The Cage in the Menagerie: How a Failed Pilot Saved a Franchise

It’s hard to believe 5 series and a dozen movies later, but the Star Trek franchise nearly failed in its first season. Not only was the pilot widely regarded as a flop (necessitating the replacement of every cast member save Leonard Nimoy) but by the mid-point of the first season they’d run out of episodes to film. Since almost nobody had watched the pilot the first time around, anyway, Gene Roddenberry made the economical decision to re-purpose it, adding new material that allowed it to be stretched into two full episodes and giving viewers the first two-parter of the Star Trek universe (and the only one in the original series). The resultant episode, “The Menagerie,” would go on to receive much acclaim, winning a Hugo Award in 1967 for Best Dramatic Presentation.

As a modern viewer (read: binge-watching TOS on Netflix) “The Menagerie” mostly gives you a feeling of déjà vu. Not only did I watch the pilot already, but I just watched it a few nights prior; the skillful re-use of the material, in this context, loses some of its brilliance. It also opens the two episodes up for more comparison and analysis.

The obvious question that comes to mind is what exactly changed between “The Cage” and “The Menagerie” that transformed a no-start pilot into Hugo Award-winning material? “The Cage” is a fairly straightforward classic Star Trek plot. Advanced telepathic aliens create an imaginary Eden on a planet called Talos IV. Their goal is to capture a breeding pair of humans who can found a race to populate their world and work the land. Vina—the “Eve” in this equation, already on the planet when Captain Pike is captured—is revealed by the end to have been horribly disfigured in the shuttle crash that marooned her on Talos IV. In exchange for remaining on the planet with the Talosians they restore her to her lost youth and beauty. Illusory, yes, but still a deal she is ultimately unable to turn down. In another familiar Star Trek twist, the Talosians are revealed to be more sympathetic than was first thought; they’ve lost the ability to take care of the planet themselves, and will surely go extinct if they can’t put their plan in motion.

“The Menagerie” couches this original plot into a frame device. An in-world timeline is ret-conned in that has the pilot’s crew serving on the Enterprise for many years and showing Spock to simply be the last senior officer remaining onboard from that crew. It’s not clear at what point Kirk took over for Pike as the ship’s captain, but Pike is still an active Starfleet officer—at least until he’s gravely injured on a mission, leaving him incapable of speech or movement.

This is revealed during the set-up of the frame device. As the episode progresses, Spock kidnaps Pike and steals the Enterprise to transport him to the now-forbidden planet of Talos IV. Spock is arrested en route; a court martial is convened as they continue toward Talos IV. The original footage of “The Cage” is shown as “evidence” in the court martial, explained in the episode as telepathic transmissions from the Talosians. This format sets up some moments where the audience is watching Kirk and Spock watch the Talosians watch Captain Pike—screens within screens within screens that make the events from “The Cage” feel more immediate than if they were told in flashback.

The ultimate payoff is predictable if you’ve seen “The Cage.” The horribly disfigured Captain Pike can receive the same blessing of illusion as Vina; Spock was working with the Talosians all along to give this happier future to his once-commander. The two-layer plot is more complex than most in TOS, and though the frame device is sometimes clumsy, it would likely feel less so if you weren’t aware that it had been superimposed over an existing episode.

Only a minor tweak is made to the original episode footage, and it’s perhaps the key to why “The Menagerie” was more successful. In “The Cage,” the Talosians create an illusory Captain Pike to keep Vina company after he refuses to stay on the planet. It’s ultimately a bit of a downer ending. Vina thinks she’s happy, but she’s all alone with her illusions, and the Talosians are probably doomed to extinction.

Through a bit of careful editing, this illusion instead becomes the real Captain Pike. After Pike is beamed down to the planet from the Enterprise, the Talosians transmit footage to the ship of Pike happily reuniting with Vina. Captain Pike can live a normal life, the Talosians have their Adam and Eve, and Spock is forgiven for his crimes once it’s seen his intentions were ultimately honorable. Star Trek‘s attitude is by and large optimistic, and this “happily ever after” ending feels more complete, more satisfying than the original.

Many of the creative decisions involved in making “The Menagerie” were out of necessity. The show couldn’t afford to bring Jeffrey Hunter back to film (the actor who played Captain Pike in “The Cage”), necessitating the elaborate make-up and iconic wheelchair that kept modern day Captain Pike from having to speak or act (and excusing the fact that he looks nothing like the original actor). In fact, the only actor from the original episode they could get to reprise his role was Leonard Nimoy. Because of this, the frame device is heavily Spock-centric. His dual nature, only hinted at previously, is explored in more depth. There’s the human half of him that has sympathy and loyalty for Captain Pike, and the Vulcan half, logic-driven, capable of engineering such a complex deception.

These two episodes make for an intriguing comparison for a writer, certainly. “The Cage” was a decent episode in its own right, so it’s not surprising that the concept was successful. Re-packaging a story changes the way it’s perceived by the audience. It doesn’t have to be a new frame device. Even the change in titles gives the episode a different flavor, from the negative implications of a cage to the softer idea of a menagerie, a shift consistent with the alteration of the ending. Small changes can have a massive impact if they’re made in the right place, in the right way.

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Whiskey, Etc.

whiskeyetc_cover

Whiskey, Etc.
Sherrie Flick
207 pages
Queen’s Ferry Press

tl;dr summary: Collection of short (and short-short) literary stories showing the everyday lives of a variety of characters.

Read this if you like: Writing and reading flash fiction
Flash fiction is a tricky beast. It calls for an author that can do a lot in not much space, an economy of language more similar to poetry than most prose. To be true flash fiction, though—rather than a prose poem or other hybrid form—it also needs to have a narrative progression, along with the well-developed characters and setting expected from longer fiction. Given that, it’s not surprising that there seems to be a lot of debate in the literary community about what is and isn’t true flash fiction, or that so few people do it well.

The 50-odd stories in Whiskey, Etc. are grouped together based on their thematic content. While they feel like they all take place in the same general universe, each tells its own story and concerns its own cast of characters. The stories range in length from a few hundred words to around 15 pages (which, admittedly, is no longer flash, but is still on the short side). The stories that are around 1-2 stories in length read the best to me. Some of the shortest pieces, like “Half-Full,” have enchanting language but feel more like the set-ups of stories than complete works, arguably falling more on the prose poem side of the equation. Longer ones, like “Unlocking,” don’t have the same tight snap; sometimes reading more like chapters in a novel than contained pieces.

Sherrie Flick’s choice of details are what make her flash fiction so successful. Character routines become stand-ins for their daily lives, sometimes taking on new meaning. The dinner preparation in “Boiled Clear” springs to mind as one example. It opens on Suzy slicing brussels sprouts and chopping garlic, at the same time her boyfriend Neil is dying in a car accident; normal life kept marching on, uninterrupted by his death.

Common objects also frequently stand in as touchstones for emotions or states of beings. Various forms of food are used to establish context and build characters, like the Manhattan Up in “Winter Storm” that represents the life Evelyn didn’t live. Cars feature prominently in several stories. As the cause of death and emotional catalyst in “Heidi is Dead” and “Boiled Clear.” The car is nostalgic freedom in “Road Trip” and potential freedom in “You Have a Car,” which forms the character’s present by looking at her possible futures.

Another key to the success of these stories is their tight focus. This is perhaps why I was less of a fan of the longer stories that take up more in-world time. Few of the stories in this collection span more than a single day; some last only a few minutes. The  character’s whole life might be revealed in the narration, but the in-story action is often a single event or meal or moment, and this gives the story room to breathe within that moment, lets it stop and show all the small details that build the emotional and narrative tension.

I have to say that while some of the stories in this collection spoke to me more than others, they were all a joy to read. I was trying to read more from a craft perspective, and even so found myself slipping into “reader” mode, getting sucked into the story and having to go back and re-read with more analytical eyes. Whiskey, Etc. turns a microscope on daily life. What it shows is sometimes heartbreaking, often optimistic, and invariably beautifully written.

Negotiating with the Dead: Atwood on Writing

I’m not a scholar or a literary theoretician, and any such notions that have wandered into this book have got there by the usual writerly methods, which resemble the ways o the jackdaw: we steal the shiny bits, and build them into the structures of our own disorderly nests.

–Margaret Atwood, Negotiating with the Dead

Margaret Atwood is not an easy writer to categorize. Her work often spans the space between genres; her voice is both distinct and singular. So it’s not especially surprising that her book on writing is equally unique. It’s more a philosophical look at the life of the writer than it is a discussion of craft or a dispensation of advice. The result is much as she describes it in the quote from the introduction shown above, an intriguing amalgamation of literary criticism with Atwood’s own first-hand experiences as both poet and prose writer, and how her gender, era, and nationality shaped her path.

I’ve been doing research on ancient myths of late, so the references Atwood uses in Chapter 6 (“Descent: Negotiating with the dead”) held a particular interest for me. She describes Gilgamesh as the original writer: he travels into the underworld on a quest for everlasting life and returns instead with two stories, which he immediately inscribes in stone—a fitting metaphor for the process of writing. The idea of storytelling as a form of immortality is something she explores elsewhere in the book, as well. You could argue the question “Why do writers write?” is the book’s main motivation, and though she’s not interested in providing a concrete answer, the options she presents are all intriguing.

Chapter 4 (“Temptation: Prospero, the Wizard of Oz, Mephisto & Co.”) also spoke to a debate I’ve been having with myself of late, namely the writer’s responsibility to their society and culture. Does being a feminist oblige the writer to address issues of inequality in her work? The question here is whether art should exist for art’s sake or whether it should have a purpose a higher aim. As with the question of a writer’s motivation, Atwood doesn’t come down firmly on either side of this debate, more laying out the popular arguments of each and letting the reader do with them as they will.

Negotiating with the Dead encourages writers to think about the broader picture of their writing life. Who is your writer self? Why does she write? Who does she write for? They’re questions it’s worth taking time out to ask every now and then, no matter what point you’re at in your own writing career.

A couple quotes to finish. One from Chapter 1 (“Orientation: Who do you think you are?”):

It took me a long time to figure out that the youngest in a family of dragons is still a dragon from the point of view of those who find dragons alarming.

…which isn’t writing advice so much as life advice, really. For a line that I think sums up fairly well the overall message of this book, I turn to the aforementioned Chapter 4, on “Temptation”:

An art of any kind is a discipline; not only a craft—that too—but a discipline in the religious sense, in which the vigil of waiting, the creation of a receptive spiritual emptiness, and the denial of self all play their part.

Ye Gods! #1: Death Gods

Ancient myths are pretty much the original fantasy stories—or it might be more correct to say that modern fantasy is simply the latest packaging of the myth. Most major works of fantasy use at least the character archetypes and plot structures established in myths, with some even referencing specific names or events. A fantasy writer who doesn’t know their myths is kind of like a Christian who’s never read the Bible. You can get the gist, you can even do it mostly right, but there’s wisdom in the details you can’t come across any other way.

For this series, I want to take a cross-mythology look at how common concepts are represented, focusing on the four that have had the most direct impact on modern fantasy: Greek/Roman, Egyptian, Mesopotamian, and Norse.

And what better place to start than with the happiest of all topics: death.

Death gods have a unique place in most mythologies. They’re often an important member of the pantheon, but the extent to which they’re portrayed in myth and art depended more on how the culture viewed death than the figure’s importance. There is often also a distinction made between gods that rule the underworld and those that represent death as a concept.

Greek/Roman death gods: Hades/Pluto, Thanatos/Mors, and the Keres

b6cb0a0d7613962a39c59bfff79418feHades
In Greek myths, the primary role of Hades was to guard the underworld, making sure that the dead never left and the living never entered. His rare depictions in Greek myths typically are in attempts to retrieve the dead; Hades takes the role of antagonist, placing trials in the hero’s path.

Hades was given control of the underworld after the defeat of the Titans. He drew lots with his brothers. Zeus picked the sky, Poseidon the sea, and Hades the land of the dead. He rarely ventured above-ground; when he did, he often wore a Helm of Darkness which allowed him to remain invisible to mortals.

Family Tree: Oldest son of Titans Cronus and Rhea. His wife is Persephone (Proserpina in Roman), a goddess of fertility and harvest.

Depiction:  Hades is rarely depicted in early Greek myths and art. He was given lots of epithets to avoid speaking his name like “The Unseen One” or “Agesilaos” (from the Greek ago, meaning carry or fetch). Though feared, he’s not thought to be evil, and is seen as practical and fair in his treatment of the dead. He is also a passive god, unlikely to interact with mortals unless they dared enter his domain.

As a chthonic god, Hades also had positive associations as the ground that nurtures seeds and leads to a bountiful harvest. In later Greek myths, this aspect of Hades is emphasized more and he was given the epithet “Plouton,” meaning wealth. It was this version of Hades that was transmuted into the Roman god Pluto.

Hades can alternately be depicted as young or old. He frequently has a dark beard and sits on an ebony throne, and is easiest to identify when he has Cerberus at his side (the 3-headed dog who guards the River Styx). Also sometimes holds a 2-pronged staff, called a bident, that’s suspiciously similar to the pitchfork often carried by the Christian Devil.

n12-1thanatosThanatos
Where Hades is the guard of the underworld, Thanatos (Roman Mors) is the personification of death. A minor deity, referred to occasionally, depicted rarely. His main duty is to guide dead souls to the underworld. It’s sometimes specified that he guides the souls of those who died peaceful deaths while the Keres guide souls killed in combat (more on them later).

Family Tree: Most often the son of Nyx (Night) and Erebus (Chaos or Darkness). He is the twin brother of Hypnos (Sleep), and his other siblings include Charon (the boatman over the Rivers Styx), Eris (strife), and Nemesis (retribution).

Depiction: Thanatos is depicted in a consistently more negative light than Hades. He’s merciless and hateful toward both mortals and other gods. Views toward him did soften over time as he became more associated with peaceful death. He’s also not the sharpest in the pantheon; when he’s involved in myths, it’s almost always because a hero has tricked him. Sisyphus tricks him and chains him to a pillar, eliminating death for a short span until Ares comes to free him, frustrated that no one’s dying in battle. Heracles overpowers Thanatos at one point, too, and without the brutal consequences that ultimately befall Sisyphus.

Considering all that, it’s a bit surprising that when Thanatos is depicted it’s almost always as a child, sometimes with wings like a cherub, sometimes holding a butterfly (this makes sense in Greek: the same word is used for “butterfly” and “soul”). When he’s an adult, it’s usually alongside his twin brother Hypnos, like in the painting above.

The Fates and the Keres
The Keres are female spirits said to be the daughters of Nyx. Their description from Shield of Heracles is “Black Dooms gnashing their white teeth, grim-eyed, fierce, bloody, terrifying…As soon as they caught a man who had fallen or one newly wounded, one of them clasped her great claws around him and his soul went down to Hades.”

The Fates, or Morai, also had some dominion over death. These three sisters wove the cloth of time, and even the gods were beholden to their decisions. Clotho spun the thread; Lachesis measured the length; and Atropos cut the thread with her “abhorred shears.” She was believed to be the one who determined when and how mortals would die, and was therefore even more feared in some circles than Hades himself. Atropos was also known as the inflexible or the inevitable; unlike other Greek death gods, no one was ever depicted as escape the Morai.

Ereshkigal: The Babylonian queen of the underworld

British_Museum_Queen_of_the_Night.jpgEreshkigal was the ruler of Irkalla (the Babylonian/Sumerian land of the dead) and fits the archetype of the Crone Goddess—powerful, ancient, often jealous of others’ beauty and youth. She  was the only one with the power to pass judgment or make laws in Irkalla, though there were many gods in the Sumerian pantheon who controlled aspects of the world that typically brought mortal deaths (plagues, war, famine, etc).

Family tree: Daughter of Nammu and Na, and sister to Ishtar (fertility, love, war). She has many children, among them Namtar (a messenger deity whose father is Enlil, god of wind) and Ninazu (god of healing, fathered by Gugalana, the Bull of Heaven).

Her husband to her husband, Nergal, varies depending on the telling. In some, he is banished to the underworld after insulting Ereshkigar (or her son, Namtar) and their relationship is one of Master and servant—or he is banished there and then conquers it, taking control of the underworld and making Ereshkigar his wife. In some, Ereshkigal’s rule of Irkalla is eliminated completely; it is Nergal who’s given rule of the underworld by Enlil, and Ereshkigar is his servant.

Depiction: Ereshkigar is associated with lions and owls; interestingly, Nergal is often depicted as having a lion’s head, which has suggested to some that they’re both aspects of the same god. Associated with lapis lazuli. Usually has dark hair, and though her age can vary she’s often depicted as a crone sitting on a throne.

Mesopotamian mythologies were not nearly as hesitant to utilize their death gods as the Greeks. Ereshkigal is a main player in several myths. The best-known is probably “The Descent of Ishtar,” a variation on the underworld journey narrative.

Egyptian death gods: Anubis, Osiris and Nephthys

anubis_balanceAnubis
Like Hades, Anubis was important to the Egyptian pantheon but rarely featured in their myths, though unlike Hades he features prominently in visual art, especially tomb decorations. Anubis performed all of the tasks associated with death. He was an embalmer and a protector of the graves; he also weighs dead souls to determine their fitness for the afterlife. In early accounts, he is also the lord of the underworld, though this position is usurped eventually by Osiris.

Family tree: His origin is somewhat shrouded, alternately the son of Ra (sun) and Nephthys, Ra and Hesat, or Osiris and Nepthys. Has a wife, Anput, who is the goddess of funerals, and a daughter, the serpent goddess Kebechet.

Depiction: Most often as a man with a jackal’s head, which is a pretty clear identifier, though you may also see him with scales or holding a flail, called a nekhakha. He usually wears black, though not for the reasons you might expect; black in Egyptian culture was a color of fertility and rebirth, and also likely represented the color of mumified skin.

osiris-tomb-of-nefertariOsiris
It was during Egypt’s Middle Kingdom that Osiris seems to have replaced Anubis as lord of the underworld. Before that, he was the god of resurrection, revered more than feared and as a chthonic god responsible also for the cycle of flooding and growth in the Nile valley.

Family tree: Oldest son of Geb, the earth god; alternatively, the son of Ra and Nut (the sky). Osiris has many siblings but the most notable are his brother Set and his sister/wife, Isis, with whom he has a son, Horus.

Depiction: In art, Osiris is often shown as a green-skinned man with a pharoah’s beard and clothing. The details of his depiction can vary—sometimes he’s a mortal king, other times king of the gods—but the overall story arc is the same. His brother, Set, is jealous of his throne, and kills Osiris, chopping his body into small pieces and scattering it across the earth. Isis gathers up the pieces of Osiris’ body and uses a spell to bring him back to life long enough to get her pregnant with her son, Horus. When he dies a second time, the other gods place him in charge of the underworld.

Nephthys
Like the Greeks, the Egyptians had a separate goddess to represent the experience of death. Nephthys is a protection goddess who plays foil to her sister, Isis, representing the death experience while Isis is the birth experience. She also oversees funeral rites to some extent, a role she shares with Anubis.

Family tree: Sister of Isis and wife of Set, as well as the mother of Anubis and the “nursing mother” of Horus.

Depiction: Usually a woman with falcon wings. She’s associated with the kite (Egyptian hawk). The general attitude toward her seems to be one of resigned acceptance. Death is a necessary step of the resurrection cycle and this is the light in which Nephthys is shown. Even though she’s married to Set, who serves as the villain of Osiris’ myth story, she works on her sister’s side, helping Isis to gather up the pieces of Osiris, rather than being shown as allied with her husband.

Norse death gods: Hel and the Valkyries
There are three Norse underworlds: Valhalla, Folkvangr, and Hel. Which a soul is sent to depends on its manner of death. Those that die in battle go to either Valhalla (the great hall overseen by Odin) or Folkvangr (a meadow ruled by Freya). Neither Odin nor Freya is a strictly death deity, however, in the sense of the underworld being their primary concern. Hel is the most apt equivalent to a lord of the underworld, while the Valkyries serve as one representation of the death experience itself.

Valkyries
The vaklyries choose who dies in battle and guide the souls to either Valhalla or Folkvangr. There’s an interesting similarity between their name and the Greek Keres discussed above, who had a similar purpose, though there doesn’t appear to be any shared etymology.

The extent to which the Vaklyries determine a person’s fate changes depending on the telling. In some myths they are simply psychopomps, or guides, transporting the slain to their correct realm at Odin’s behest. In other tellings they are more sinister, and use an array of magic spells to influence who lives and who dies.

Family tree: Both Odin and Freya have connections to the valkyries, though their exact origin is unclear. Sometimes they’re portrayed as simply parts of Odin projected into their own forms; otherwise no lineage is given.

Depiction: Depending on the text, they can be terrifying, demonic creatures or beautiful warrior women. They appear widely in the mythologies, coming into action any time someone slain in battle required transportation to the afterlife.

indexHel
While those who die in battle go to Valhalla or Folkvangr, those who die peacefully go to Hel, an underworld said to exist under one of the roots of Yggdrasil (the tree of life). Hel is generally described as a large hall like Valhalla. While the path to reach it is fraught with the usual perils, the Norse Hel is not the fiery pit of a similar name from Christian mythology. It is in fact described as existing in Niflheim (the land of ice as cold) rather than Muspelheim (the land of fire). The goddess Hel only receives the dead sent to her realm, rather than judging whether or not they can gain entrance.

Family tree: Daughter of Loki and Angrbooa (a female giant). Hel also has two siblings, Fenrir (a giant wolf) and Jormungandr (a sea monster).

Depiction: Given their parentage, Hel and her siblings were expected to cause a lot of trouble. Odin made the pre-emptive decision to banish each of them to somewhere they couldn’t do much damage. Jormungandr was cast into the great ocean around Midgard, Fenrir was bound, and Hel was sent to Niflheim, where Odin charged her with providing homes to the souls sent her way.

Hel’s appearance follows the crone archetype. She’s occasionally referred to as an ogre or a troll and is often decrepit or somehow malformed. Her skin is usually half blue and half flesh-colored. She’s often shown sitting on a throne or with her guard dog, Garmr.

The Big Picture

  • The way death gods are portrayed is a direct reflection of the society’s views about the afterlife. The Greeks feared Hades more than the Egyptians feared Anubis, or than the Vikings feared the valkyries. Regardless, though, few ancient underworlds are the terrifying realms of punishment seen in Christian Hell.
  • Many death gods did not come to this task willingly, but were either assigned the role (Hades) or sent to the underworld because of death or banishment (Hel, Osiris). The same is true of the death god’s spouse (Persephone, Nergal).
  • When it’s a death goddess, she’s almost invariably depicted as a crone archetype; regardless of gender, they tend to be relatively passive figures, even when they’re important figures in the pantheon. Even in the case of Osiris, things happen to him more than he’s the cause of events.
  • Most ancient pantheons make a distinction between the ruler of the underworld and the personification of death. The ruler of the underworld tends to be the one who judges souls and guards the dead, though both may guide newly departed souls. If a distinction between realms is made based on the manner of death, it’s typically between combat deaths and peaceful deaths.