with Federation ideals. If the original Reliant ambush, as we previously discussed, draws from the World War 2 submarine thriller, the Battle of the Mutara Nebula entirely drinks from that well.

In any other film, it would be a battle that culminates with rousing victory, with Kirk vindicated and re-energised by the noble defeat in combat of his intractable, vengeful, psychotic enemy, but The Wrath of Khan understands for Kirk to reborn, he must face death.

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Part IX – ‘There Always Are… Possibilities’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

Across the entirety of The Wrath of Khan, we are reminded that James T. Kirk is facing his own mortality, coming to terms with his own youthful, exuberant past as a galaxy-hopping’ Starfleet Captain, but this is never more apparent than when he is in a room with Carol and David Marcus.

Star Trek Generations might attempt to convince us that the unseen Antonia was the one who got away for Kirk, once he is reliving happy memories in the Nexus, and we know there is a quadrant full of old flames who have different levels of meaning for Kirk—few would doubt that he did fall in love with Edith Keeler in City on the Edge of Forever for example—but as far as we know, Kirk only ever had one child, and that was with Carol. Star Trek Into Darkness, flawed as it might be, revives Carol for a new generation and understands the resonance of Bibi Besch’s character who, it must be pointed out, is no throwback to the 1960’s. She was a Meyer creation and one of numerous, brave steps the writer-director took in exploring Kirk’s middle age. Of course he would have fathered a child at some point, given the amount of conquests he had! Indeed it’s probable that David wasn’t the only one, with Kirk maybe unaware of others.

With the challenge of age, the loss of youth, comes also the challenge of continued masculine virility, and this is made clear as Kirk’s first, violent encounter on the Regula moon is with a defensive David, not realising at first who he is. “Of course he didn’t!” is Carol’s immediate remark when David suggests Kirk was responsible for all of the murdered scientists on Regula 1. She may not have seen the Admiral for years but she knows Jim Kirk. She is the wife he never married. They are the family Kirk avoided.

They now represent the life he sundered to *be* James T. Kirk and if regaining his youth forces him to examine his own past, Carol and David represent a key marker on that journey of rebirth.

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt VII – ‘The Word is Given’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

In a very real sense, the space battle that cuts right into the end of Act One, and roughly the mid-section, of The Wrath of Khan is the first true example in Star Trek of the kind of space combat we would witness in subsequent TV series and movies even up to the present day, as of writing, with the huge space combat sequence in Star Trek: Discovery’s Season Two finale.

The Wrath of Khan, as we have discussed, defined itself visually and formally on the British nautical structure, given Nicholas Meyer’s love of the Horatio Hornblower series. Yet before this, Gene Roddenberry’s Original Series had framed the Enterprise’s encounters with dangerous alien life forms often more as a camera-shaking face off as opposed to a true battle of wits.

James T. Kirk most often fought the bad guy in close quarter combat, as indeed he did Khan Noonien Singh in Space Seed, and the Enterprise rarely felt the consequences of space combat. The Wrath of Khan changed that when Meyer pitched the central encounter between the Enterprise and the hijacked USS Reliant as a World War Two submarine battle in space, particularly come the battle later in the Mutara Nebula. Their first skirmish ends up as an ambush, the lawless pirates taking on the nation-sailing frigate, and it’s one the Enterprise barely manages to escape from.

Crucially, Meyer ensures Kirk’s first encounter with Khan is not an anaemic one. As befits the overarching themes of loss and discovery, death and rebirth, the Reliant’s ambush takes its personal as well as metaphorical toll. People die. And for once, defying the classic Star Trek trope of the ‘redshirt’, we *feel* it.

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt VI – ”Round Perdition’s Flames’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

If we understand Nicholas Meyer’s approach to the Star Trek universe as exploring the naval tradition in space, of transposing 18th or 19th century nautical literature to an imagined star-sailing future, then The Wrath of Khan at the end of its first act lays these credentials fully on the table.

Before the inevitable first confrontation between James T. Kirk and Khan Noonien Singh, prepared for by one and unexpected by the other, Meyer presents the villain of the piece with a choice. It is not too late to change his fate. Khan’s chief lieutenant, the younger genetically engineered Botany Bay crewman Joachim, suggests they have the means at their disposal to start a new life. “We have a ship and the means to go where we will”; in the naval sense, they are commanders of their own destiny. They have received a second chance at life, after exile from Earth and being marooned by Kirk and the Enterprise crew by the end of Space Seed. “You have proved your superior intellect, and defeated the plans of Admiral Kirk. You do not need to defeat him again”. Joachim in this sense is, quite literally, the Devil’s advocate. He believes that destiny does not drive Khan in the way the man imagines, even if his people would never abandon him or mutiny.

Meyer here, nevertheless, fully establishes Khan as a twisted version of Herman Melville’s Captain Ahab from his classic 19th century novel Moby Dick. Kirk is his white whale, his obsession. It has gone beyond any sense of reason, any consideration for anything or anyone outside of his fixation. Kirk is Khan’s destiny. “He tasks me… He tasks me and I shall have him. I’ll chase him round the moons of Nibia and round the Antares maelstrom and round perdition’s flames before I give him up…” This is, of course, a direct lift and alteration of Ahab’s famous declaration from Moby Dick about the titular whale. “I’ll chase him round Good Hope, and round the Horn, and round the Norway Maelstrom, and round perdition’s flames before I give him up…” Ahab says this to Starbuck, and Joachim very much fits that template – the loyal second in command who may question his Captain but would never challenge him.

If Kirk’s destiny is to find a purpose like Ahab did his whale, Khan’s manifest destiny, and his Luciferian escape from the depths of Hell, sends him deeper and deeper into the realm of insanity.

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Part V – ‘First Best Destiny’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

Running through the broader themes in Star Trek II: The Wrath of Khan of life and death, birth and rebirth, is the concept of destiny. The idea that James T. Kirk and Khan Noonien Singh are on a pre-determined, fate-driven course.

Following the reveal of Khan and the establishment of the Enterprise crew of foundling trainees, not to mention the Reliant’s mission and the Genesis project on space station Regula 1, Nicholas Meyer works to begin tying these disparate threads together and stitch Kirk and Khan toward their inevitable confrontation. Carol and David Marcus begin to suspect that the crew of the Reliant—now taken over by Khan and his genetically superior Botany Bay crew—have more sinister motivations for taking control of the Genesis device, as communicated by a robotic, we know to be controlled Pavel Chekov. The order is not just political but personal, given Chekov lies that Kirk is behind such an order. “Scientists have always been pawns of the military!” decries a quite paranoid David, even as Carol refuses to believe quite what Chekov is suggesting.

It further underlines a persistent theme in Meyer’s script: his fascination with quite what Starfleet actually *is*, given how loosely defined the organisation was in Star Trek lore up to this point. Even before the Reliant is seized by Khan, David is suspicious of Starfleet’s motives as a naval, militaristic agency, and Chekov’s lies only further deepen that suspicion. “Starfleet has kept the peace for a hundred years. I cannot and will not subscribe to your interpretation of this event.” Carol asserts, convinced that Starfleet’s motivations are about the science, not its nefarious applications. Meyer’s lens is informed by 20th century history, nevertheless. He is fully aware of how Robert Oppenheimer believed he was building a weapon to defeat fascism, only to find the H-bomb corrupted into a terrifying agent of prevention at the cost of millions of innocent lives.

The Wrath of Khan pointedly attempts to wrap up these bigger political questions about Starfleet’s operation around Kirk and Khan’s mutual destiny. Their mutually assured destruction.

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt III – ‘Something We Can Transplant’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

Star Trek and God have an interesting relationship. For a show revolving around scientific discovery and set in the cosmos, the franchise frequently returns to Biblical allegory and religious mystery. The Wrath of Khan is no exception, even for an ostensibly secular film.

How else can the Genesis Project be defined than the product of a God complex? The scientists of space station Regula 1, as directed by Dr. Carol Marcus, are well aware of how powerful the Genesis device is. “We are dealing with something that could be perverted into a dreadful weapon” agonises her son and fellow scientist, David, in the wake of being contacted by the U.S.S. Reliant as they scout out test sites for the project. These are scientists tethered to the Federation but not driven by Starfleet’s rhetoric who appreciate they have the power to create or destroy life, and David seems positively terrified that Starfleet itself could be inviolate, could corrupt their science. “Every time we have dealings with Starfleet, I get nervous…”. It would be hard to imagine Gene Roddenberry’s pure vision of humanity’s future space navy containing any suggestions they could warp the power of God.

Nicholas Meyer, in his humanistic and flawed version of the 23rd century, is far less convinced of Starfleet’s purity. He has lived through the horror of Vietnam just a decade before his take on Star Trek’s future, having witnessed progressive democracies almost destroyed by ideological fear, not to mention raised in the shadow of Hiroshima and the work of Robert Oppenheimer, a scientist whose noble actions led to a century-defining blight on American history. The Regula scientists react in horror at Reliant’s Captain Terrell openly wondering if the life signs detected on Ceti Alpha VI (or what they *think* to be Ceti Alpha VI) can be transplanted. ”It might only be a particle of preanimate matter”. The Federation already have powers over matter and space that would have been considered God-like to earlier humanity and Carol Marcus chafes at his casual lack of humility in the face of such power.

Little do any of them realise that on the surface of the planet lies an expression of corrupted humanity, a sundered ‘God’ resting in his own personal Dante’s inferno.

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt II – ‘Surely, the Best of Times’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

Very early on, Star Trek II: The Wrath of Khan positions itself as a film not just about life and death, but also about age.

We like to think of Captain James T. Kirk as one of the iconic heroic figures of 20th century media. Gene Roddenberry envisaged Star Trek as a Western in space, a “Wagon Train to the Stars”, and for the second film director Nicholas Meyer thought a lot about Horatio Hornblower, from the mid-20th century novels by C. S. Forester. The younger Kirk was a space cowboy, an honourable sharpshooter riding his starship steed across the galaxy with his trusty crew, encountering life forms, putting out fires, starting a few unintentionally, and finding a girl in almost every port. Meyer reconfigures Kirk in middle-age as the swaggering commander in chief, the seasoned voyager whose cowboy days are long over. “Galloping around the cosmos is a game for the young, Doctor” he tells Leonard McCoy, after all.

Yet this elder Kirk is restless and Meyer conveys this from the beginning. Following the disastrous Kobayashi Maru, Kirk’s trusty, unlikely best friend, the equally seasoned and middle-aged Spock, presents his commander with a birthday present – Charles Dickens’ 19th century classic A Tale of Two Cities, in a beautiful, historic hardback edition. Kirk reads the legendary opening lines: “it was the best of times, it was the worst of times… message, Spock?”. Kirk understands that his friend gives everything deliberate and naturally, as a Vulcan, logical thought, so guesses Spock would not have passed this book onto him on such a key day arbitrarily. “None that I’m conscious of” Spock replies coyly, but we don’t believe either. Kirk is intelligent and well read enough to be aware Spock detects in him a melancholy, a sorrow, which the Kobayashi Maru—a reminder of his youthful brio—serves to simply underscore.

Captain Kirk is gone. Admiral Kirk endures. Yet what is left when the cowboy hangs up his boots?

Scene By Scene: STAR TREK II: THE WRATH OF KHAN – Pt I – ‘A No-Win Scenario’

As voted for on Twitter by followers, I will be analysing Star Trek II: The Wrath of Khan scene by scene in this multi-part exploration of Nicholas Meyer’s 1982 sequel…

In many senses, Star Trek II: The Wrath of Khan was the second coming of the Star Trek franchise.

While 1979 had given us The Motion Picture, a film which has improved like a fine wine with age, The Wrath of Khan imposed a framework and iconic visual structure which defined Gene Roddenberry’s creation across the subsequent films of the 1980’s and into The Next Generation sequel TV series and spin-offs over the next two decades. The Wrath of Khan, under the guiding hand of Nicholas Meyer, rediscovered a humanity within Star Trek that the elegant but stale The Motion Picture struggled to recapture, existing at the end of a depressed 70’s where the optimism and colour of the original 1960’s show had been ripped from the American psyche.

That film removed certain key principles of Star Trek’s original mission statement. Time had passed and the crew of the USS Enterprise were, to a degree, diffused. James T. Kirk had been promoted. Spock had left Starfleet. Leonard ‘Bones’ McCoy grew a beard and went through a failed marriage. The ship even had a new Captain in the young, handsome yet naive Willard Decker. Come the end of The Motion Picture, the crew were reunited and, as the film promised, ‘the human adventure is just beginning…’, but what would that voyage look like? The world of the 1980’s was a far different one from that of 1969, when the Original Series of Star Trek was initially cancelled after three seasons.

The Motion Picture proved it could never entirely return to where it began.

Quentin Tarantino’s STAR TREK makes no sense to me – this can only be a good thing

Let’s be honest, nobody expected this, did they? Though specific confirmation hasn’t exactly taken place, it’s looking more and more likely the rumour that Quentin Tarantino met with Paramount and series producer JJ Abrams to pitch a Star Trek movie is true, and that said movie could well be his tenth picture after filming his 1969 Manson era drama. Not only that, Paramount reputedly have assembled a working writers room to flesh out Tarantino’s idea into a script, and have signed off on his insistence the picture be R-rated.

Just let this all digest for a moment… that’s an R-rated Star Trek movie directed by Quentin Tarantino.

It really does sound like the stuff crystal meth dreams are made of, don’t you think? That level of fantasy casting when it comes to cast and crew for your favourite property. Usually when rumours like this float up to the surface, they’re quickly disposed of as lunacy or the workings of a website or tabloid, a perfect example of Trump-ist ‘fake news’. This one, bizarrely, seems to be true, at the very least the notion that Tarantino pitched Paramount a Star Trek movie idea which they absolutely loved. Star Trek IV: Effing and Jeffing? Well, this is now part of the reactionary state of worry within much of the fandom.