Now, on to Leonard Nimoy. While I've already mentioned a couple of times that I saw Nimoy last week, I haven't explained the part of the day that made me feel as if I was trapped on some endless, digressing journey like the Blues Brothers' Mission From God. If only Bill Shatner had shown up to say, "We're getting the band back together," then it would have been perfect.

Anyway, Nimoy was at the University of Akron to talk about "Star Trek." He did a news conference in the late afternoon and then gave a speech at the University of Akron that night. "Star Trek" recently marked its 40th anniversary, and I doubt that Nimoy has any new stories left to tell. In fact, he told some twice on Thursday — at the news conference and then in the speech. (He told them better in the speech, feeding off the energy of the larger crowd.)

I was looking for something fresh to write about, and one of the fresher things was the recent computer-enhanced version of the original "Star Trek." I asked Nimoy what he thought of the changes at the news conference. He at first seemed to have no problem with them, saying they just amounted to improving the color and picture. I disagreed, noting that CGIs were being substituted for old images and other things were being changed. (Another reporter nodded vigorously in agreement when I said that.) Hearing that, Nimoy said, "Shame on them."

But here's where my second-guessing side got me in trouble. I was thinking that, since Nimoy gave different answers based on different information, it might be better to get him the official word — and an unambiguous response. So, when the press conference was over, I told a UA rep that I had a copy of the "Star Trek" press release at my office and I could bring it to Nimoy. Since the question might also come up at his speech that night, I thought it was only fair. The UA rep said she would get it to him, and we agreed to meet before the speech.

I went back to my office, dug up the press release and a transcript of a press conference about the changes. I took it back before the speech, but couldn't find the UA rep in the lobby. I poked my head in the room where we had had the press conference. There was Nimoy.

I introduced myself and showed him the papers. "I'm amazed," he said as he looked at them. I asked if I could get out my recorder and get his full reaction. He declined, saying he had to get ready for the speech. I asked if I could talk to him after the speech. He seemed agreeable.

Speech goes, ends, and I waited outside the meeting room, along with some fans. After some time, another UA rep came out and said Nimoy had left. I introduced myself, explained my presence — and was taken inside. Nobody was around. But the papers I had brought to Nimoy were still sitting where I had left him and them.

I ended up writing a story where I quoted Nimoy's two answers and his "I'm amazed." I would have preferred a stronger and clearer comment. But that's what I had, and that's how it sometimes goes.

This announcement came from Paramount yesterday:

STAR TREK is getting a 21st century makeover. CBS Paramount Domestic Television is releasing digitally remastered episodes of the iconic 1960s sci-fi series, with all new special effects and music, to celebrate the groundbreaking series' 40th anniversary, it was announced today by John Nogawski, president of CBS Paramount Domestic Television.

The new episodes also mark the first time in 16 years that the original STAR TREK series can be seen in broadcast syndication. The episodes will begin airing on the more than 200 stations that own the rights to the weekend broadcast syndication window starting Sept. 16 (check local listings for station and dates). All 79 episodes of the original STAR TREK series will eventually be remastered, with the first batch of episodes chosen from a list of STAR TREK fans' favorite shows.

"STAR TREK redefined science-fiction and constantly pushed the envelope with concepts that were ahead of their time," Nogawski said. "By giving the series a digital upgrade using the best technology available today, it will continue to be a leader in cutting-edge television programming as we introduce the series to a new generation of viewers."

The most noticeable change will be redoing many of the special effects, created with 1960s technology, with 21st century computer-generated imagery (CGI). That includes:

• Space ship exteriors — The space ship Enterprise, as well as other Starships, will be replaced with state of the art CGI-created ships.  The new computer-generated Enterprise is based on the exact measurements of the original model, which now rests in the Smithsonian Institution in Washington, D.C.

• Show opening –  The Enterprise and planets seen in the main title sequence will be redone, giving them depth and dimension for the first time. 

• Galaxy shots — All the graphics of the galaxy, so frequently seen through the window on the Enterprise's bridge, will be redone. 

• Exteriors — The battle scenes, planets and ships from other cultures (notably the Romulan Bird of Prey and Klingon Battle Cruisers) will be updated.

• Background scenes — Some of the iconic, yet flat, matte paintings used as backdrops for the strange, new worlds explored by the Enterprise crew will get a CGI face-lift, adding atmosphere and lighting.

The refurbished episodes also feature higher quality sound for the famous opening theme. The original score by Emmy Award-winning composer Alexander Courage has been re-recorded in state-of-the-art digital stereo audio with an orchestra and a female singer belting out the famous vocals.  A digitally remastered version of William Shatner's classic original recording of the 38-word "Space, the final frontier…" monologue continues to open each episode.

The remastered episodes have been converted from the original film into a High-Definition format, which gives viewers a clearer, crisper, more vibrant picture than before, even when viewed in standard definition. Once stations upgrade and start broadcasting HD signals, the episodes will be all ready for viewers to enjoy in HD.  (end announcement)

The more I think about this, the queasier I get. It's on a par with colorizing black-and-white movies, or George Lucas's seemingly endless tinkering with the "Star Wars" movies.  Lucas's ability to get away with that is obviously one of the reasons Paramount is retooling "Star Trek." That and greed.  Because "Star Trek" fans rank up with Elvis fans in their willingness to buy the same old stuff as long as the packaging is new, Paramount figures to make a bunch of money by putting selling these reconfigured "Treks" on home video down the road.

But if you change some things, then where do you stop? Improved technology in one area is going to make other areas look that much cheesier. If you spruce up the background, shouldn't you do something about the uniforms? What about Shatner's '60s haircut? For that matter, what about Shatner's girdle-sheathed midsection in the later episodes? Should that be changed? And if you're messing with the music, shouldn't you replace those cheeseball attempts at futuristic sounds?

A piece of art should be kept in its original form, as an example of the art from its time. Sure, you can clean it up — getting the color, for example, back to its original brightness. But when you start making improvements, you're destroying the old art and creating new. Lucas can at least argue that he's changing his own work. With "Star Trek," unless they're bringing Gene Roddenberry back from the dead to supervise the changes,  better to leave it alone.

Over the years, when a new "Star Trek" series was unveiled, at least one reporter would ask about the show's underrepresenting gay characters. It was a reasonable question, and you couldn't really count that "Deep Space Nine" episode where Kira's parallel-universe self was attracted to her.

But now we can simply wonder if the Federation had a "don't ask, don't tell" policy. George Takei, Sulu on the original series, has said publicly that he is gay. (A story about it is here.)

This, of course, creates a great opportunity for Paramount, which packages and repackages the various "Star Trek" productions. Now it can put out a special "Sulu Collection" of episodes that either gave him significant screen time or contained what might be hints about Sulu's sexuality. Perhaps they could even get Takei to do commentaries. I'm sure some fans are already arguing about how the show's art may have imitated life.