#robert lewin

Star Trek: The Next Generation, 112 (Jan. 16, 1988) - “Datalore”

Written by: Robert Lewin & Gene Roddenberry Directed by: Rob Bowman

Episode Breakdown

Data gets an origin story!

The episode begins with the Enterprise’s arrival at the colony where Data was discovered. We’re told that colonists all died under mysterious circumstances before Data was activated; as such he’s unable to shed any light on the matter (Presumably the ship that found Data never had time to investigate). Picard figures they might as well take a look around since they’re in the neighbourhood, because what’s the worst that could happen? While on the planet’s surface, the away team discover that Data is the creation of Noonien Soong, a brilliant scientist who disappeared after a failed-first-attempt at creating a positronic brain; since that is precisely the type of brain Data possesses, the team rightly concludes that Noonien finally succeeded in achieving his goal. The team also discover a second android that looks exactly like Data, albeit disassembled.  Since Data is understandably curious, Riker agrees to take Data’s twin back to the Enterprise to rebuild him.

In a twist that may shock you, Data’s long-lost twin (named Lore) turns out to be evil; he’s also capable of greater emotional expression, including the ability to lie convincingly.  It turns out Lore was Noonien’s first android who, prior to being disassembled, summoned a giant crystalline entity from space to consume the colonists.  Somewhere along the way, Noonien figured out that his new creation might be a raging psychopath and took Lore apart before building Data (and also before getting eaten).  Now free to roam the ship, Lore inevitably betrays and deactivates Data, with the intention of signalling his old Crystaline pal to come eat the Enterprise crew.  However, since Wesley is (annoyingly) the most amazing boy in the universe, he’s able to see through Lore’s pretense. With the help of Dr. Crusher, Wesley gets Data back online just in time for the two Androids to duke it out until he can beam Lore into space, (where Picard presumably decides to leave him without any further discussion).

Thoughts

So far ‘Datalore’ has been the best episode of the season. We get some decent world building, a good intro to Data’s evil twin, and nice dose of tension and atmosphere. What’s not to love? Even the moments that feel dated (and there are many) all add to the episode’s charm. There are still a handful of times I had to roll my eyes at specific bits of dialogue, but if the ending had been a little stronger I almost would have considered giving this an extra half-star.

3.5 stars (out of 5)

Stray observations:

Picard’s (mostly) not an asshole: That traumatizing holodeck adventure from last episode must have been more relaxing than expected. For the most part he seems to be in an uncharacteristically encouraging mood towards his crew.

Except Wesley. Picard really lets the kid have it this week. He must still be mad about that time Wesley got impaled and then didn’t die a couple episodes back.

There are some rather pointed scenes where Picard and Co. go out of their way to be exceptionally reasonable and mature about a variety of potentially difficult or awkward subjects (mostly regarding the nature Data and Lore’s sentiency/creation); it would be fine except that they keep commenting on it. My guess is that it’s an example of Gene Roddenberry’s influence, who was known for wanting to avoid depictions of interpersonal conflict between the crew. But personally, I like to think this is a result of HR calling out Picard for his less-than-cordial behaviour from previous episodes, and so now the captain is on his best behaviour, and everyone is acting like it “never even bothered me that much anyway, I heard other people were complaining, but not me.”

Okay I hate to say it but… ugh, Wesley was right. After deactivating Data, Lore masquerades as his brother.  The crew test Lore with questions he wouldn’t know the answer to, but they do it in the most easy-to-evade way.  It’s pretty unintentionally funny, but means the adults were missing what any child should have been able to (and evidently DID) see.  

1971-1986

Mervyn Edward Griffin Jr. (1925 – 2007) was an American television host and media mogul. He began his career as a radio and big band singer who went on to appear in film and on Broadway. From 1965 to 1986, Griffin hosted his own talk show, “The Merv Griffin Show.” He also created the internationally popular game shows “Jeopardy!” and “Wheel of Fortune” through his television production companies, Merv Griffin Enterprises and Merv Griffin Entertainment. Both game shows are still airing as of this writing.  

“The Merv Griffin Show” ran from October 1962 to March 1963 on NBC; May 1965 to August 1969 in first-run syndication; from 1969 to 1972 late night weeknights on CBS; and again in first-run syndication from 1972 to 1986. The show's longtime bandleader was Mort Lindsey. Griffin frequently clowned and sang novelty songs with trumpeter Jack Sheldon. Griffin's conversational style created the perfect atmosphere for conducting intelligent interviews that could be serious with some and light-hearted with others. Rather than interview a guest for a cursory 5- or 6-minute segment, Merv preferred lengthy, in-depth discussions with many stretching out past 30 minutes. In addition, Griffin sometimes dedicated an entire show to a single person or topic, allowing for greater exploration of his guests’ personality and thoughts. More than 25,000 guests appeared on “The Merv Griffin Show” including numerous significant cultural, political, social and musical icons including four U.S. Presidents. From 1974 to 1986 the show won twelve daytime Emmy Awards.

“The Merv Griffin Show: A Salute To George Marshall” ~ July 29, 1971

Guests: Lucille Ball, George Marshall, Edgar Buchanan, Glenn Ford, William Holden, Mort Lindsay & His Orchestra

Director George Marshall worked with Lucille Ball on Fancy Pants (1950), Valley of the Sun (1942) and 11 1969 episodes of “Here’s Lucy,” mostly location shoots. 

“The Merv Griffin Show” ~ October 12, 1973

Guests: Lucille Ball, Gary Morton, Desi Arnaz Jr., Lucie Arnaz, Gale Gordon, Robert Lewin, Ronald Reagan (recorded voice message)

A Salute to Lucille Ball featuring her husband and children, and her two most famous co-stars. Ronald Reagan, then Governor of California, calls in.

Lucy says she has finished Mame which won't be released for six months. Merv says the buzz is that the film is one of the best musicals in history. Lucy refutes  the rumor that Lisa Kirk dubbed her singing voice. As for dancing, Lucy credits choreographer Ona White with getting her in shape after breaking her leg. Lucy says she wore eight to ten wigs in the picture.

Ball says she usually refers to the ‘Lucy’ character in the the third person.

Lucy says the Goldwyn Girls never wore costumes, only wigs [a slight embellishment]. She mentions Eddie Cantor and Roman Scandals (1933, above).

Merv: “Did a man one day say 'Make her a star?'” Lucy: “No, he said 'make her.'”

Lucy references the “Here's Lucy” episode in which Lucie Arnaz imitates Cher: “The Carters Meet Frankie Avalon” (HL S6;E11) aired a month after this interview, on November 19, 1973.

Lucy says that she met Gary Morton while doing Wildcat on Broadway. She says that she wasn't feeling at her best at the time and had taken on too much. Merv says he knew Gary Morton before Lucy did. Morton jokes that Merv had one voice for speaking and another for singing; the ‘Jim Nabors’ of his time.

Lucy: “The one thing I'm very proud of is that I know my craft.”

Lucy says that her daughter is the more successfully independent. She says her son is independent, but not sure how successful it is.

They talk about their neighbor, Jimmy Stewart and how he walks his big dogs around the block. Lucy says that Jimmy and Gloria Stewart have a huge vegetable garden. A Romanian neighbor did not recognize Stewart and turned him away when he came to the door trying to give away some of their surplus crops.  

Lucie and Desi Arnaz Jr. join the conversation. Lucie says that she sees her mother frequently because they work together. Desi and Merv talk about tennis, a sport they both played avidly. Once again, Desi says that he did not play Little Ricky on “I Love Lucy,” although they were born on the same day.  

Lucie recalls her first appearance on her mother's show: as Cynthia on “The Lucy Show.” Merv puts up the now familiar (but colorized as the original was in black and white) publicity photo of Lucy and her children taken during “Lucy is a Soda Jerk” (TLS S1;E23) when Lucie was eleven years old. Although this is her first ‘named’ character in the series, Lucie was an extra in “Lucy is a Referee” (TLS S1;E3) in 1962.

Desi Jr. says that he left “Here's Lucy” during season three in order to do a film, but by the time the shooting was over, his contract had expired and he decided to move on to do other things. Desi Jr. went to college for a short period of time - a week and a half.  

Lucie: “I think I've been to the best dramatic school by just being on her [Lucy's] show for six years.”

Gary Morton tells how he and Lucy flew to Warrensburg, Ohio, to see Lucie do a summer stock production of Once Upon a Mattress. He then talks about how proud he is of Desi Jr.'s performance as Marco Polo in the film Marco (1973).The film wasn't actually released until two months after this interview. Lucy hosted a home screening of the film.

Merv welcomes a surprise guest, Bob Hope. They talk about Bob Hope's house, which was under construction in Palm Springs when it was engulfed by fire, allegedly through arson. Joking, Gary Morton holds out a lit cigarette lighter!  

Hope mentions the four films he did with Lucy, even the one they consider the least memorable, Critic's Choice (1963). Lucy calls it a flop. During the filming of The Facts of Life, Lucy was always asking Hope if she had successfully shed the 'Lucy' character. Bob tells the story (which he has told before) of when a Desilu stockholder interrupted the filming with her super 8 camera.

Hope: (about Lucy’s reruns) “She's on so much, you can just flip the dial and see her raise her children.”

Lucy compliments her writers, Bob (Carroll) and Madelyn (Davis).

Hope jokingly says they shouldn't talk about his political affiliations with Washington because he's having enough trouble with his taxes as it is. Lucie says that the President [Richard Nixon] is having trouble with his, too! In late 1973, Nixon was in the headlines for mistakes on his tax returns.

Merv runs the first clip of Mame, despite it not being completely finished in post-production. Lucy says it will be released at Easter. Even Lucy hasn't seen it! [The MPI DVD version of this interview does not include the clip.]

After a commercial break, Merv introduces “Uncle Harry himself” Gale Gordon. Gordon says that he just adores Lucy, even after fifty years in the business. Lucy claims that Gordon is just as good at the table reading as at the final filming. He tells Merv that his mother Gloria Gordon played the landlady on “My Friend Irma” both in the 1949 film and the 1952 television series.

They talk about about Gale Gordon's on-set nickname, 'Old Soggy Crotch', because he was constantly getting wet during episodes of “Here's Lucy.”  The show actually bleeps out the nickname because the word ‘crotch’ would not pass the censors!  Merv puts up a still from “Lucy Makes A Few Extra Dollars” (HL S4;E6) which depicts Gordon covered with food!

Gary Morton relates that when Richard Burton and Elizabeth Taylor guest starred on the show, he complimented Gordon on his performance, and assumed that he must have been born in England. Although raised in England, Gordon was actually born in New York City. Lucy says he is now the mayor of Borrego Springs, California.

After a break, Merv introduces the President of the Academy of Television Arts and Sciences Robert Lewin, who presents Ball with a plaque of commemorating her 13 Emmy nominations since 1951. Lewin says the plaque has an 'extension' for her next 13!  

Merv shows a clip of Lucy accepting her Emmy for Best Actress. He claims it is 1967, which Lucy questions: “67?  I didn't know I won one in 67.” Lucy is correct. The year was 1968.  

“The Merv Griffin Show” ~ April 9, 1974

Guests: Lucille Ball, Bea Arthur, Gene Saks, Gary Morton

This show was taped on March 24, 1974, on location at the Hollywood premiere of Mame at the Cinerama Dome in Hollywood. Among those interviewed are Lucille Ball and husband Gary Morton; Beatrice Arthur and husband, director Gene Saks.

One of the many fans lining the red carpet for Merv's interview with Lucy was Michael Z. Stern. He later wrote about the experience in his book I Had a Ball: My Friendship With Lucille Ball. Stern recounts that he made a large sign that read “WE LOVE LUCY” which (along with his arm) made it onscreen on “The Merv Griffin Show.”

“The Merv Griffin Show” ~ February 4, 1980

Guests: Lucille Ball, James Brolin, Michele Lee, Natalie Wood

Lucy talks about teaching comedy seminars in college, although the grading confounded her as it was solely a question and answer seminar. Lucy points out someone named Stuart (although he doesn’t appear on camera), one of her former seminar students who is in the studio audience.

Lucy compliments Merv as one of the best 'listeners' of all talk show hosts.

Lucy stresses that she's not a funny person, but credits her daughter and Gary, her husband, with the attribute.

Merv begs Lucy to do the Lucy Ricardo “Waaaa” cry for him. Lucy is initially reluctant, but she does it for him.

Four days later, “Lucy Moves To NBC” was aired. Lucy's visit is likely to promote that event.  

In 2017, Get TV celebrated Lucille Ball's birthday by airing this interview and the 1973 “Merv Griffin Show” interview of Lucy back to back, followed by a rare screening of Lucy's appearance on “Van Dyke & Company.”  

“The Merv Griffin Show” ~ June 24, 1982

Guests: Lucille Ball, Ethel Merman, Ginger Rogers

Lucy shares the stage with two powerhouse performers from her past. Merman guest-starred in two back-to-back episodes of “The Lucy Show” in 1964. Ball had done five films with Rogers during the 1930s. She guest-starred as herself on a 1971 episode of “Here's Lucy” (S4;E11).

TRIVIA

Star Trek: The Next Generation, 114 (Jan. 30, 1988) - “11001001”

Written by: Maurice Hurley & Robert Lewin Directed by: Paul Lynch

The Breakdown

The Enterprise is overdue for a software upgrade, and the crew need some downtime, so Picard decides to dock at station 74 and kill two birds with one stone.  While everyone preps for shore leave, Picard and Riker stay behind in case they need to assist the Bynars, who will perform the upgrade.  We Learn that the Bynar people have effectively hooked their brains up to the cloud, and as a result they think and speak in binary, and always travel/work in pairs.  They seem harmless enough, but when Picard explains they need to leave sooner than planned (due to a time sensitive mission), the Bynars starting acting REAL SUS and then bring on a second Bynar-pair to help speed things up.

Not one to be easily distracted, Riker begins to suspect that something is awry, and keeps close watch on the Bynar’s progress.  So they proceed to easily distract Riker by upgrading the holodeck so he can go play in his own little custom sandbox.  That’s right folks! we finally get a chance to see Riker’s deepest desire, which is apparently to play Jazz Trombone in a 20th century New Jersey bar for the benefit of a personalized, sentient, totally life-like, sex doll.  And let me tell you folks, she is AROUSED by Riker, because apparently the algorithm designed her to be, based on our horny first officer’s browser history.  Also, the whole situation it is NOT-AT-ALL troubling, nor should it raise any serious ethical questions.  Thankfully Picard interrupts with an impromptu visit, just as things are getting steamy, and finds himself equally intrigued by Riker’s new companion.  Minuet (her name) then regales both men over drinks, with her lifelike beauty and charm.

Meanwhile, the Bynars have been busy stealing the Enterprise.  Unable to reach Picard or Riker (due to trickery), Data orders an evacuation because of an impending antimatter breach.  The whole thing is revealed to be a ruse orchestrated by little math nerds, and simply wanted everyone off before they hightailed it back to their home planet. They also programmed Minuet to distract Riker and Picard so they wouldn’t leave the ship.  Once Picard figures out what’s going on, he and Riker jump to into action, and beam themselves onto the bridge for the fight of their lives (they even prepare to blow up the Enterprise if need be), only they discover the Bynars are all dying.

It turns out they just wanted the Enterprise to store a back-up of their iCloud account, because a solar flare was about to EMP-the-shit out of their plantary hard drive, without which the Bynar’s brains will overload and shut down.  After realizing the Bynars had always intended for him (and Riker because it’s a two person job) to  upload the Enterprise’s backup into the Bynar systems, he proceeds to do so, and the day is saved just in the nick-of-time.  So why didn’t the Bynars simply ask for help?  Because they believe in “Better to beg forgiveness, than ask permission.” Seriously that’s the reason. They afraid the Federation would say no, so they leapt straight into grand-theft-starship.

Epilogue: Riker goes back to the holodeck to be with Minuet, only to discover that the software upgrades are gone, leaving her a mindless shell of what she had been.  Riker returns to the bridge to a saddened man, and Picard is like “dude it never would have worked,” but since she meant so much to poor William I’m sure she’ll be referenced again frequently over the show’s remaining six-and-a-half seasons.

The Verdict.

This episode is very much split down the middle for me.

The main story is quite engaging, at least right up until the climax where things get silly. The crew having to make emergency command decisions, in the absence of the captain and first officer is pretty exciting.  There’s also plenty of tension built up around the fate of Picard and Riker.  The result is an episode that makes great use of it’s ensemble cast, including those with less screen time.  For starters the performances all feel more casual, and the dialogue less forced (something which I attribute largely to the actors in this instance). The ship feels like a place with real community, and each character gets to show a side of themselves and their interests beyond their professional ambitions. If the reason for the Bynar’s deception wasn’t so ridiculous, I’d be tempted to give this episode a 4 star rating.  Except…

…for the parts with Riker on the holodeck.  We spend a WHILE just watching Riker swipe left on a bunch of holo-models as, as the computer works to construct his perfect fantasy girl. Once he finally gets her (aka Minuet), he constantly pontificates at her about how real and perfect she seems, all while very obviously undressing her with his eyes. It honestly just seems a little... icky. Predatory, even. After Picard joins, the tone becomes less sexually charged, but then the two men spend their time discussing Minuet right in front of her as if she’s not there, or nothing more than an intellectual curiosity.

Perhaps I’m thinking too much about it.  Many of my favourite episodes involve and feature holodeck characters, and similar objections could (and have) been raised there too, but there’s just something about the way Riker and Picard openly objectify an intelligence that, for all they know, is both sentient, and also at their mercy.  I will concede that I don’t think that subplot was intended to come off as creepy, nor does it outright ruin the episode for me.  You win some, you lose some, and sometimes you break even. At the very least it’s mostly fun, just not beyond criticism.

2.5 Stars (out of 5)

Additional Observations

Picard has come a long way in these past 14 episodes. At first he always seemed kinda grumpy, but lately he’s been more relaxed.  In this episode he has nothing but praise for his entire crew, and especially Riker.  As I indicated above, their dynamic feels a lot more natural in this episode, and it’s nice to see Picard develop into a friend and mentor to Riker.

I realize the shots of station 74 are recycled from Star Trek III, but it’s a great visual, and even the Enterprise looks especially breathtaking here.  Visually a very impressive episode all around.

I find Wesley so unintentionally funny.  Riker tells him to keep an eye on the Bynars, and he takes those instructions literally.  Every time we return to the bridge to check in on Wes, he’s standing in the same spot just glaring at the Bynars suspiciously, as if he’s not being super obvious, and it just cracked me up.

Inconsistent technology: This episode makes a point of showing us that Minuet is simply an elaborate puppet without the Bynar’s upgrades. I’m not bothered by later episodes/spin-off-series depicting holograms who are undeniably sentient, as that can be explained as a natural progression of the technology. However, in “the big goodbye” Picard has a conversation with a holo character who expresses genuine concern that he and his loved ones may cease to exist when the program shuts off. All of that sounds something that's selfaware and sentient to me. So then why is Minuet so much less interactive sans-Bynars? The only way I can reconcile this is to suggest that Minuet's file got corrupted after the Bynars left, and any attempt to rewrite the program would result in a new “person”. There, did I do it? Did I save the continuity?

One of the twins made a load of cash off of 1-800-411-PAIN and decided he missed his brother. Seriously.