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merged with Acting For Two
* ActingForTwo: [[InvokedTrope Invoked]] by Data, who inserts himself into the show as several minor characters, including Khan's right-hand man Joachim, Scotty's nephew Peter Preston, and Kirk's son David.
Deleted line(s) 33 (click to see context) :
* LoadsAndLoadsOfRoles: [[InvokedTrope Invoked]] by Data, who inserts himself into the show as several minor characters, including Khan's right-hand man Joachim, Scotty's nephew Peter Preston, and Kirk's son David.
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Changed line(s) 16 (click to see context) from:
** Bones's anti-human prejudice is dialed up to 11 and Scotty's love for the Enterprise goes beyond romantic into sexual.
to:
** Bones's anti-human anti-alien prejudice is dialed up to 11 and Scotty's love for the Enterprise goes beyond romantic into sexual.
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The Musical has been in development since 2015 and had a 5-week run Off-Broadway in the spring of 2023.
to:
The Musical musical has been in development since 2015 and had a 5-week run Off-Broadway at the Players' Theatre off-Broadway in the spring of 2023.
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Changed line(s) 14 (click to see context) from:
* AdaptationPersonalityChange: Some characters are very different from the source material. Khan is described by Data as being "simply fabulous," and Saavik is a half-Vulcan/"half-[[TheIngenue ingenue]]" who comprises a handful of musical theatre tropes in her own right.
to:
* AdaptationPersonalityChange: Some Since they are all holograms programmed by an android, the characters are very different from exaggerated versions of themselves.
** Kirk and Spock are much more openly affectionate with each other.
** Bones's anti-human prejudice is dialed up to 11 and Scotty's love for thesource material. Enterprise goes beyond romantic into sexual.
** Sulu acts much more like the real-life Creator/GeorgeTakei, and he and Uhura are both annoyed with their thankless work as background characters.
** Khan is described by Data as being "simply fabulous," and is played as an {{Expy}} of [[Film/TheRockyHorrorPictureShow Dr. Frank-N-Furter]].
** Saavik is a half-Vulcan/"half-[[TheIngenue ingenue]]" who comprises a handful of musical theatre tropes in her ownright.right.
** David Marcus is played with an [[LargeHam over-the-top Shatner impression]] to drive home his resemblance to Kirk.
** Peter Preston, whose relation to Scotty was only revealed in a deleted scene, is a clingy Cockney-accented twerp who won't leave his uncle alone.
** Kirk and Spock are much more openly affectionate with each other.
** Bones's anti-human prejudice is dialed up to 11 and Scotty's love for the
** Sulu acts much more like the real-life Creator/GeorgeTakei, and he and Uhura are both annoyed with their thankless work as background characters.
** Khan is described by Data as being "simply fabulous," and is played as an {{Expy}} of [[Film/TheRockyHorrorPictureShow Dr. Frank-N-Furter]].
** Saavik is a half-Vulcan/"half-[[TheIngenue ingenue]]" who comprises a handful of musical theatre tropes in her own
** David Marcus is played with an [[LargeHam over-the-top Shatner impression]] to drive home his resemblance to Kirk.
** Peter Preston, whose relation to Scotty was only revealed in a deleted scene, is a clingy Cockney-accented twerp who won't leave his uncle alone.
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* AffectionateParody: The tone of the parody is clearly a love letter to Star Trek as well as a roast.
* AllMusicalsAreAdaptations: It is a Parody Musical of Star Trek II: The Wrath of Khan.
* AllMusicalsAreAdaptations: It is a Parody Musical of Star Trek II: The Wrath of Khan.
to:
* AffectionateParody: The tone of the parody is clearly both a love letter and a roast to Star Trek as well as a roast.
the Franchise/StarTrek franchise and [[TheMusical musical theatre tropes]].
* AllMusicalsAreAdaptations:It Of Film/StarTrekIITheWrathOfKhan. InUniverse, the musical is a Parody Musical an adaptation of Star Trek II: The Wrath of Khan.historical events that takes occasional liberties with details.
* AllMusicalsAreAdaptations:
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Changed line(s) 3,4 (click to see context) from:
In the year 2366, [[Series/StarTrekTheNextGeneration Lieutenant Commander Data]] of the Enterprise-D is writing a holodeck musical based on the [[Film/StarTrekIITheWrathOfKhan deadly battle]] between James T. Kirk and Khan Noonien Singh. Over the course of the evening, Data shows a holographic audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
to:
In the year 2366, [[Series/StarTrekTheNextGeneration Lieutenant Commander Data]] of the Enterprise-D is writing a [[ShowWithinAShow holodeck musical musical]] based on the [[Film/StarTrekIITheWrathOfKhan deadly battle]] between James T. Kirk and Khan Noonien Singh. Over the course of the evening, Data shows a holographic audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
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Changed line(s) 26 (click to see context) from:
* LoadsAndLoadsOfRoles: [[InvokedTrope Invoked]] by Data, who inserts himself into the show as several minor characters, including the Kobayashi Maru's captain, Khan's right-hand man Joachim, and Kirk's son David.
to:
* LoadsAndLoadsOfRoles: [[InvokedTrope Invoked]] by Data, who inserts himself into the show as several minor characters, including the Kobayashi Maru's captain, Khan's right-hand man Joachim, Scotty's nephew Peter Preston, and Kirk's son David.
Changed line(s) 39 (click to see context) from:
* TragicBromance: Kirk and Spock's "bromantic" friendship is established throughout the show, and Spock later sacrifices himself to save Kirk and the Enterprise.
to:
* TragicBromance: Kirk and Spock's "bromantic" friendship is established throughout the show, and Spock later sacrifices himself to save Kirk and the Enterprise.Enterprise.
* WellDoneSonGuy: Peter Preston craves his Uncle Scotty's praise, so when Scotty tells him not to leave his post (as bathroom attendant) for any reason, he doesn't...leading to his death when the ''Reliant'' attacks.
* WellDoneSonGuy: Peter Preston craves his Uncle Scotty's praise, so when Scotty tells him not to leave his post (as bathroom attendant) for any reason, he doesn't...leading to his death when the ''Reliant'' attacks.
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None
Changed line(s) 19 (click to see context) from:
* ArtisticLicenseHistory: InUniverse. Data explains that his adaptation of Kirk's battle with Khan isn't 100% accurate, but notes that [[Theatre/{{Hamilton}} it worked]] for [[RidiculouslySuccessfulFutureSelf former President]] Creator/LinManuelMiranda.
to:
* ArtisticLicenseHistory: InUniverse. Data explains that his adaptation of Kirk's battle with Khan isn't 100% accurate, but notes that such inaccuracies [[Theatre/{{Hamilton}} it worked]] worked very well]] for [[RidiculouslySuccessfulFutureSelf former President]] Creator/LinManuelMiranda.
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Changed line(s) 11 (click to see context) from:
* AdaptationalExplanation: Data and other characters wonder why Kirk did the iconic "Khan!!!" yell if he wasn't actually as upset as he seemed; in this version, Kirk says he wanted to convince Khan that he had won. It also explores more of Kirk's inner insecurities, including his frequent dreams in which he's much younger and still commanding the Enterprise.
to:
* AdaptationalExplanation: Data and has the other characters wonder why why, if Kirk knew he would be saved shortly, he did the iconic "Khan!!!" yell if he wasn't actually as upset as he seemed; yell; in this version, Kirk says he wanted to convince Khan that he had won.won but didn't tell anyone. It also explores more of Kirk's inner insecurities, including his frequent dreams in which he's much younger and still commanding the Enterprise.
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Changed line(s) 35 (click to see context) from:
* SongParody: Many of the songs in the show, particularly in the first half, are directly commenting on preexisting musical theatre songs, such as "The Hyperchannel Rag" borrowing the feel and concept of "We Both Reached for the Gun" from ''{{Theatre/Chicago}}'', and "My Wrath" sending up "Sweet Transvestite" from ''[[Film/TheRockyHorrorPictureShow]]''. As the show goes on, Data tweaks the algorithm so the references become less blatant, which he believes is how all composers work.
to:
* SongParody: Many of the songs in the show, particularly in the first half, are directly commenting on preexisting musical theatre songs, such as "The Hyperchannel Rag" borrowing the feel and concept of "We Both Reached for the Gun" from ''{{Theatre/Chicago}}'', and "My Wrath" sending up "Sweet Transvestite" from ''[[Film/TheRockyHorrorPictureShow]]''.''Film/TheRockyHorrorPictureShow''. As the show goes on, Data tweaks the algorithm so the references become less blatant, which he believes is how all composers work.
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None
Changed line(s) 1,2 (click to see context) from:
''Khan!!! The Musical!'' is a parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by [[Music/{{Brentalfloss}} Brent Black]], known for his Youtube "With Lyrics" series. The idea was co-conceptualized by Alina Morgan. Taking place during the ''Series/StarTrekTheNextGeneration'' era, the show sees Lieutenant Commander Data writing a musical based on the events of ''Film/StarTrekIITheWrathOfKhan''. Over the course of the evening, Data shows a virtual AI audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
to:
''Khan!!! The Musical!'' is a parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by [[Music/{{Brentalfloss}} Brent Black]], known for his Youtube "With Lyrics" series. The idea was co-conceptualized by Alina Morgan. Taking place during Morgan.
In the''Series/StarTrekTheNextGeneration'' era, the show sees year 2366, [[Series/StarTrekTheNextGeneration Lieutenant Commander Data Data]] of the Enterprise-D is writing a holodeck musical based on the events of ''Film/StarTrekIITheWrathOfKhan''. [[Film/StarTrekIITheWrathOfKhan deadly battle]] between James T. Kirk and Khan Noonien Singh. Over the course of the evening, Data shows a virtual AI holographic audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
In the
Changed line(s) 12 (click to see context) from:
* AdaptationPersonalityChange: Some characters are very different from the source material. Khan is described by Data as being "simply fabulous," and Saavik is a half-Vulcan/"half-ingenue" who comprises a handful of musical theatre tropes in her own right.
to:
* AdaptationPersonalityChange: Some characters are very different from the source material. Khan is described by Data as being "simply fabulous," and Saavik is a half-Vulcan/"half-ingenue" half-Vulcan/"half-[[TheIngenue ingenue]]" who comprises a handful of musical theatre tropes in her own right.
Added DiffLines:
* LargeHam: Kirk is played with a fairly subtle impression of Creator/WilliamShatner, while David is played with the type of [[BadBadActing incredibly over-the-top]] impression most people do of Shatner. Data also becomes one when he activates his "entertainment sub-routine."
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None
Changed line(s) 1,2 (click to see context) from:
''Khan!!! The Musical!'' is a parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by [[Youtube/{{Brentalfloss}} Brent Black]], known for his Youtube "With Lyrics" series. The idea was co-conceptualized by Alina Morgan. Taking place during the ''Series/StarTrekTheNextGeneration'' era, the show sees Lieutenant Commander Data writing a musical based on the events of ''Film/StarTrekIITheWrathOfKhan''. Over the course of the evening, Data shows a virtual AI audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
to:
''Khan!!! The Musical!'' is a parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by [[Youtube/{{Brentalfloss}} [[Music/{{Brentalfloss}} Brent Black]], known for his Youtube "With Lyrics" series. The idea was co-conceptualized by Alina Morgan. Taking place during the ''Series/StarTrekTheNextGeneration'' era, the show sees Lieutenant Commander Data writing a musical based on the events of ''Film/StarTrekIITheWrathOfKhan''. Over the course of the evening, Data shows a virtual AI audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
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None
Changed line(s) 1,2 (click to see context) from:
''Khan!!! The Musical!'' is a parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by Youtube/{{Brentalfloss}}Brent Black, known for his Youtube "With Lyrics" series. The idea was co-conceptualized by Alina Morgan. Taking place during the ''Series/StarTrekTheNextGeneration'' era, the show sees Lieutenant Commander Data writing a musical based on the events of ''Film/StarTrekIITheWrathOfKhan''. Over the course of the evening, Data shows a virtual AI audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
to:
''Khan!!! The Musical!'' is a parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by Youtube/{{Brentalfloss}}Brent Black, [[Youtube/{{Brentalfloss}} Brent Black]], known for his Youtube "With Lyrics" series. The idea was co-conceptualized by Alina Morgan. Taking place during the ''Series/StarTrekTheNextGeneration'' era, the show sees Lieutenant Commander Data writing a musical based on the events of ''Film/StarTrekIITheWrathOfKhan''. Over the course of the evening, Data shows a virtual AI audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
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None
Changed line(s) 1,2 (click to see context) from:
''Khan!!! The Musical!'' is a parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by Brent Black, known for his Youtube "With Lyrics" series. The idea was co-conceptualized by Alina Morgan. Taking place during the ''Series/StarTrekTheNextGeneration'' era, the show sees Lieutenant Commander Data writing a musical based on the events of ''Film/StarTrekIITheWrathOfKhan''. Over the course of the evening, Data shows a virtual AI audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
to:
''Khan!!! The Musical!'' is a parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by Brent Youtube/{{Brentalfloss}}Brent Black, known for his Youtube "With Lyrics" series. The idea was co-conceptualized by Alina Morgan. Taking place during the ''Series/StarTrekTheNextGeneration'' era, the show sees Lieutenant Commander Data writing a musical based on the events of ''Film/StarTrekIITheWrathOfKhan''. Over the course of the evening, Data shows a virtual AI audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Spock.
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None
* AdaptationNameChange: Captain Terrell is referred to exclusively as "Commander RedShirt."
* ArtisticLicenseHistory: InUniverse. Data explains that his adaptation of Kirk's battle with Khan isn't 100% accurate, but notes that [[Theatre/{{Hamilton}} it worked]] for [[RidiculouslySuccessfulFutureSelf former President]] Creator/LinManuelMiranda.
* FantasticRacism: As always, Bones makes snarky comments about Spock being Vulcan, but here is called out by others as being "space-ist," as is Kirk for calling Spock's soul "the most human."
* LoadsAndLoadsOfRoles: [[InvokedTrope Invoked]] by Data, who inserts himself into the show as several minor characters, including the Kobayashi Maru's captain, Khan's right-hand man Joachim, and Kirk's son David.
* LoadsAndLoadsOfRoles: [[InvokedTrope Invoked]] by Data, who inserts himself into the show as several minor characters, including the Kobayashi Maru's captain, Khan's right-hand man Joachim, and Kirk's son David.
Changed line(s) 22 (click to see context) from:
** RobosexualsAreCreeps: When Data asks Picard about this during one of the scene transitions, the captain wearily says that Captain Scott was a "very special man" and Federation law has [[FantasticLegalWeirdness outlawed marrying a starship]] for a reason.
to:
* RobosexualsAreCreeps: Scotty's love for the Enterprise is very blatantly sexual. When Data asks Picard about this during one of the scene transitions, the captain wearily says that Captain Scott was a "very special man" and Federation law has [[FantasticLegalWeirdness outlawed marrying a starship]] for a reason.
* ShoutOut: To numerous episodes and films in the ''Star Trek'' franchise, and to dozens of musicals.
** During Kirk and Khan's showdown, they sing a counterpoint duet reminiscent of "Confrontation" from ''Theatre/LesMiserables'', Kirk at one point even singing the lyrics "I am warning you, Javert!"
** During Kirk and Khan's showdown, they sing a counterpoint duet reminiscent of "Confrontation" from ''Theatre/LesMiserables'', Kirk at one point even singing the lyrics "I am warning you, Javert!"
Changed line(s) 25 (click to see context) from:
* SongParody: Many of the songs in the show are directly commenting on preexisting musical theatre songs, such as "The Hyperchannel Rag" borrowing the feel and concept of "We Both Reached for the Gun" from ''{{Theatre/Chicago}}''.
to:
* SongParody: Many of the songs in the show show, particularly in the first half, are directly commenting on preexisting musical theatre songs, such as "The Hyperchannel Rag" borrowing the feel and concept of "We Both Reached for the Gun" from ''{{Theatre/Chicago}}''.''{{Theatre/Chicago}}'', and "My Wrath" sending up "Sweet Transvestite" from ''[[Film/TheRockyHorrorPictureShow]]''. As the show goes on, Data tweaks the algorithm so the references become less blatant, which he believes is how all composers work.
Changed line(s) 29 (click to see context) from:
* TragicBromance: Kirk and Spock's "bromatic" friendship is established throughout the show, and Spock later sacrifices himself to save Kirk and the Enterprise.
to:
* TragicBromance: Kirk and Spock's "bromatic" "bromantic" friendship is established throughout the show, and Spock later sacrifices himself to save Kirk and the Enterprise.
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None
Changed line(s) 16 (click to see context) from:
* ComedicWorkSeriousScene: Spock's death scene is treated with relative reverence and sincerity.
to:
* ComedicWorkSeriousScene: Spock's death and funeral scene is treated with relative reverence and sincerity.sincerity, though since such a DownerEnding wouldn't work in a musical, it's undercut by a comic recap of the next four films with a particular emphasis on [[Film/StarTrekIVTheVoyageHome the one where they saved the whales]].
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Several lines and lyrics were misquoted, and moments were slightly misrepresented (I'm the writer of the show, btw).
Changed line(s) 3 (click to see context) from:
The Musical has been in development since 2015 and an Off-Broadway production is planned for the spring of 2023.
to:
The Musical has been in development since 2015 and an had a 5-week run Off-Broadway production is planned for in the spring of 2023.
Changed line(s) 8 (click to see context) from:
* AbsurdlyHighStakesGame: The battle in the Mutara Nebula, where neither ship has working sensors or shields, is portrayed as a game of {{TabletopGame/Battleship}}, complete with guesses worked into the lyrics (of the song [[ShapedLikeItself “Battleship”]].) When Kirk starts using the third dimension, Spock takes the 2D Enterprise off the grid and starts waving around a 3D toy of it as Kirk shouts [[ConfusionFu nonsense coordinates.]]
to:
* AbsurdlyHighStakesGame: The battle in the Mutara Nebula, where neither ship has working sensors or shields, is portrayed as a game of {{TabletopGame/Battleship}}, complete with guesses worked into the lyrics (of the song [[ShapedLikeItself “Battleship”]].) When Kirk starts using the third dimension, Spock takes the The 2D Enterprise off on the Battleship grid and starts waving around is replaced by a 3D toy of it model moving around in all directions as Kirk shouts [[ConfusionFu nonsense coordinates.]]
Changed line(s) 11,13 (click to see context) from:
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is described as Data as being more "fabulous," and Saavik is a half-Vulcan/"half-ingenue" who comprises a handful of musical theatre tropes in her own right.
* AdaptedOut: Many moments from the film are adapted out, such as the scene where Kirk takes an away party to Regula One space station.
* AffectionateNickname: Kirk and Spock regularly call each other “Frosty Cheeks” and “Jim-Jam.”
* AdaptedOut: Many moments from the film are adapted out, such as the scene where Kirk takes an away party to Regula One space station.
* AffectionateNickname: Kirk and Spock regularly call each other “Frosty Cheeks” and “Jim-Jam.”
to:
* AdaptationPersonalityChange: Due to the show's parody use, the Some characters are very different from the source material. Khan is described as by Data as being more "fabulous," "simply fabulous," and Saavik is a half-Vulcan/"half-ingenue" who comprises a handful of musical theatre tropes in her own right.
* AdaptedOut: Many moments from the film are adapted out, such as the scene where Kirk takes an away party to the Regula One space station.
* AffectionateNickname: Kirk and Spock regularly call each other “FrostyCheeks” Buns” and “Jim-Jam.”
* AdaptedOut: Many moments from the film are adapted out, such as the scene where Kirk takes an away party to the Regula One space station.
* AffectionateNickname: Kirk and Spock regularly call each other “Frosty
Changed line(s) 18,20 (click to see context) from:
* CreatorCareerSelfDeprecation: After several parody songs that, in Data’s words, “border on obvious, blatant theft,” he decides to blend his musical inspiration more finely, so that “the theft, while still blatant, may be less obvious.” He then declares “I believe I have become a composer.”
* ExperiencedProtagonist: Kirk is already Admiral by time the show starts, having spent years as Starship captain before finally being promoted.
* {{Foil}}: David and Kirk. In this adaptation, David (Kirk's son) leans heavily into a William Shatner impression while Kirk plays it more subdued.
* ExperiencedProtagonist: Kirk is already Admiral by time the show starts, having spent years as Starship captain before finally being promoted.
* {{Foil}}: David and Kirk. In this adaptation, David (Kirk's son) leans heavily into a William Shatner impression while Kirk plays it more subdued.
to:
* CreatorCareerSelfDeprecation: After several parody songs that, in Data’s words, “border border on obvious, blatant "blatant theft,” he decides to blend his musical inspiration use of preexisting songs more finely, so that “the theft, while still blatant, may blatant" will be less obvious."less noticeable.” He then declares “I believe I have become a composer.”
* ExperiencedProtagonist: Kirk is already an Admiral by time the show starts, having spent years as Starship captain before finally beingpromoted.
* {{Foil}}: David and Kirk. In this adaptation, David (Kirk's son) leans heavily into a William Shatner impression while Kirk plays it more subdued.promoted.
* ExperiencedProtagonist: Kirk is already an Admiral by time the show starts, having spent years as Starship captain before finally being
* {{Foil}}: David and Kirk. In this adaptation, David (Kirk's son) leans heavily into a William Shatner impression while Kirk plays it more subdued.
Changed line(s) 22,25 (click to see context) from:
* PeoplePuppets: During “The Hyperchannel Rag,” Chekov’s Ceti eel-induced suggestibility is represented by Khan sticking a hand up his shirt and working him like a ventriloquist’s dummy.
* {{Robosexual}}: Scotty proudly proclaims that he’s had relations with the ''Enterprise''.
** RobosexualsAreCreeps: When Data asks Picard about this during one of the scene transitions, the captain wearily says that Captain Scott was a… unique individual, and Federation law has [[FantasticLegalWeirdness outlawed marrying a starship]] for a reason.
* ShockAndSwitchEnding: The show ends with Spock’s largely solemn funeral… [[spoiler:but with some encouragement from Picard, Data shows the last number, which he originally cut from the show for being “too much.” It’s a deliriously cheery number summarizing Star Trek III and IV.]]
* {{Robosexual}}: Scotty proudly proclaims that he’s had relations with the ''Enterprise''.
** RobosexualsAreCreeps: When Data asks Picard about this during one of the scene transitions, the captain wearily says that Captain Scott was a… unique individual, and Federation law has [[FantasticLegalWeirdness outlawed marrying a starship]] for a reason.
* ShockAndSwitchEnding: The show ends with Spock’s largely solemn funeral… [[spoiler:but with some encouragement from Picard, Data shows the last number, which he originally cut from the show for being “too much.” It’s a deliriously cheery number summarizing Star Trek III and IV.]]
to:
* PeoplePuppets: During “The Hyperchannel Rag,” Chekov’s Ceti eel-induced suggestibility is represented by Khan sticking a hand up his shirt and working operating him like a ventriloquist’s dummy.
* {{Robosexual}}: Scotty proudly proclaims that he’s had relations with the ''Enterprise''.
** RobosexualsAreCreeps: When Data asks Picard about this during one of the scene transitions, the captain wearily says that Captain Scott was a… unique individual, a "very special man" and Federation law has [[FantasticLegalWeirdness outlawed marrying a starship]] for a reason.
* ShockAndSwitchEnding: The show ends with Spock’s largely solemn funeral… [[spoiler:but with some encouragement from Picard, Data shows the last number, which heoriginally had previously cut from the his show for being “too much.” It’s a deliriously cheery number summarizing that touches on the plots of Star Trek films III and IV.through VI.]]
* ShockAndSwitchEnding: The show ends with Spock’s largely solemn funeral… [[spoiler:but with some encouragement from Picard, Data shows the last number, which he
Is there an issue? Send a MessageReason:
Saw it yesterday, made some additions.
* AbsurdlyHighStakesGame: The battle in the Mutara Nebula, where neither ship has working sensors or shields, is portrayed as a game of {{TabletopGame/Battleship}}, complete with guesses worked into the lyrics (of the song [[ShapedLikeItself “Battleship”]].) When Kirk starts using the third dimension, Spock takes the 2D Enterprise off the grid and starts waving around a 3D toy of it as Kirk shouts [[ConfusionFu nonsense coordinates.]]
* AffectionateNickname: Kirk and Spock regularly call each other “Frosty Cheeks” and “Jim-Jam.”
* CreatorCareerSelfDeprecation: After several parody songs that, in Data’s words, “border on obvious, blatant theft,” he decides to blend his musical inspiration more finely, so that “the theft, while still blatant, may be less obvious.” He then declares “I believe I have become a composer.”
* PeoplePuppets: During “The Hyperchannel Rag,” Chekov’s Ceti eel-induced suggestibility is represented by Khan sticking a hand up his shirt and working him like a ventriloquist’s dummy.
* {{Robosexual}}: Scotty proudly proclaims that he’s had relations with the ''Enterprise''.
** RobosexualsAreCreeps: When Data asks Picard about this during one of the scene transitions, the captain wearily says that Captain Scott was a… unique individual, and Federation law has [[FantasticLegalWeirdness outlawed marrying a starship]] for a reason.
* ShockAndSwitchEnding: The show ends with Spock’s largely solemn funeral… [[spoiler:but with some encouragement from Picard, Data shows the last number, which he originally cut from the show for being “too much.” It’s a deliriously cheery number summarizing Star Trek III and IV.]]
* {{Robosexual}}: Scotty proudly proclaims that he’s had relations with the ''Enterprise''.
** RobosexualsAreCreeps: When Data asks Picard about this during one of the scene transitions, the captain wearily says that Captain Scott was a… unique individual, and Federation law has [[FantasticLegalWeirdness outlawed marrying a starship]] for a reason.
* ShockAndSwitchEnding: The show ends with Spock’s largely solemn funeral… [[spoiler:but with some encouragement from Picard, Data shows the last number, which he originally cut from the show for being “too much.” It’s a deliriously cheery number summarizing Star Trek III and IV.]]
Changed line(s) 20 (click to see context) from:
* SongParody: Many of the songs in the show are directly commenting on preexisting musical theatre songs, such as "The Hyperchannel Rag" borrowing the feel and concept of "We Both Reached for the Gun" from ''Theatre/Chicago''.
to:
* SongParody: Many of the songs in the show are directly commenting on preexisting musical theatre songs, such as "The Hyperchannel Rag" borrowing the feel and concept of "We Both Reached for the Gun" from ''Theatre/Chicago''.''{{Theatre/Chicago}}''.
* SoundEffectBleep: Jamming-induced interference makes Carol’s angry rant at Kirk technically family-friendly.
* SoundEffectBleep: Jamming-induced interference makes Carol’s angry rant at Kirk technically family-friendly.
Changed line(s) 22 (click to see context) from:
* Technobabble: The show makes great use of Star Trek-style technical jargon, including at one point Scotty using "Technobabble" as a unit of measurement ("The hyper-radiation's clocking in at over 50 technobabbles!")
to:
* Technobabble: {{Technobabble}}: The show makes great use of Star Trek-style technical jargon, including at one point Scotty using "Technobabble" as a unit of measurement ("The hyper-radiation's clocking in at over 50 technobabbles!")
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trope cut
Deleted line(s) 16 (click to see context) :
* ExcitedShowTitle
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Fixing "Technobabble" trope formatting
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* Technobabble: The show makes great use of Star Trek-style technical jargon, including at one point Scotty using Technobabble as a unit of measurement ("The hyper-radiation's clocking in at over 50 technobabbles!")
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* Technobabble: The show makes great use of Star Trek-style technical jargon, including at one point Scotty using Technobabble "Technobabble" as a unit of measurement ("The hyper-radiation's clocking in at over 50 technobabbles!")
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Cutting no-longer-correct tropes and adding additional ones that reflect the latest version of this show.
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* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is perhaps one of the biggest examples, becoming much more akin to Frank-N-Furter from ''Film/TheRockyHorrorPictureShow''.
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* AdaptationalExplanation: Data and other characters wonder why Kirk did the iconic "Khan!!!" yell if he wasn't actually as upset as he seemed; in this version, Kirk says he wanted to convince Khan that he had won. It also explores more of Kirk's inner insecurities, including his frequent dreams in which he's much younger and still commanding the Enterprise.
* AdaptationExplanationExtrication: Instead of explaining why the planet Ceti Alpha V became a barren wasteland, Khan simply tells Chekov "long story."
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan isperhaps one described as Data as being more "fabulous," and Saavik is a half-Vulcan/"half-ingenue" who comprises a handful of musical theatre tropes in her own right.
* AdaptedOut: Many moments from the film are adapted out, such as the scene where Kirk takes an away party to Regula One space station.
* AffectionateParody: The tone of thebiggest examples, becoming much more akin parody is clearly a love letter to Frank-N-Furter from ''Film/TheRockyHorrorPictureShow''.Star Trek as well as a roast.
* AdaptationExplanationExtrication: Instead of explaining why the planet Ceti Alpha V became a barren wasteland, Khan simply tells Chekov "long story."
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is
* AdaptedOut: Many moments from the film are adapted out, such as the scene where Kirk takes an away party to Regula One space station.
* AffectionateParody: The tone of the
* ComedicWorkSeriousScene: Spock's death scene is treated with relative reverence and sincerity.
* ExcitedShowTitle
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* {{Foil}}: David and Kirk. In this adaptation, David (Kirk's son) leans heavily into a William Shatner impression while Kirk plays it more subdued.
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* {{Foil}}: David and Kirk. In this adaptation, David (Kirk's son) leans heavily into a William Shatner impression while Kirk plays it more subdued.subdued.
* LongLostRelative: David doesn't realize he talks exactly like Kirk, and then later meets him and realizes Kirk is his father.
* ShowWithinAShow: The musical itself is a show that Data is presenting inside the show actual audiences are watching.
* SongParody: Many of the songs in the show are directly commenting on preexisting musical theatre songs, such as "The Hyperchannel Rag" borrowing the feel and concept of "We Both Reached for the Gun" from ''Theatre/Chicago''.
* SpockSpeak: Both Data and Spock speak in dispassionate and precise ways.
* Technobabble: The show makes great use of Star Trek-style technical jargon, including at one point Scotty using Technobabble as a unit of measurement ("The hyper-radiation's clocking in at over 50 technobabbles!")
* TragicBromance: Kirk and Spock's "bromatic" friendship is established throughout the show, and Spock later sacrifices himself to save Kirk and the Enterprise.
* LongLostRelative: David doesn't realize he talks exactly like Kirk, and then later meets him and realizes Kirk is his father.
* ShowWithinAShow: The musical itself is a show that Data is presenting inside the show actual audiences are watching.
* SongParody: Many of the songs in the show are directly commenting on preexisting musical theatre songs, such as "The Hyperchannel Rag" borrowing the feel and concept of "We Both Reached for the Gun" from ''Theatre/Chicago''.
* SpockSpeak: Both Data and Spock speak in dispassionate and precise ways.
* Technobabble: The show makes great use of Star Trek-style technical jargon, including at one point Scotty using Technobabble as a unit of measurement ("The hyper-radiation's clocking in at over 50 technobabbles!")
* TragicBromance: Kirk and Spock's "bromatic" friendship is established throughout the show, and Spock later sacrifices himself to save Kirk and the Enterprise.
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The show (which is still in development) has changed a lot since the original version of this article was written, and its co-conceiver has changed her name and gender presentation.
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''Khan!!! The Musical!!!'' is a Parody Fan-Musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by Brent Black, famous for his For Lyrics series. The idea was co-conceptualized by Danny Roth. Taking place during Star Trek: The Next Generation, the show sees Lieutenant Commander Data attempting to put on a Holodeck 'Earth Broadway' based on James Kirk's most impressive adventure to impress the Ambassador for the Kablooiens. After it turns out to be a poorly-written mess, he and Jean-Luc Picard must rework the show into something that may actually save the galaxy.
The Musical has currently had workshops in Cincinatti and New York, with a live reading done at the Philadelphia Fringe Festival. A Full Staged New York City Performance is currently planned
The Musical has currently had workshops in Cincinatti and New York, with a live reading done at the Philadelphia Fringe Festival. A Full Staged New York City Performance is currently planned
to:
''Khan!!! The Musical!!!'' Musical!'' is a Parody Fan-Musical parody musical based on ''Film/StarTrekIITheWrathOfKhan''. It is written by Brent Black, famous known for his For Lyrics Youtube "With Lyrics" series. The idea was co-conceptualized by Danny Roth. Alina Morgan. Taking place during Star Trek: The Next Generation, the ''Series/StarTrekTheNextGeneration'' era, the show sees Lieutenant Commander Data attempting to put on writing a Holodeck 'Earth Broadway' musical based on James Kirk's most impressive adventure to impress the Ambassador for events of ''Film/StarTrekIITheWrathOfKhan''. Over the Kablooiens. After it turns out to be course of the evening, Data shows a poorly-written mess, he virtual AI audience his latest draft, while casting himself in a variety of roles alongside classic Star Trek heroes like Kirk and Jean-Luc Picard must rework the show into something that may actually save the galaxy.
Spock.
The Musical hascurrently had workshops been in Cincinatti development since 2015 and New York, with a live reading done at an Off-Broadway production is planned for the Philadelphia Fringe Festival. A Full Staged New York City Performance is currently plannedspring of 2023.
The Musical has
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!! Khan the Musical contains examples of:
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is perhaps one of the biggest examples becoming more jealous and angry, drawing comparisons to Scar and The Joker.
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is perhaps one of the biggest examples becoming more jealous and angry, drawing comparisons to Scar and The Joker.
to:
!! Khan Khan!!! the Musical Musical! contains examples of:
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is perhaps one of the biggestexamples examples, becoming much more jealous and angry, drawing comparisons akin to Scar and The Joker.Frank-N-Furter from ''Film/TheRockyHorrorPictureShow''.
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is perhaps one of the biggest
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* AllegoryAdventure: As in the original source material, the show draws many parallels to Moby Dick.
* BigBad: Khan. He even leans into it, referring to himself as the villain.
* CouldHaveAvoidedThisPlot: In 'Finale', the cast point out many problems and plot holes in story, including situations which could have been easily avoided.
* EstablishingCharacterMusic: Kirk's big character song 'Young', leans heavily into the Austin Powers
* BigBad: Khan. He even leans into it, referring to himself as the villain.
* CouldHaveAvoidedThisPlot: In 'Finale', the cast point out many problems and plot holes in story, including situations which could have been easily avoided.
* EstablishingCharacterMusic: Kirk's big character song 'Young', leans heavily into the Austin Powers
to:
* BigBad: Khan. He even leans into it, referring to himself as the villain.
* EstablishingCharacterMusic: Kirk's big character song 'Young', leans heavily into the Austin Powers
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* {{Foil}}: David and Kirk. In this adaptation, David leans heavily into a William Shatner impression while Kirk plays it more subdued. This doesn't mean either never lightens or leans on the impression, but the lines are clear.
* ICantDoThisByMyself: Kirk tries to convince the crew of the Enterprise to follow him into the nearby Nebula so they can face Khan. He does this entirely in the song 'We Might Not Die'.
* WakeUpCall: Kirk, after being thoroughly beaten by Khan, finally accepts his role and comes back to face Khan even stronger.
* ICantDoThisByMyself: Kirk tries to convince the crew of the Enterprise to follow him into the nearby Nebula so they can face Khan. He does this entirely in the song 'We Might Not Die'.
* WakeUpCall: Kirk, after being thoroughly beaten by Khan, finally accepts his role and comes back to face Khan even stronger.
to:
* {{Foil}}: David and Kirk. In this adaptation, David (Kirk's son) leans heavily into a William Shatner impression while Kirk plays it more subdued. This doesn't mean either never lightens or leans on the impression, but the lines are clear.
* ICantDoThisByMyself: Kirk tries to convince the crew of the Enterprise to follow him into the nearby Nebula so they can face Khan. He does this entirely in the song 'We Might Not Die'.
* WakeUpCall: Kirk, after being thoroughly beaten by Khan, finally accepts his role and comes back to face Khan even stronger.subdued.
* ICantDoThisByMyself: Kirk tries to convince the crew of the Enterprise to follow him into the nearby Nebula so they can face Khan. He does this entirely in the song 'We Might Not Die'.
* WakeUpCall: Kirk, after being thoroughly beaten by Khan, finally accepts his role and comes back to face Khan even stronger.
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None
Changed line(s) 1,2 (click to see context) from:
Khan!!! The Musical!!! is a Parody Fan-Musical based on 'Film/StarTrekIITheWrathOfKhan'. It is written by Brent Black, famous for his For Lyrics series. The idea was co-conceptualized by Danny Roth. Taking place during Star Trek: The Next Generation, the show sees Lieutenant Commander Data attempting to put on a Holodeck 'Earth Broadway' based on James Kirk's most impressive adventure to impress the Ambassador for the Kablooiens. After it turns out to be a poorly-written mess, he and Jean-Luc Picard must rework the show into something that may actually save the galaxy.
to:
* {{Foil}}: David and Kirk. In this adaptation, David leans heavily into a William Shatner impression while Kirk plays it more subdued. This doesn't mean either never lightens or leans on the impression, but the lines are clear.
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* OverAndUnderTheTop: David and Kirk. In this adaptation, David leans heavily into a William Shatner impression while Kirk plays it more subdued. This doesn't mean either never lightens or leans on the impression, but the lines are clear.
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None
Changed line(s) 8,16 (click to see context) from:
* AllMusicalsAreAdaptations: It is a Parody Musical of Star Trek II: The Wrath of Khan
* AllegoryAdventure: As in the original source material, the show draws many parallels to Moby Dick
* BigBad: Khan. He even leans into it, referring to himself as the villain
* CouldHaveAvoidedThisPlot: In 'Finale', the cast point out many problems and plot holes in story, including situations which could have been easily avoided
to:
* AllegoryAdventure: As in the original source material, the show draws many parallels to Moby
* BigBad: Khan. He even leans into it, referring to himself as the
* CouldHaveAvoidedThisPlot: In 'Finale', the cast point out many problems and plot holes in story, including situations which could have been easily
Changed line(s) 18,25 (click to see context) from:
* ExperiencedProtagonist: Kirk is already Admiral by time the show starts, having spent years as Starship captain before finally being promoted
* ICantDoThisByMyself: Kirk tries to convince the crew of the Enterprise to follow him into the nearby Nebula so they can face Khan. He does this entirely in the song 'We Might Not Die'
* OverAndUnderTheTop: David and Kirk. In this adaptation, David leans heavily into a William Shatner impression while Kirk plays it more subdued. This doesn't mean either never lightens or leans on the impression, but the lines are clear
* WakeUpCall: Kirk, after being thoroughly beaten by Khan, finally accepts his role and comes back to face Khan even stronger
to:
* ICantDoThisByMyself: Kirk tries to convince the crew of the Enterprise to follow him into the nearby Nebula so they can face Khan. He does this entirely in the song 'We Might Not
* OverAndUnderTheTop: David and Kirk. In this adaptation, David leans heavily into a William Shatner impression while Kirk plays it more subdued. This doesn't mean either never lightens or leans on the impression, but the lines are
* WakeUpCall: Kirk, after being thoroughly beaten by Khan, finally accepts his role and comes back to face Khan even
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First Draft of Page
Added DiffLines:
Khan!!! The Musical!!! is a Parody Fan-Musical based on 'Film/StarTrekIITheWrathOfKhan'. It is written by Brent Black, famous for his For Lyrics series. The idea was co-conceptualized by Danny Roth. Taking place during Star Trek: The Next Generation, the show sees Lieutenant Commander Data attempting to put on a Holodeck 'Earth Broadway' based on James Kirk's most impressive adventure to impress the Ambassador for the Kablooiens. After it turns out to be a poorly-written mess, he and Jean-Luc Picard must rework the show into something that may actually save the galaxy.
The Musical has currently had workshops in Cincinatti and New York, with a live reading done at the Philadelphia Fringe Festival. A Full Staged New York City Performance is currently planned
----
!! Khan the Musical contains examples of:
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is perhaps one of the biggest examples becoming more jealous and angry, drawing comparisons to Scar and The Joker.
* AllMusicalsAreAdaptations: It is a Parody Musical of Star Trek II: The Wrath of Khan
* AllegoryAdventure: As in the original source material, the show draws many parallels to Moby Dick
* BigBad: Khan. He even leans into it, referring to himself as the villain
* CouldHaveAvoidedThisPlot: In 'Finale', the cast point out many problems and plot holes in story, including situations which could have been easily avoided
* EstablishingCharacterMusic: Kirk's big character song 'Young', leans heavily into the Austin Powers
* ExperiencedProtagonist: Kirk is already Admiral by time the show starts, having spent years as Starship captain before finally being promoted
* ICantDoThisByMyself: Kirk tries to convince the crew of the Enterprise to follow him into the nearby Nebula so they can face Khan. He does this entirely in the song 'We Might Not Die'
* OverAndUnderTheTop: David and Kirk. In this adaptation, David leans heavily into a William Shatner impression while Kirk plays it more subdued. This doesn't mean either never lightens or leans on the impression, but the lines are clear
* WakeUpCall: Kirk, after being thoroughly beaten by Khan, finally accepts his role and comes back to face Khan even stronger
The Musical has currently had workshops in Cincinatti and New York, with a live reading done at the Philadelphia Fringe Festival. A Full Staged New York City Performance is currently planned
----
!! Khan the Musical contains examples of:
* AdaptationPersonalityChange: Due to the show's parody use, the characters are very different from the source material. Khan is perhaps one of the biggest examples becoming more jealous and angry, drawing comparisons to Scar and The Joker.
* AllMusicalsAreAdaptations: It is a Parody Musical of Star Trek II: The Wrath of Khan
* AllegoryAdventure: As in the original source material, the show draws many parallels to Moby Dick
* BigBad: Khan. He even leans into it, referring to himself as the villain
* CouldHaveAvoidedThisPlot: In 'Finale', the cast point out many problems and plot holes in story, including situations which could have been easily avoided
* EstablishingCharacterMusic: Kirk's big character song 'Young', leans heavily into the Austin Powers
* ExperiencedProtagonist: Kirk is already Admiral by time the show starts, having spent years as Starship captain before finally being promoted
* ICantDoThisByMyself: Kirk tries to convince the crew of the Enterprise to follow him into the nearby Nebula so they can face Khan. He does this entirely in the song 'We Might Not Die'
* OverAndUnderTheTop: David and Kirk. In this adaptation, David leans heavily into a William Shatner impression while Kirk plays it more subdued. This doesn't mean either never lightens or leans on the impression, but the lines are clear
* WakeUpCall: Kirk, after being thoroughly beaten by Khan, finally accepts his role and comes back to face Khan even stronger
