Entertainment
The Tragedy That Gave Us Star Trek’s Greatest Guest Star
By Chris Snellgrove
| Published
One of the best episodes of Star Trek: The Next Generation is “The Most Toys,” in which Data gets kidnapped by a collector obsessed with owning the rarest items in the galaxy. That collector is played by Saul Rubinek, who arguably gives one of the best guest performances in the entirety of this beloved franchise. However, it’s a performance rooted in tragedy because Rubinek only got the role because the actor originally performing his part nearly died!
In “The Most Toys,” Rubinek plays Kivas Fajo, an amoral collector who kidnaps Data, making the advanced android his most prized possession. When the episode came out, however, many fans were confused by the appearance of Star Trek’s latest villain. That’s because David Rappaport was originally cast in this role, and Paramount had already distributed promotional photographs of him as a very different-looking Fajo.
The Toys Are Back In Town
Why, though, did Star Trek: The Next Generation have to replace Rappaport in the first place? “The Most Toys” director Timothy Bond is quoted in Captain’s Log: The Unauthorized Complete Trek Voyages that “[T]here was a story going around that they had found him in his car with a tube running from the exhaust.” This created a major liability for the network, and the stress of filming might have contributed to a potential act of self-harm, so the director ended up replacing Rappaport with Saul Rubinek.
Sadly, David Rappaport continued to sink further and further into depression after he was ejected from the role. Only two months later, he was found dead in a Los Angeles park from what was apparently a self-inflicted gunshot wound. It was a tragic end to a troubled life, creating a permanent stain on one of the best episodes of Star Trek: The Next Generation.
Hailing Frequencies Open
Fortunately, Timothy Bond was able to quickly find a replacement for Rappaport, and he was able to refilm all scenes featuring the deceased actor’s character with equal speed. How, though, was he able to recast the important role of Kivas Fajo so quickly? As it turns out, everything started with a phone call from an old friend!
At just the right time, Bond received a phone call from Saul Rubinek, an old schoolmate who was passing through town to film Bonfires of the Vanities, a movie that would later flop. As luck would have it, the actor was a huge fan of Star Trek: The Next Generation, and he asked Bond if he might be able to swing by and visit the sets. Knowing that he had to recast the crucial role of Kivas Fajo, Bond responded with a question of his own: “How much do you want to see these sets?”
A Fanboy’s Dream Come True
The director formally offered the role to Rubinek, and the actor happily accepted the opportunity to become part of the show he loved so much. If he hadn’t been a fanboy, he might have otherwise declined the offer. As Bond (quoted in Captain’s Logs: The Unauthorized Complete Trek Voyages) noted, “He never does guest spots on television, but I persuaded him to do it.”
The recasting worked well for a number of reasons, including the fact that Rubinek is much taller than David Rappaport. This helped him look more physically intimidating onscreen, which is always an important quality for a villain. That quality is so important that Bond came up with a crazy idea back when Rappaport had the part: to shrink all the Kivas Fajo sets down so they had four-foot ceilings, essentially forcing everyone who visited the short actor’s character to bow down before him!
Firing Rappaport meant that the producers didn’t have to do anything so drastic, and Bond remains eternally grateful that they hadn’t already made any changes to the sets. Rubinek went on to do an amazing job as Kivas Fajo, one that effectively straddled the line between menacing and charming. However, what most fans don’t know is that we would not have gotten Rubinket (the greatest guest star in Star Trek: The Next Generation history) if not for the tragic mental illness and eventual death of David Rappaport, a gifted performer who was ultimately unable to overcome his personal demons.
Entertainment
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Entertainment
Star Trek’s First Broadcast Episode Was Very Carefully Chosen, Because It Was Boring
By Chris Snellgrove
| Published
These days, Star Trek is a bona fide pop culture phenomenon. But during the development of The Original Series, there was anxiety that the general public wouldn’t really understand Gene Roddenberry’s mashing up Western tropes with a sci-fi setting. Making matters worse was that the original pilot, “The Cage,” had been rejected by NBC for being too brainy. Fortunately, Roddenberry got a chance to shoot another pilot, one which impressed the network enough to order an entire season worth of episodes.
Several episodes of Star Trek: The Original Series had already been shot when the time came for this new show to make its broadcast premiere. The first episode that the general public saw was “The Man Trap,” which featured a shapeshifting monster that was revealed to be an alien salt vampire. This good-but-not-great episode was an odd choice, and it was one that the cast and crew hated. As it turns out, though, this episode was very carefully selected by executives because it served as an inoffensive, relatively straightforward encapsulation of everything Star Trek had to offer.
It’s A Trap!
Most of the information we have about why “The Man Trap” was selected as Star Trek’s first episode comes from the book Inside Star Trek: The Real Story. Within this impressive reference tome, Robert H. Justman and Herbert F. Solow revealed something surprising: NBC had several other episodes to choose from for the premiere, including “The Corbomite Maneuver,” “Charlie X,” “Mudd’s Women,” “Where No Man Has Gone Before,” and “The Naked Time.” All of them had already been shot and were mostly finished, so it was just a matter of figuring out which episode would serve as the best introduction to Star Trek, a heretofore unknown sci-fi series.
“The Man Trap” won out, mostly because the powers that be worried that other episodes would be off-putting to general audiences in some very specific ways. For example, they worried that audiences would find “Charlie X” a story that was “too gentle” because it focused on an adolescent with special powers. This was probably the right call, in retrospect: when Variety gave a negative review of “The Man Trap” (an episode chosen, in part, because of its relative maturity), they declared that Star Trek: The Original Series was “better suited to the Saturday morning kidvid bloc” (ouch!).
A Monster Hit Of An Episode
“The Corbomite Maneuver” was a great potential choice, but this episode’s impressive special effects were still in post-production, and almost all of its action took place on the ship. “Where No Man Has Gone Before” really outlined the premise of the new show, but it was deemed “expository” for general audiences expecting more action and danger. Justman thought “The Naked Time” was a killer introduction to the crew’s personalities, but the network passed, presumably because of how over-the-top (half-naked, swashbuckling Sulu? Oh, my!) that episode gets. “Mudd’s Women,” meanwhile, was deemed too offensive because the plot involved literally selling women to miners.
Through this process of elimination, executives decided that “The Man Trap” was the best intro to Star Trek. It had cool scenes on both the Enterprise and a distant outpost (a strange new world) and featured a straightforward action plot you didn’t have to be a sci-fi aficionado to understand. Finally, it was all about finding and defeating a creepy monster, which offered thrills to audiences of all ages. The network’s choice paid off, and Star Trek: The Original Series became the most popular sci-fi show in television history, even though the cast (including William Shatner and Leonard Nimoy) thought “The Man Trap” was the worst possible episode they could have chosen.
All of this is a keen reminder of how much thought and work went into putting Star Trek’s best foot forward. It might be a reminder that Paramount’s current upper leadership needs, as Starfleet Academy hit the ground running with the worst episodes of Season 1. The show got better after that, but it didn’t matter because the prospective audience had already been driven away. As it turns out, today’s execs need to learn something that the network execs of the ‘60s had learned very well: series succeed when you give the audience what they want to see and not what you want to show!
Entertainment
How A Fantasy Box Office Bomb Lost $200 Million In Theaters, And Suddenly Became A Streaming Hit
By Jonathan Klotz
| Published
For the last decade as streaming has taken off in homes around the world, it’s become possible for films that lost historical amounts of money in theaters to find success, even if it might be the post-Mystery Science Theater 3000 trend of “so bad it’s good.” That’s why a massive flop, for example say, Morbius, and films that slightly missed the mark like The Fall Guy can turn it around and become a streaming success.
What’s even more impressive is the amazing turnaround of 2013’s Jack the Giant Slayer, which lost Legendary Pictures an alleged $200 million, only to end up topping streaming charts in 2025.
The Classic Fairy Tale With A Twist
Everyone knows the story of Jack and the Beanstalk, the classic fairy tale about selling a horse for magic beans and climbing a beanstalk to find a giant living in the clouds. It’s simple, contains multiple morals, and can be easily adjusted to turn Jack into the villain, but Jack the Giant Slayer instead asks, “What if there was no moral, and instead of one giant, there was an entire army of evil giants?” The movie is the classic story, as you’ve never seen it before, and it almost works.
Nicholas Hoult plays Jack, the young man who finds himself trading his horse to a monk in exchange for beans that he can’t allow to get wet, ever. Like the rules in Gremlins, it’s not long before Jack accidentally gets the beans wet and a beanstalk grows under his house with the princess, Isabell (Eleanor Tomlinson), trapped inside as it grows into the sky. All the king’s men gather to rescue the princess, including Lord Roderick (Stanley Tucci), who, thankfully, Jack the Giant Slayer makes obvious is very evil, very quickly.
It’s up to Jack, Isabell, and the loyal Knight, Elmont (Ewan McGregor) to save the kingdom and stop the invasion of giants led by Roderick and the giant two-headed General Fallon (Bill Nighy). If there’s one thing Jack the Giant Slayer does better than every other adaptation, it’s the third act featuring a full-blown war between humans and giants, with a touch of humor and absurdity. Watching a giant toss a windmill like the glaive from Krull is the perfect amount of off-beat to distract from a surprising amount of body horror in both the giant’s designs and Fallon’s ultimate fate.
A Movie For No One
Jack the Giant Slayer looks too good, and the star-studded cast is having way too much fun for it to be a truly bad movie. The problem is that the pacing is off: it takes a little too long to get to the good stuff, then it feels a little too rushed, and though it is a fun adventure, it’s also, like the source material, simplistic. It’s not like the movie wasn’t watched in theaters; it made $197 million worldwide, which would be a great haul except it cost $185 million to make, and that’s not including the extensive marketing campaign.
The push and pull of director Bryan Singer’s vision of a dark take on the fable, complete with actual people-eating on screen, and the sanitized version that hit theaters, which was still too dark for children, since the film is surprisingly rated PG-13, meant it ended up being a film for no one. The Rotten Tomatoes ratings, of 52 percent from critics and 55 percent from the audience, are proof that the final product is not great, but not bad; it’s a movie that will keep you watching for a few hours and then leave no lasting impression. These days, Lionsgate and Sony wish they’d release a movie that is that well-received, as even Jack the Giant Slayer looks like a masterpiece compared to Borderlands or Kraven the Hunter.
Streaming is the perfect home for Jack the Giant Slayer, and 10 years later, it no longer matters that the movie lost hundreds of millions in theaters. It finally gets to stand on its own as a fun, if unremarkable, fantasy adventure.
This $43 bundle quietly upgrades your entire PC experience
Frederik Andersen, Hurricanes look to shut down Senators in Game 2
