During the first half of 2001, I worked on developing Maryoku Yummy for American Greetings. It was work-for-hire. AG had already established the fundamentals — cute little characters with a Japanese patina — and I was tasked with contributing to a potential Bible for the Maryokuverse.

Basically AG had the character designs and their names and their basic dispositions. I did not conceive Maryoku Yummy. But, I did a fair amount of enrichment and development. That is, I proposed a fair amount. In the end, they accepted my content, paid me, and... that was that. Maryoku Yummy, while not shelved exactly, was somewhat de-emphasized. 

It wasn't until recently that I learned there had been a Maryoku Yummy cartoon in 2010. I presume that there had been some greeting-card miscellany as well in the preceding years (and perhaps since). I've watched a couple of the episodes. I've seen nothing of my ideas, but even if I did, it wouldn't matter to my career. It was work-for-hire. AG owns what I gave them.

One thing I did notice is that the cartoon seems to revolve around a magical world of wishes. The original conception — again, not mine, but embraced by me — was that Maryoku Yummy would revolve around a magical world of friendship. That was more affecting and fun. "Wishes" seems almost... I don't know, narcissistic and greedy.

In any event.

Part of my work was to write several stories demonstrating my ideas. The hope and expectation, frankly, was that those stories would be in actual Maryoku Yummy books.

I'm pleased with everything I wrote. I treated the stories seriously. They were in my voice with my plots and core ideas. It was exciting work. It seemed a shame to me that it all vanished into the great File Folder of Never Mind.

Two of the stories were sufficiently strong to be recast and exist independently of Maryoku Yummy. But, despite my off-and-on ruminations about doing so, I didn't salvage one until 2017. And then, this week, I salvaged the other.

I've spoken before about my character Pugnacious Footefake, the only survivor of a children's novel that crashed. Over the past three and a half decades I have used Pugnacious to reclaim ill-fated stories that deserved reclamation. I've certainly written original Pugnacious stories, but it's amusing how many are salvage jobs.

For some reason I have been unable to write more than a few stories about Pugnacious. He is a perfect vehicle for silly fantasies and magical ideas. Yet... I have given him only eight misadventures. I think, in some ways, he's just too much from my authorial past.

Anyhow, I finally took him out for another spin in 2007. I reclaimed my Maryoku story "Number Crunching" as the Pugnacious story "Neighborhood Commerce."

Then, two days ago I woke up at four in the morning, feeling rather sick. As I could not get back to sleep, my mind fell to the usual patterns of despair and again I lamented Pugnacious's under-use. Earlier this year I had briefly attempted to give him the life of my Maryoku story "The Friendly Package." Now I resolved to finish the attempt. Even though I'm in the middle of another project, I spent the last two days finishing my Pugnacious story "The Capricious Package."

You can tell by the titles how Maryoku and Pugnacious bear rather different tones! But in the end I have salvaged a really cute story and done a good thing for poor Pugnacious.

If AG has used my two stories, somehow and somewhere, I suppose I am in some sort of legal breach by re-writing them. But hey, they're my stories. I invented what I re-used. There's nothing Maryoku about "Neighborhood Commerce" or "The Capricious Package." They're all Pugnacious now.

P.S. All of my Pugnacious stories, including "The Capricious Package," are available in Sideways of the Earth.

Beware! Colossal spoilers for "Black Sails."

Among the many irritating traits of the SJW is obtuseness. She really doesn't understand your objections to her antics. She believes that all she is doing is providing representation to the Blessed Marginalized. Her face shrunken in petulance, she shrieks: "I'm just putting a gay man in this TV show! What do you have against gays, you hateful homophobe?" 

Well, against their behavior, my dear, a few things; but that is not the issue.

I have no objection to the fictional depiction of a man who is attracted to men. I have no objection even to the sympathetic depiction of such a man. Such men exist, such men are human, such men are fodder for literature.

What I object to is your haranguing me on their behalf. What I object to is your sour attempt to disseminate the moralistic shibboleths of your ilk.

Consider the TV show Black Sails.

I love this show. Yeah, whatever, I have my complaints about it; but not one of my complaints is that the central motive of the central character is his love for another man. Indeed, I would argue that Black Sails is so well written, so humanly written, that I would not even want the writers to have done otherwise.

I wish, however, that they hadn't been woke.

Note I am about to make a distinction between telling a tale about a homosexual and being woke. This is what the SJW cannot fathom: That there is a distinction.

There is a book that was given by Thomas Hamilton to Captain Flint. Hamilton and Flint were lovers. Flint's piratical rage was born from the fatal mistreatment of Hamilton. The book is an important prop in the narrative.

There is an inscription in the book. Here it is.

The name of him to whom this love is directed is, as you can see, obscured; earlier, the viewer supposes it says "Miranda," the name of Hamilton's (public) wife, but in fact it says "James," Flint's true first name.

This inscription is a great example of intrusive wokeness.

If it had said only, "James, My truest love, T.H.", it would have been powerful. With that line, "Know no shame," it becomes propaganda. We hear in it all the bleating about pride and escaping closets; we see the fingers wagging at us — we who might shame the homosexual — telling us to eat our unbigoted spinach.

This is not the only woke moment in the show. The "shame" motif comes up several times. But this example is so stark and compact! One little line. Keep it, and the moment is woke. Remove it, and the moment is human.

Which do you prefer?

P.S. Yes, the very fact that they made Flint a homosexual at all is rather typical of woke approaches to fiction. It's the usual erasure of the hetero. I think we can be confident that Robert Louis Stevenson did not imagine Flint that way. Still, it's a fair change, considering Black Sails only toys with Treasure Island. And it is merited by the good narrative use made of it.

P.P.S. Huh. With that attitude, I should probably return my membership card for the He-Man Poofter-Haters Club.

Misha Burnett had seven stories that he had stalled on. He offered them as potential "duets" with other authors. I volunteered, read several, and was inspired by one. I sent him my proposal for the plot and resolution, which he liked, and I picked up where he had left off. I added 3.5K words and passed the baton to him. Depending on how it goes, he'll bring us to the ~4/5ths mark and then I'll wrap it up. 

I've never collaborated with another author before. He's pretty easy going, so it's been good so far. And the story is coming together rather nicely.

It's amusing to read his Twitter and see oblique comments about the story we're working on. He's not being explicit about the plot or characters, and he hasn't mentioned the collaboration. I feel like I'm in the know. Ha.

One of the reasons I passed the baton to Mr. Burnett is that I want to concentrate on writing a story for Cirsova 2022. Being an Official Contributor to Cirsova, I got an invitation from Alex the editor (although submissions are open this year anyhow).

I am going to persuade Alex to take The Impossible Footprint. You may recall it's way longer than what he normally publishes, but darn it, I wrote it for Cirsova and it's great.

But if I am unpersuasive, I need a fallback. Hence the break from the duet. Submissions are open the first week of August. So I've got less than two months to write a new story. And I'm a tortoise.

Fortunately Michigan has finally decided winter is over. This week looks to be invigoratingly sunny and warm. I might get things done!

The first six (of seven) seasons of The Venture Bros. are finally available for cheap. I bought them. I had only seen some of seasons four and five, and none of six (or of seven, for that matter).

The show never got bad as seasons four and five proceeded, but it got distasteful. The gays and pederasts and gender-bending became rather too ubiquitous. It was tiresome. The very lowest point was a routine about a "rusty venture." It was disgusting, and not in a funny way. It went on so long I thought I was watching the execrable Family Guy.

And then I got to the sixth season and... I was enjoying it again. I was laughing far more and the story and characters were good! And, not so incidentally, there was a decided decrease in the homo-pederasty. Not an absence of it — but then, it's the 21st century, isn't it? You can't escape the rainbow.

By the way, Rick and Morty is another show that's crossed the line. In many episodes, the fourth season is turn-your-head-away bad. "Oooh, we're edgy and vulgar, watch us edgily vulgarize!" Yeah, I guess I haven't abandoned Rick and Morty, but its nihilism really isn't as fun and clever anymore.

Notably there is more explicitly Christophobic "humor." That's the thing with nihilism: It usually becomes ever more vitriolic and, losing patience with subtlety, bitterly admits it just hates Jesus. Note well that you will never see Rick and Morty mock Mohammed — but that is a hoary and tired observation.

So I was cutting off the stems and leaves of a bunch of carrots and this little guy dropped out. It seems I snuck an extra carrot through the grocery checkout!

Speaking of grocery shopping, my store has been particularly enthusiastic about enforcing Michigan's eternal face-diaper mandate. They literally once threatened me with a burly six-foot stockboy, offering me a choice of putting on the diaper or being booted to the parking lot. I guess one chooses one's battles, but I am definitely one who has submitted.

I just want my carrots, you rotten karens.

Ah, but the mandate has changed slightly. You don't have to wear a diaper if you have been "fully vaccinated." Now, I will never have my genes altered by a politically rushed "vaccine" in order to avoid a bad cold. But, I can pretend to be vaccinated. What a wonderful taste of freedom it was, to shop this past Friday without that dehumanizing diaper. It was nice to breathe, too.

To begin with, I am terrible at avoiding the internet. I can manage an entire day without Twitter or blogs; but at night I always fall off the bandwagon. One of the reasons I am a teetotaller is that I never trusted myself not to be become a drunk. It's embarrassing that I need an internet fix. 

Of late I've not even bothered abstaining. I check several times a day. Sure, the anxiety about the unresolved election isn't helping. At his point I wish the execution would just happen. It is clear that the country is thick with corruption and cowardice. Let's be done with it all already. Hope is for chumps.

Oddly, a brief check of the internet, in between perfectly productive activities and recreations, genuinely alleviates a kind of tension inside. I don't like this about me. I really do have a touch of the drunk. But there it is.

So the next time I swear off the internet, know that I am deluding myself, and ignore me.

Luckily I have not been wallowing in ephemera. This past month I wrote another work of fiction. That brings to four the number of works that I have written in 2020. Hardly the speed of pulp, I know, but damn fast for me. My latest is a fictional review of a fictional book about a fictional disproof of the Reimann Hypothesis. It's math fiction! With a blush of the weird, of course. It might be barely suitable for Stupefying Stories, but to be honest I wrote it for myself. (I had intended to write my not-maple-syrup story "for myself," but then had an impulse to write this other one instead.)

I've written only one other fictional review (that one a theater review, available in my non-SF collection The Chicken Bone). The fictional review is not a literary form I often read. I wrote mine mostly under inspiration from Stanislaw Lem, whose examples (as in A Perfect Vacuum) I have read and enjoyed.

So what's next? Well, these first four years of my retirement have produced twelve new stories. (Only twelve, yes. Again, I am a tortoise.) The first seven make a perfect collection. The next five can make another, if I include a sixth. So I am going to write a one-off short, most likely what I have designated my "Bodyguard" or "Praetorian" story, about a Secret Service agent who loyally protects the alien "King" of the USA.

P.S. I will not make these SF collections available to the public until each of the stories has been published in some magazine (and, of course, released from exclusivity). Self-publishing on its own, as I have said before, is euthanasia for my stories.

P.P.S. I am still waiting on word from StoryHack about An Uncommon Day at the Lake. It's only been a couple of months, but I am getting antsy. Also, I still have no idea what's up with my two stories at Stupefying. I'm reluctant to nag them, so I just keep checking their blog for schedules, to get some sense of anything. They're overdue for Issue #23. I am discouraged. But we'll see.

Yes, I like The Expanse. But you know what's annoying me? Apparently the future is a gynarchy. Women dominate all positions, political or scientific. They are the majority of any team. Pay attention; you’ll see. True, that does not make The Expanse unrealistic. After all, current America is a gynarchy, not least in its emasculation. But it does make The Expanse a tad tedious.

It was especially annoying in season four, when a Belter ship could be saved only through the combined efforts of Naomi, a clever female terrorist, and the terrorist's clever daughter. They literally had a no-name male character in the background nodding his head with subservient pride at the brilliance of the young girl, who apparently has preternatural skills and is able to solve it all, despite lacking an actual engineering education.

And Lord God above, if I see one more distaff hacker-tech-nerd on TV, I am going to kill somebody. If the natural impulse is to place a man, you just know they’ll square-peg a woman into that round hole.

I'm not accusing The Expanse of political correctness, as such (although I did stop reading the books because of their wokeness). The rot in our minds is so great now, that were the story to allow men and women their proper balance, our heads would start hurting and our stomachs start churning, the pain unabating until every two men are replaced with two women, and the third man is made a subordinate. I'm glad that I still recognize this revolution for what it is; but it does make me an utter curmudgeon. I can't wholly enjoy anything new. Everything new just has a bad feminist taste.

P.S. Oh, I am aware that the primary characters are not all women. I submit that one of the reasons The Expanse seems so good is that, despite everything else in the show, men are actually playing the key roles in the narrative. That just feels right, does it not?

Earlier in this post I said that hope is for chumps. I am not hopeful about America. Nevertheless I am saying rosaries these days, not so much for Trump but for the Republic (although I do believe it is critical he prevails). I know that God is concerned with the salvation of souls and not, per se, the course of human events, and the successful theft of the election might be, over decades or centuries, better for populating Heaven; but I also know that Justice is not to be scorned, and it's a different kind of despair to say, “Why bother? God has His own plans.” America needs a Lepanto. Will God give us one? Probably not. I’m really not hopeful. Still... I pray.

The first part of this was posted on September 13th. I decided to combine the two parts into a single post. I also changed the title.My father and I didn't do a lot together. In part he was simply seldom around. He was in the restaurant business — as cook, as manager, as owner — and the hours were atrocious. He was also not given to fraternizing with his children.

In fairness to him, I was a difficult and solitary nerd. 

Once, in the late 1970s, he took me to a signing with several SF authors. He had no taste for SF. He did this for me. Anyhow, I didn't know who would be there. As it was, I had read none of them. I think one was Frederik Pohl. Another was Ben Bova. Somehow I (and my father) ended up hanging around Bova — probably because he was the only one I really knew, since he had been Editor of Analog, to which I subscribed.

I remember only one thing that Bova said. An attending nerd (not I) brought up Space: 1999. Bova recounted some conversation he'd had with Isaac Asimov about that very subject. Seems that neither Bova nor Asimov cared much for Space: 1999. Bova's contempt was rather clear.

I loved Space: 1999. I was just a teenage boy, self-conscious beyond measure; and already disappointed by the lack of my favorite authors at this little signing, I was... well, hurt. I didn't get indignant. I didn't get angry. I was stung. And it hurt as well because Bova wasn't wrong. Space: 1999, while not contemptible, is a little bad; and I knew so even then.

I think at that point my father was waiting in the car. I hung out a while longer. Then, having half-heartedly obtained an autograph from Bova, I left. I'm grateful my father took me. But it's a melancholy memory.

Today is the 20th anniversary of the day that the denizens of Moonbase Alpha were cast into the cosmos. On September 13th, 1999, concentrated nuclear explosions on the farside of the Moon propelled the Moon out of orbit. The Alphans, unable to return to Earth, found themselves adrift on an uncontrollable Moon. They left our Solar System far behind, on a path towards — adventure!

Well, of course it's preposterous. I'm not going to go over all the stupid that is required for Space: 1999 to work. It can't work. Science is ashamed of Space: 1999. And of course you know what I'm going to say.

Who cares.

You must recognize how simply magical the premise is. We're not dealing with the plausible. Yes, the creators thought they were writing Real Science Fiction. But they were hacks; a bunch of Ed Woods. They had a cool idea and they ran with it. Because it is a cool idea. An awesome idea. You know it is. The wonder of traveling to the stars on the Moon!

You must also recognize that Space: 1999 is not Star Trek or Star Wars or Stargate. It is not an adventure show.

It is a Nightmare.

This crystallized for me only tonight. I'm embarrassed that I never had this insight. All the pieces were already there; yet only tonight did the epiphany come. I was listening to a livestream hosted by Doomcock (whose nom de YouTube is Overlord DVD). Doomcock, in honor of the date, was chatting a bit about Space: 1999. He asserted that Space: 1999 is not SF but HORROR. He really didn't elaborate a lot. He didn't have to. I knew instantly what he meant; and instantly I understood why I like Space: 1999, why it isn't complete trash, and why, despite everything, it can kind of work.

Part II

In many ways I was a conventional boy. I climbed trees. I raced bikes. I played ball with neighborhood kids. I built models of trucks and airplanes. I walked daringly through spillways and foolishly across the weirs of nearby rivers.

But I was also subtly peculiar. My sense of human relations was misaligned. This only worsened as my family, moving house constantly, refused to stay rooted, and I was always starting over with knowing people. I didn't cease to be social, as such; but I began my lifelong loneliness.

The odd thing about being lonely is that it's not necessarily a feeling you try to flee. Things suffused with loneliness do not repel me. They allure me.

And so here you have a science fiction show set on the Moon — the grey and lifeless Moon, whose settlers are not vivaciously dispersed beneath the sky but are packed away, contained in rooms and corridors and bound by vacuum; fellows in a harsh solitude, made harsher by their catastrophic expulsion from the hearth of Earth.

Loneliness pervades the show.

Do these lonely travelers come upon exotic wonders? Not exactly. Each planet they encounter is a chance to escape, not into diversion but into a home. And they are always frustrated. Sometimes the planet itself is hostile; sometimes the existing inhabitants are. In one episode aliens send terraforming equipment to the Moon precisely to dissuade the Alphans from attempting any contact. It seems the Moon could be home after all! Yet as soon as the Moon has spun beyond the alien world, the equipment is withdrawn and the Moon reverts.

Another time the Moon becomes a forward base for one side in an interplanetary war. Alpha is caught up in the fighting. Then the Moon passes on. Again the Alphans have been simply beset and returned to the void.

A couple of episodes (especially The Testament of Arkadia) hint that the journey of the Moon might be more than a mishap; that the Alphans may have an awful destiny and their trials may be other than pointless.

But no end is ever seen.

When the first child is born on Alpha — what greater hope is there than a child! — he is bodily hijacked by a violent being who seeks to end its own exile. And though the being is defeated and the child is restored, the lesson seems clear: The wandering Moon is no place for hope.

For even a child becomes a terror; a monster. The show does not deal in the merely alien. In its loneliness it proceeds, like a solitary sleeper, from nightmare to nightmare: The Troubled Spirit; Death's Other Dominion; End of Eternity; Guardian of Piri; Force of Life...

The epitome of this is Dragon's Domain, one of my favorite episodes.

Back in 1996, the crew of the Ultra Probe was killed by a monster. The commander, Tony Cellini, survived and returned to Earth. No one believed him, of course. He resumed service on Moonbase Alpha. And now, three years into the Moon's journey, Cellini starts to unravel. He senses the monster. Sure enough, the Moon has crossed paths with the graveyard of spaceships that includes the Ultra Probe.

The monster is not a guy in a rubber suit. True, it's obviously a practical effect; and one can discern the rubber in it. Space: 1999 was not a big-budget affair. And yet it's a proper monster, if not scary then surely creepy. It's a Cthulhu thing with an oven for a mouth. The show played it as horror. It came off as horror.

And that's kind of my point about Space: 1999. Another show would have played it for thrills or awe or heroic adventure. Instead we get moody, gloomy, creepy. They even use Albinoni's Adagio to set the tone.

Is Dragon's Domain a master class in television? Hardly. Like every other episode of Space: 1999, the stupid abounds. The acting embarrasses.

But. That tone. It's real. It's what elevates the show — at least enough. And you can know it is very real because the second season deliberately fled the gloom and sought excitement. And that second season, lacking nightmares and loneliness, is garbage. Even when I was thirteen I hated it.

That first season, though? In a culture that has managed to create Firefly and The Expanse, it is hard to praise, let alone recommend, a thing like Space: 1999. I will, however, defend it. It has an allure. Perhaps that's only the nostalgia talking; but for a lonely boy in 1975, Space: 1999 was amazing — and I can't disagree with that boy.

Outlander is a TV series about Claire Randall, former war nurse, who is living in Britain in 1946 when she is magically transported to the Scottish Highlands of 1743. Outlander supposes Claire to be our heroine. But Claire is not a heroine; and there are three things that confirm this. 

Note as a preliminary that, thinking herself trapped in 1743, Claire consents to marry the sexy Scotsman Jamie, even though, back in 1946, she is already married to bookish Frank. This bigamy is not in itself the problem. There are good narrative reasons for it.

First Thing. Jamie and party are off to find a British deserter. Claire has come along because she has demonstrated (with her superior 20th-century learning) her utility as a nurse. But fearing a trap, Jamie tells Claire to hang back. He wants her safe. She promises to stay put. Once he is gone, she wanders off. She is captured by the British. Jamie and party rescue her. Once rescued, she is upbraided by Jamie for wandering off. She endangered everyone. The clan has now exposed itself to British retribution. The British commander has learned that Jamie, who is a fugitive, is hiding amongst that clan. Jamie is furious with Claire for disobeying him and breaking her promise. And what does she do? She rants about not being his property; that he can't order her around. Claire is a Strong Woman, after all. No husband, no man, can dictate to her!

Now, Claire wandered off because she sensed Craigh na Dun nearby. The standing stones of Craigh na Dun were the point of her transition to 1743 — and she wants to transit back to 1946. In other words, her reasons for disobeying Jamie were profound. Yet, instead of getting an honest character conflict (wherein Claire recognizes the enormity of her disobedience but cannot admit the time-displacement thing), we get that shrewish feminist cry "I AM NOT YOUR PROPERTY!" — as if heeding Jamie's solicitous authority and keeping her promise are equivalent to chattel enslavement. Her response is unbecoming and adolescent — as feminism be — and, what's worse, Outlander believes Claire has responded appropriately to Jamie's fury.

Second Thing. Claire has made friends with Geillis, a sassy woman who dabbles in potions and is married to a flatulent buffoon. Geillis, wanting to be with her lover, poisons her husband. Jamie tells Claire to stay away from Geillis, given the murder, the scandal, the danger from the law, and other such petty things. Again Claire promises to stay put. Then Claire gets a note from Geillis and immediately goes to see her. Does Claire ever once shrink from Geillis the murderess, the poisoner of husbands? Does she tell Geillis that maybe poisoning was a bad idea? No. Claire is only concerned for her friend. Screw the men, after all. What matters most is the happiness of Geillis, who is Claire's bestest bestie.

Outlander has no problem with Claire's myopic behavior. The sisterhood is what matters, right through the inevitable trial for witchcraft (and its attendant Christophobia).

Third Thing. Jamie, having learned that Claire is from 1946, nobly takes her to Craigh na Dun so that she might return home and reunite with Frank. At this point Jamie and Claire are in full-on monkey-sex love. As she approaches the stones it is clear that she can indeed return; the forces are calling her through. Frank, of course, is desperately unhappy in her absence; and although she can't know this, what else would he be? He's also just her husband, her proper husband, her original husband. She has some vows to uphold, I'd say. However, she stays in 1743 because, of course, it's Sexy Highlander she wants inside her.

And Outlander tells you: It's so romantic!

These three things were so off-putting that I could not accept Claire as a heroine. I kept waiting for Outlander to be honest about Claire. It never was. So never mind.

Outlander is a highbrow Harlequin Romance. It is a bodice-ripping woman's fantasy and Claire Randall is the avatar of irresponsible feminine self-centeredness.

I've got better things to watch.

Of course I like Star Trek. I was only three when it first aired, so I didn't see it until it was in syndication and I was nearly ten; but from early on I was a genuine fan. I knew all the episodes. I built models of the ships. I read (and still possess) the paperback adaptations by James Blish. I even bought fold-out technical plans of the Enterprise.

I was never a Trekkie, however; never deep in the lore. 

My first and truest passion was for Space: 1999. But even when I was twelve I recognized how dumb that show could be. Then I loved Star Wars. What nerd could do otherwise! But I was never drawn into its universe — and by the time of Empire I really didn't care.

Space: 1999 is that first crush you never disavow, much as it embarrasses you; Star Wars is that heady fling that quickly leaves you cold.

And Star Trek is that steady friend you eventually disregard. Back in the day I even looked forward to watching Voyager; only with Enterprise did my interest fade.

In recent years I have tried to re-watch the various Star Trek series. I am surprised by how much I don't care for TNG and DS9, even if I target the "best" episodes. I tried to finally finish that Xindi arc in Enterprise — and sputtered out again. I'm not even inclined to bother with Voyager.

The Original Series, on the other hand...

During an evisceration of the latest atrocity from Star Trek: Discovery, the eviscerating YouTuber made a passionate contrast to the TOS episode Journey to Babel. I hadn't seen that episode in eons, so I went to Netflix and watched it.

I enjoyed it.

And it's not one I've seen very often. I was reminded of my sporadic desire to binge TOS, to just start at the start and watch them all. Since TOS became streamable I've watched some of my favorites — like Errand of Mercy; Mirror, Mirror; and A Taste of Armageddon — but I guess I was put off by slogging through the likes of The Way to Eden. But seeing Journey to Babel suggested I might find more good than bad among the less-remembered episodes; and rather than bias my choices I might just go for the binge.

Immediately, however, on surveying the first episodes of season one, I was not enticed. The Cage, maybe, although I prefer that embedded in The Menagerie; and sure, Where No Man Has Gone Before; but The Man Trap, Charlie X, The Naked Time... I dunno. It already felt like a slog.

Then something occurred to me: Is this the proper order of the episodes? Something felt imbalanced, like the dregs were above the froth. I might not be a Trekkie but my gut was saying: This isn't right. So I went to the handy-dandy internet to investigate the proper ordering of TOS episodes.

I soon found a list that went not by original airdate but by stardate. And dang if that order isn't better. I suppose some deep part of me recognizes the correctness of this order; a sounder narrative flow, such as there was. Stardate, it seems, is a better indication of an episode's time of production. Or maybe this order just seems balanced better between the surely good and the surely bad. Anyhow, I like it.

I'll let you know how the bingeing goes.

---

STAR TREK TOS SEASON 1
× AIRDATE		✔ STARDATE
1	the cage	1	the cage
2	the man trap	4	where no man has gone before
3	charlie x	7	mudd's women
4	where no man has gone before	11	the corbomite maneuver
5	the naked time	2	the man trap
6	the enemy within	3	charlie x
7	mudd's women	6	the enemy within
8	what are little girls made of?	5	the naked time
9	miri	14	balance of terror
10	dagger of the mind	17	the squire of gothos
11	the corbomite maneuver	8	what are little girls made of?
12	the menagerie 1 & 2	9	miri
13	the conscience of the king	10	dagger of the mind
14	balance of terror	13	the conscience of the king
15	shore leave	16	the galileo seven
16	the galileo seven	20	court martial
17	the squire of gothos	12	the menagerie 1 & 2
18	arena	15	shore leave
19	tomorrow is yesterday	18	arena
20	court martial	27	the alternative factor
21	the return of the archons	19	tomorrow is yesterday
22	space seed	22	space seed
23	a taste of armageddon	21	the return of the archons
24	this side of paradise	23	a taste of armageddon
25	the devil in the dark	25	the devil in the dark
26	errand of mercy	26	errand of mercy
27	the alternative factor	28	the city on the edge of forever
28	the city on the edge of forever	29	operation: annihilate!
29	operation: annihilate!	24	this side of paradise