The Silver Age version that is, according to the Jones Boys in this post, which is on much the same wavelength (and I’d like to think (perhaps delusionally) even a little bit a reaction to) my interminable musings on Marston and all things WW.
Category Archives: Series
Wiki Trek: “Spock’s Brain”
It really is dreadful. “Brain and brain! What is ‘brain’?” After the brain goes missing, there’s a scene where Kirk, McCoy, and Scotty discuss the problem at hand. The exchange becomes a surrealist exercise just because the term “Spock’s brain” keeps popping up.
For some reason, Spock has to wear overalls. Why? If he’s brainless, would have been simpler to leave him in his old clothes. It’s not like they were going to slide off because he couldn’t keep pulling at them.
Gene L. Coon wrote the script under duress, to play out his contract with the show after he had moved on to It Takes a Thief. He knocked out “Brain” and “Spectre of the Gun” and some outlines for other eps as fast as he could. “Spectre” wasn’t so bad, but “Brain” … Jesus.
Coon had become fed up with Nimoy’s demands for line rewrites and bigger roles, so maybe “Brain” is his revenge: Spock has to walk around like Frankenstein’s monster for most of the show and gets no lines until the end. He does the automaton walk quite well, which I guess is the sign of a professional. (Counter to my grudge theory, there’s an anecdote about Shatner deliberately turning his back on Coon toward the end of Coon’s time with the show, and yet Shatner does okay in the episode.)
Spock’s brainkeeper. Marj Dusay (b. 1936 in Hays, Kansas as Marjorie Ellen Pivonka Mahoney),was just starting out but went on to work for decades, wound up in the 90s as a regular on Guiding Light and All My Children.
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“Spock’s Brain” catches her early on, and she’s game and overeager. She does a lot of reactions, none of them lifelike. But at least she’s in there, tracking all the events with her eyes, doing something with her mouth and nose. You can see how she might hang on and get a soap career later.
IMDB lists 90 acting jobs, starting in 1967 with “Susan” in the episode “Instant Fatherhood” of Occasional Wife, then “Kaos Girl” in a Get Smart ep, then “Waitress” in a Presley film, Clambake (1967), then eps of Cimarron Strip, The Second Hundred Years, someone in Sweet November (1967), the Star Trek, 2 eps of Wild Wild West (different characters), a Felony Squad two-parter, a Bonanza, eps of Hogan’s Heroes and Hawaii Five-O. She kept working thru the ’80s, on primetime soaps,
Other girls. This is the other girl with a speaking part, not much of one. IMDB lists seven acting jobs, first is “Salesgirl” in “The Dippy Blonde Affair” (Man from UNCLE, 1966), last is “Secretary #4” in the Beverly Hillbillies ep “Hotel for Women” (1970).
The two other babes, Mem Alpha doesn’t know who played them. Wig on the first, don’t know about the second:
Wig and beard. Actor’s name was James Daris. IMDB lists 19 credits, earliest being “Burly Man” on I, Spy in 1966.
Fair amount of tv work thru 1975, then a long, long gap, then a tv horror movie called Larva in 2005. Around Trek he was doing “Realtor” in I Dream of Jeannie, “Shorty” in a Bonanza, “Matt” in Daniel Boone, “Super Giant Robot” in Land of the Giants, some guy in a Hawaii Five-O.
Big guy. Stunt man and extra Pete Kellett. IMDB lists six stunt credits, 33 acting. Earliest is in 1949, movie Canadian Pacific, stunts and a part (“Saboteur”). Last is “Security Guard” in The Magic of Lassie (1978). Mem Alpha says, “He performed stunts and made numerous appearances on the Western television series Gunsmoke. Other TV shows on which he appeared include Branded … The Man from U.N.C.L.E. … Mission: Impossible, Mannix … The Big Valley … and Land of the Giants”
The unidentified. No names or lines for the people below. The first has a uniform like Pete Kellett’s because their two characters have been enslaved as guards.
I think these guys are kind of pets of the babes:
And three savage surface dwellers:
Bound to Blog: Wonder Woman #16
This is really an amazing issue. As I intimated in the last post, Marston and Peter seem to be getting more and more adroit at integrating layout and narrative, and there are some absolutely stunning spreads in this issue.
The color here is amazing, and the diaphanous, ghostly bodies really show off Peter’s supple lines. There’s a great contrast, too, between the airy grace of the female figures and the caricatured, cartoony old man (that’s the evil Pluto) at the top of the first page. Peter has also loosened up his layouts again, using bigger and fewer panels, and dividing them up in more varied ways than has been his wont up till now. Also notice in the upper right of the second page, there’s actually a wordless action sequence. I think that’s the first one in the series, and it’s really a joy to see Peter working without all those cumbersome text boxes for once. There’s another wordless sequence later in the comic; hopefully we’ll see more of it in later issues as well.
Also, so many great details here. The weird test tube with those evil black figures lurking around it, all against that gorgeous orange background…Peter’s use of motion lines is lovely as always….and the movement of the green girl in WW’s arms is perfectly done; she looks entirely limp and yet rigid a the same time, with her stylized hair and gown flowing out behind WW.
I think this one may even be better:
Again, the motion lines become an intense design element; it’s almost like you’re looking at rapids with all the racing, turbulent patterns going every which way and yet still managing to form a coherent whole. The upper left panel, with WW and the Holiday girls spinning semi-conscious in cocoons against that weird abstract colored background is especially fine — and, of course, with its hints of helplessness and semi-involuntary transformation, intentionally fetishized.
If Peter has outdone himself, Marston also turns in a fine story, somewhat more ominous and dark than usual In traversing the planets and the Greek gods, he’s inevitably come to Pluto, and so he gets to retell the Persephone rape legend
and replay it using one of the Holiday girls as the unfortunate Persephone.
This is preceded by a suggestive sequence:
You have the threatened rape, the disbelief of the other girls…and then the tearful evocation of fatherly displeasure, followed by the actual rape, complete with discarded phallic accoutrement. We’re treading around issues of incest and abuse, with Pluto taking the part of rapist/ogre/father.
That would explain in part, too, some of the more ominous submerged themes in the issue. When they get to the planet Pluto, for example, the Holiday girls and WW are confronted by black, groping hands. The hands hold them while they are split apart into spiritual light bodies and physical black bodies.
So bifurcated, the girls are held under Pluto’s thrall:
What happens at that point is a little unclear, but if I understand right, Pluto uses the light bodies as decorations in his castle while the dark bodies becomes his hollow, robed servants. In any case, the separated forms are definitely in his service, and easier to destroy than whole selves.
Thematically, the evil black hands, the split between beautiful beloved colorful spirits and despised hollow black drones, the narrative quest to reunite the two — it all seems like it’s dealing with sexual trauma, and the subsequent sense of estrangement from, and loathing of, the self. It’s mixed in, too, with Marston’s odd theories about the power of colors (theories I don’t pretend to entirely understand), and with his usual male/female binaries (the spiritual forms actually seem more female than the abandoned physical, blackened shells — which makes sense since masculine/feminine is more archetype than physical reality for Marston.) The result is a narrative that veers vertiginously between (literally) colorful fantasy and a disturbing darkness, with a sense that love can slide from one into the other at a moment’s notice. For instance, look at these successive pages:
The color palette kind of tells you everything you need to know, almost without even reading it.
There’s another telling sequence late in the book I think. Pluto comes to steal Steve away. The story spends an unusual amount of time not on Steve’s reaction, but on his secretary’s:
Narratively, there isn’t a need for all this; why do we care about the secretary’s reaction, after all? And why is she quite so thoroughly freaked out? (I mean, yes, I’d be freaked out too, but in terms of the stuff that happens on a regular basis in this comic, this is pretty small beer.) I think the answer to both questions, maybe, is that this is important, and she’s freaked out, because it’s a primal scene…and more importantly, a primal scene as site of abuse. It’s not just a kidnapping; it’s a rape, and a rape linked to childhood abuse and perversion (it’s a male on male intergenerational rape, after all.) The secretary, in effect, is necessary because you need not only the rape, but *the witness to the rape*; not only the (child) abuse but the traumatized child-adult.
Given Marston’s usual ways, I think it’s valid to wonder if he’s fetishizing father/daughter rape. There’s probably a touch of that in a scene like this:
At the same time….I think I’d argue that this sort of scenario (submerged rape themes, submerged incest themes) probably has a fair amount of appeal for girls as well as for dirty old men…especially when the girls are as clearly the heroes, the older men are as clearly the villains, and the incest/rape is as sublimated as is the case here. Relationships between fathers and daughters — or, perhaps more to the point, between patriarchy and daughters — are definitely fraught. The patriarchal power is desirable and exciting, and yet (and because) it’s forbidden for girls. Marston’s providing a way around that; he’s saying that you can be like Wonder Woman, and keep hold of the danger and the excitement and the sex without having to split against yourself and become a patriarchal thrall/ornament. There’s a sense, in other words, in which I think Marston’s fetishization of feminism is appealing not only to men, but to women as well, since women, like men, are invested in both sex and power relations as desirable commodities.
Which isn’t to say that it’s not a tricky and uncomfortable issue. Freud started thinking about female incest and rape fantasies in the context of his own female patients, most of whom were the daughters of his colleagues. They all claimed they’d been raped by their fathers. Freud was like, well, of course, their fathers didn’t rape them, because they’re my friends, so…women must have incest fantasies. Which is bullshit; I have little if any doubt that his patients were in fact raped by their fathers. And yet…at the same time that they do actually get raped and abused, by their fathers and others,…many women also do have actual rape fantasies, and fetishized relationships with (sometimes abusive) father figures. Marston’s story here seems to be about acknowledging and enjoying those fantasies (or even those realities) in order…I don’t know, maybe not to transcend them, but to not let them cripple you. In this context, it’s interesting that for Marston the reintegration is actually sexualized as well:
I said above the Marston seemed to be sexualizing the helplessness of the transformation…but on second thought, I wonder. Maybe it’s the duality itself that he finds sexy; the image of women as both spirit and flesh, sexual and ethereal, merging into one? Instead of breaking women apart into virgin and whore and fetishizing the severed bits, Marston is excited by the integration; the fact that women can be both and neither and more than the sum of their parts. Pluto is misguided not only in his morals, but in his aesthetics and his cheesecake; women are most beautiful when they’re whole, not when their cut into bits and used as catspaws of the patriarchy.
And, of course, at the finish, WW is riding a stallion and clutching the uber-phallus/triton, vanquishing the evil father and taking his place…and then kneeling in loving submission before the over-mother, who promises that rape has been vanquished…at least until you turn back to the first page to read it again.
Wiki Trek: “And the Children Shall Lead”
I like this episode okay. Melvin Belli, the celebrity lawyer, plays a space demon who takes over a bunch of kids. The kids use telepathy to take over the Enterprise, but then Kirk shows them a tape of the old days when they had parents, so the kids come back to normal and reject the demon. The story works okay and the children playing the possessed kids are nice.
Belli’s shower curtain. Mem Alpha says Walter Koenig was pissed because casting Belli meant that a working actor wouldn’t get the job. If I recall right, co-producer Robert Justman also objected. Belli seems okay in the role, but he comes to us thru a lot of studio tricks that make him blurry and fuck with his voice. His costume is a real crime, but I don’t think anyone got cheesed off about that.
Here is the translucent Belli (b. 1907 in Sonora, Calif.) wearing his Mother Hubbard/shower curtain:
Shatner’s musical director. The skinny redheaded kid who’s ringleader of the messed-up children. This guy (b. 1953, Minneapolis) has had the most extraordinary high-level schlock music career you can imagine. Mem Alpha doesn’t do it credit; you have to check Wiki.
He did a lot of tv acting and jazz combo-leading in his teens, took a couple of years to study “progressive, multi-dimensional philosophy with a number of important futurists,” then started the high-level Hollywood schlock music career.
How to say this? He became “the Music Director for William Shatner, appearing in many shows and concerts, and helping to create songs such as Rocket Man, and Lucy in the Sky with Diamonds.” Of course Shatner did his “Lucy in the Sky” in 1968, so the kid would have been just the age he in this episode. Maybe Shatner figured the kid had what it took.
Also, in the early ’80s the kid “began performing most of the synthesizers on a variety of Stevie Wonder albums, and later with Earth, Wind & Fire. This prolific era culminated with a half year project in which Huxley performed most of the keyboard work on Michael Jackson’s Thriller.” This career section largely is not schlock. But he also contributed bits to the scores of the first four Star Trek films, he produced the soundtrack of 2010, and he wrote and produced (or helped to) the music for Captain Eo.
Started the Enterprise Group (I guess the Star Trek connection was a good calling card with clients), which Billboard “named the #2 mixing studio in the US” in 2001.
All in all, that’s a lot.
Cute kids. Above, Felix’s little girl in the tv Odd Couple. What a cute little blond girl (b. 1959 in LA), now an animal rights activist who likes to go to Trek cons and sign autographs. She was quite good in “Children,” notably better than the skinny redheaded boy.
She did a lot of movie and tv work in the ’60s/’70s (“the original voice of Lucy Van Pelt in the Peanuts series of television films,” the lead girl’s voice in Charlotte’s Web, etc.), became a nurse, married a surgeon, and the two of them got into animal rights. IMDB lists 72 roles, starting with an ep of The Littlest Hobo in the early ’60s, ending with Christmas the Horse in Elf Sparkle Meets Christmas the Horse (2007). Around the time of her Trek episode she was doing Monkees, Green Acres, Custer, Gunsmoke, Mad Mad Scientist, Blondie (5 eps), an ep of The Flying Nun called “The Reconversion of Sister Shapiro” in which she played “Linda Shapiro.”
One and only. Above is a one-and-only appearance, and Mem Alpha doesn’t give his age. There’s a moment when Belli as space demon is giving the kids their instructions and this boy breaks into a grin. Not in line with the scene, but it was charming.
Career start. The guy below (b. 1959, LA) has done a ton of voice work and tv guest spots, including a Next Gen episode.”Children” was his first role.
Takashi from Revenge of the Nerds 1, 3 and 4. (James Cromwell was also in the listed films, which blows my mind). Also Police Academy 3 and 4. He was also a St. Elsewhere reg for one season, and the voice of Leonardo in Teenage Mutant Ninja Turtles 1, 2 and 3. Wiki says, “Of Asian ancestry, Tochi frequently plays characters who are Japanese, Chinese, or of other Asiatic origin, adopting the appropriate accent as needed.” IMDB lists 74 acting jobs, of which “Children” was the first, then a Brady Bunch, a Partridge Family, a Nanny and the Professor, 14 eps voicing a kid in The Amazing Chan and the Chan Clan, and so on to “Preacher” in I Do (2007).
Doesn’t like it. Melvin Belli’s kid, b. 1957. Made a face over some ice cream, if I recall. Role was also a one-time thing.
In the grip. Above is the hypnotized tech guy who mouths off to Scotty. Name was Lou Elias, did two other Trek episodes, both as guards. Mem Alpha: “Additional TV credits include Batman, Gunsmoke, M*A*S*H, Hill Street Blues, The Fall Guy, Knight Rider, and L.A. Law … performed stunts for films like Spartacus, True Grit, The Wild Bunch, The Longest Yard, Flashdance, and Dick Tracy.”
Jewish redshirt. The redshirt who was going to arrest Kirk. Dick Dial, b. 1931. In “The Apple,” left, he was the only Jewish redshirt I’ve heard about, Lieut. Kaplan.
Enigma. The episode’s mysteriously beautiful but wordless tech guy. He was Jay Jones and also worked as Doohan’s stunt double.
“To Serve Man.” The man below, no birth year, is listed as “Second Man in Line” for the Twilight Zone episode “To Serve Man,” the one about aliens who are really doing a cookbook. In “Children” he’s the lost colony’s leader who delivers a warning on tape. He looks a bit like Randy Quaid. IMDB lists 13 acting jobs, starting in 1950 as “Welsh Captain/Gardener” in a (I think) British tv version of Shakespeare’s Richard II, then over to the U.S. with Zone, then a few others. Did a Lucy Show (as “Airport Passenger”) and in 1968 a Mission: Impossible (as “Hotel Manager”), right after his Trek. The Trek part may have been his biggest on screen. Last credit is 1972.
Bound to Blog: Wonder Woman #15
As I said earlier in the week, Wonder Woman #14 was okay but not great. For this one, though, Marston and Peter are back to form, with a tale that starts right out with preposterous and just snowballs from there. You know you’re in for a ride when the coverpage features a tigeape….
And the splashpage features a flying fish with octopus tentacles being ridden by a knight.
So anyway, the story begins with a giant chunk of the planet Neptune falling to earth as a new continent. You’d think that such an apocalyptic event, probably heralding the end of life on earth as we know it, might be the basis for the entire comic that follows…but, nah, not really. Continents hitting the planet just cause a few buildings to shake; not a big deal really. Instead, the really cool adventure happens when we go to visit that new continent and discover that..well, see for yourself:
And furthermore:
You have to adore the way Diana looks all hunched up and startled when she falls into the water…and also the fish swimming by her as she changes to WW…and the purply swirls. Underwater scenes just really bring out some of Peter’s best work, I think because of the chance to do all the swirling patterns and lines…and the undersea creatures of course. What a perfectly beautiful page.
You’re probably wondering why on earth the ocean water has parted and formed giant walls. Have no fear, all is explained:
There are tons of pseudoscientific explanations just like that throughout this issue, and every one is a keeper. Where does Marston get this stuff? The man’s a genius, I tell you.
Anyway, no sooner has WW gotten the ship back afloat than the crew (including the Holiday Girls, who, as always, have come along on the dangerous military mission) are attacked by those octoflyingfish we saw on the splash page
WW and crew defeat the flying fish, which are controlled, as it turns out, by good looking guys from Neptune.
This is a lovely page, I think, by the by; I think it’s partially the color palette that gets me; all those oranges and yellow oranges. But I also like the way that it’s sparse but balanced. And, of course, the toothy flying fish floating off to the side at the bottom are pretty hysterical.
WW and company take the Neptunians back to their home continent (strangely undamaged by its trip through space,) and while chitchatting they discover why it is that the Neptunians are so mean and unpleasant:
I like the way Marston just has WW state flat out that men will just fight, fight, fight if there aren’t women around. And the Neptunian doesn’t even really contradict her; he just explains that there’s no war because most of the men are turned into robots. It’s moments like this that you realize that Marston never did have a moments doubt; there was never an instant where he thought, “You know, almost no one agrees with me…maybe it’s just not true that women should rule over men.” This was a guy who was very secure in his worldview.
Here’s another stellar page:
Again, there isn’t any one thing or panel in this page that leaps out at you, but it works as a lovely whole, with lots of active lines and a unified, pleasing color palette. The filigree in the background, much of it obscured by the word balloons, lends a subtle, baroque feel to the whole image. It’s pages like this that make me want to compare Peter to Winsor McCay; he’s not as explicit about it, but he really does, like McCay, seem to see the page as an aesthetic unit, and work with it as such. It’s not something that is done very often or very well, especially not in super-hero comics of this era.
Here’s another, maybe clearer example;
The net there is used as a design element; the mesh pattern flowing through the different panels gives a dynamic sense of movement and unity to the page. The spiraling and shifting pattern is emphasized by the simple tiered layout — which itself has a nice rhythm (long, short, short, long, long short.) I think Les Daniels said at some point that Peter had trouble with page design early in the WW run. If that was ever true (and I think there is something to it) it’s certainly not the case by this point.
All right; repressing the urge to just post every single page of this book now…they’re all pretty much amazing….repressing, repressing…okay, more or less successful. Let’s move on to another awesome pseudo-science explanation:
They turn men into machines by robbing them of salt, because salt is what gives you flavor, doncha know. But the best part is…it doesn’t work on women. And why not? Witness:
Again I ask…why isn’t DC taking these panels and printing them as posters, damn it?
The Neptunians are so terrified of women now that they make a pact with the U.S. offering to become a vassal state if the Americans will guarantee that no women can come onto the Neptunian continent. The U.S. agrees…and so to keep tabs on the devilish Neptunians, WW is forced…to wear drag. Of a sort. I’d wondered before if Marston ever provided examples of good-girl cross-dressing (he has several of his villainesses cross dress.) This issue has the closest we’ve gotten so far, as WW and the Holiday girls dress up as at least nominally male tigapes.
Not really conclusive, but maybe another datapoint to suggest that Marston didn’t seem to see cross-gender dressing as particularly or innately evil. And it’s certainly more evidence for the fact that he just found dressing up in general hot; the Tigeape costumes were first donned during a sorority hazing ritual, which is one of Marston’s favorite things. (HIs academic research involved sorority hazing rituals, so of course his interest was strictly scholarly. Of course.)
Also, add “furry” to Marston’s impressive list of kinks. Of course, furries weren’t even invented when WW was penned…but he Marston was a pioneer in this, as in many things….
The comic ends happily ever after when the Neptunians plot is foiled and the island is given over to women to govern.
If only our actual political leaders were that docile. Go forth, WW, and teach unto Dick Cheney the loving submission. Barack Obama too, just as long as I don’t have to read the slash.
Wiki Trek: “Enterprise Incident”
The Romulans have a woman commander, and she’s in charge in all, but she has to do the sort of dumb things a commander has to do in a bad tv script. The big thing: she romances Spock without knowing about the seven-year mating cycle. (WTF? Mem Alpha says this of D. C. Fontana’s first draft: “the first draft script describes Spock as ‘raining kisses on every square inch above the shoulder.’” Fontana wrote that? Apparently she went further and used a Trek novel to rejig the rules so that Vulcans didn’t become horny every seven years, they became fertile, which is bullshit. Spock in “Amok Time” does not behave like a man who is suddenly and painfully fertile.
To me D.C. Fontana will always be the woman who wrote “Journey to Babel,” the script that did the neatest job of getting drama and fun out of the three core series regulars. Disappointing to see her do this silly tap dance.)
The commander, b. 1928, Bakersfield, Calif. IMDB lists 74 parts. She did some movies, but mainly tv. Her credits go back to 1954 and Studio One, then the Kaiser Aluminum Hour, things like that. She and Shatner played husband and wife a few times. Wiki says her “many television credits include appearances in The Twilight Zone, COronado 9, The Eleventh Hour, Bus Stop, Hawaii Five-O, Dr. Kildare, Ben Casey, Kojak, I Spy, Bonanza, Felony Squad, Gunsmoke, The Streets of San Francisco, L.A. Law, Columbo, The Invaders, Alfred Hitchcock Presents, and Charlie’s Angels.”
… The Romulans have knit uniforms. That’s unexpected for a warrior race.
The number-two Romulan, b. 1928, LA. Wiki says he did “such shows as The Streets of San Francisco, Mannix, Kojak, The Man from U.N.C.L.E., and eleven episodes (the most by any guest star) of Mission: Impossible. … He founded Oxford Theater with fellow actor Lee Delano. Their students included Barry Levinson, Craig T. Nelson, Barbara Parkins, and Don Johnson. He now has a recurring role on General Hospital as Nikolas and Spencer Cassadine‘s butler Alfred.”
Romulan tech flunky, b. 1938.
The commander’s guards.
Unknown redshirt, goldshirt . Mem Alpha says they were also at Kirk’s funeral in “The Tholian Web.”
Two Romulan hostages. Notable for the shadowy glimpse of their plus-fours.
Wiki Trek: “Paradise Syndrome”
Kirk loses his memory and marries an Indian princess. Spock does his second mindmeld on Kirk in 3 episodes, by Mem Alpha’s count. The site also says:
- The obelisk was built especially for this episode.
- The lake featured in this episode is the Franklin Reservoir above Los Angeles. It has been featured in hundreds of westerns and police shows, but is most famous as the fishin’ hole in the opening credits for The Andy Griffith Show.
- Other than the street sword fight in “All Our Yesterdays“, this was the only episode with outdoor shooting in the entire third season.
- Uhura is not on the bridge in this episode, but stock footage from “And the Children Shall Lead” places her there for a moment.
- During the first attempt to deflect the asteroid a rare top shot of the Enterprise is shown.
A lousy episode unless you enjoy seeing Shatner making an ass of himself. It’s a ham display, and not the familiar, herky-jerky hamminess Shatner fell into when trying to goose a line. Here we see Shatner’s special mode, in which he would physically try to overwhelm whatever emotion he had to put across, bring his whole body into it. In this episode he has to convey Kirk’s deep happiness at being an Indian god and marrying the Indian princess in a beautiful forest, so he squeezes his eyes shut and swings his arms wide while swiveling. He puts a lot of force into the squeezing and beaming; I think his face goes red. The moment isn’t so much fake as unreal. A fine distinction, of course, but watching him you don’t feel like Shatner is trying to shortcut his way to his goal. He’s just deeply misguided. Very few people could make such a mistake and then pursue it at such white heat.
The Indian princess is played by Sabrina Scharf. “Born Sandra Mae Trentman in Delphos, Ohio,” per Mem Alpha, and IMDB says she was a bunny at the Playboy Club in NYC. No birth year.
The old chief.
“Blind Man,” “Soothsayer,” “King Chandra,” “Chief Xolic,” “Gaunt Man.” He was in the Night Gallery pilot. Mem Alpha says, “He was often cast in the role of a Native American, and as such, made guest appearances on seveal television Westerns, including Bonanza, Cheyenne, Gunsmoke, Rawhide, and Wagon Train. He has also appeared in several episodes of Perry Mason.”
… There’s a movie called The Explosive Generation, from 1961, William Shatner as a sex ed teacher with a turbulent classroom. Tag: “They look like kids — but they want love like adults!” Trailer here, though Shatner just sticks his hands in his jacket pockets and registers concern.