A Lot of Season 3 discussions lately so I thought I'd revisit my own impressions from rewatching the show awhile ago. I found some of it interesting and reminding me of what I got from the episodes.
To that end I thought I'd share the revisit of the third season again, primarily for those who didn't follow it with the rest of us back then.
Season 3 starts off with some noticeable changes. The accompanying music sounds different and fresh. In the opening theme the accompanying vocals so evident in Season 2's opening credits seem to have been toned down---a welcome change.
Another noticeable change is in the crew's uniforms. It's the same design and colour scheme, but they're obviously made of a different fabric that is more form fitting than those of the previous two seasons.
And even this early on I sense yet another welcome change: a change in overall tone, not as light as Season 2 and seemingly more serious minded alike Season 1. This is a difference I welcome in principle.
“Spectre Of The Gun” ****
An alien race sentence Kirk and his crew to die...in 1880s Tombstone, Arizona.
When I was younger I was not a fan of this episode. I thought it was just okay and admittedly part of what bothered me was the incomplete sets of the supposed western town that the landing party is dispatched to. But over the years I've learned to appreciate this episode more because I grew to understand the symbolism and surreality involved. And I like the music with the harmonica which really helped set the atmosphere.
Everyone in the story except Kirk and company see everything around them as complete and real. And yet, as McCoy states, the town and buildings look incomplete to the Enterprise landing party. The symbolism is that Kirk and company are in something of a twilight state of mind, much like dreaming, where often the environments in our dreams make little sense to us when remembered while awake, and yet we behave as if those surroundings are real when we're there in our dreams when asleep. And it's that surreality that's the clue to what's really going on long before Spock figures out why their antiquated gas grenade fails to work as expected.
The ending of the episode nails it: the Enterprise never actually passed the Melkot buoy to establish orbit for Kirk and company to beam down planetside. The entire sequence of events was a powerful telepathic fiction of the Melkots. And it all starts with each member of the bridge crew first hearing the Melkotian buoy's message in each of their own language.
"Spectre Of The Gun" is a variation of "The Corbomite Maneuver" in that the Melkot are testing the Enterprise crew in their own way much as Balok tested them by threatening them with certain destruction.
My opinion of this episode and story rose as I learned to better understand how it was all supposed to work. It also speaks of using a budgetary limitation and turning it into an asset...at least as far as this story is concerned. It also delivers what I think is a powerful message: mankind ready to kill...and choosing not to.
It's a cool sounding title too.
“Elaan Of Troyius” *****
The Enterprise must ferry a reluctant high-ranking bride to her wedding.
I REALLY like this episode and candidly I always have. I like the way the bridge is lighted. I LOVE the music. I LIKE the way Kirk deals with the Elaasian Dohlman. I think Troyian Ambassador Petri is quirky and amusing. And even with the touches of contextual humour (like "Spectre Of The Gun" before it) I like how the episode's overall sensibility feels more like that of Season 1.
The other thing I quite like is how Shatner plays Kirk over the past two episodes. This Kirk isn't quite as casual as in Season 2. He's more like how he was played in Season 1.
Although "The Enterprise Incident" is the first aired episode to show the new Klingon Battle Cruiser in terms of production order this is the first time it's used. It's a beauty of a design and nice to see it in combat with Starfleet's best. It's quite enjoyable, but candidly I think it could have been better with some new footage of the Enterprise to go along with the new Klingon battlecruiser. It would have jazzed it up some. Indeed there are other stock sequences of the Enterprise from previous seasons---shots of the series production version of the ship---I think would have served better than some of what they used in this episode.
Another interesting wrinkle here is it's the girl throwing herself at Kirk and him trying to resist. He weakens momentarily, but Elaan can't compete with Kirk's real lady: the Enterprise.
This episode is just damned fun and in mostly good ways. If I have to quibble I would say that the supposed body armor suits of the Elaasian look ridiculous.
Finally it's amusing for Spock and McCoy to catch Kirk with his Prime Directive violation showing...in a matter of speaking.
“The Paradise Syndrome” ***
An amnesiac Kirk finds peace and happiness amongst a simple people while unaware an asteroid threatens their world.
Here is another episode I really didn't care much for when I was younger. But now I actually rather like it even if I see flaws in it. My biggest criticisms are in regard to some of the thinking behind the Enterprise having to intercept the asteroid, how easily the ship is crippled and Spock's methods in trying to deflect it.
If it takes mere hours to reach the asteroid at Warp 9 then I think it's going to take a lot more than two months for the thing to get to the planet. And even at impulse the Enterprise should easily be able to outrace this thing. Even at .1c or a tenth to a quarter or so impulse the ship should outrace it by a considerable margin. Next the use of ship's phasers and deflectors was stupid. A little old fashioned thinking would have sufficed. How about a series of photon torpedo charges to deflect the asteroid by degree with each successive blast? I also didn't like the f/x shot showing the ship retreating from the asteroid in reverse all the way back to the planet. It would have made more sense for them to go forward and put the pedal-to-the-metal. At any rate this whole sequence of the episode grates on my nerves.
That said I rather like the exchanges between Spock and McCoy as Spock is trying to decipher the obelisk's symbols. I also like Spock's discovery about the Preservers and giving at least a nod to the notion of why there are so many humanoid cultures throughout the galaxy. It's an interesting story idea and one I wish they could have followed up later.
Once again the general sensibility and overall execution of this episode I find admirable. Also, three episodes in and each with its own distinctive soundtrack.
Although it fits in conceptually with the story I found the "corruption" of Kirk's name to Kirok didn't really work. And having "Kirok" trying to invoke his name to get into the temple seemed kind of cheesy. Finally Spock's mind meld with Kirk also seemed rather weird this time around. And McCoy is so preoccupied with Kirk that even when he appears to be okay McCoy has to be reminded to look after the very injured Miramanee?
What it comes down to is that there are actually a lot of things I like in this episode and some things that bug me a little too much. So in the end it's a wash and I rate it as fair.
“The Enterprise Incident” *****
The Enterprise is caught trangressing the Romulan Neutral Zone.
Fourth episode in and yet another distinctive soundtrack. And lots of other good stuff in this. Of course the interiors of the Romulan ship are redresses of existing Enterprise interiors, but points for making an effort to looking and being lighted differently as well as sound f/x to create a different atmosphere. A really nice touch having the Romulan Commander being a woman even if she is supposed to be an alien.
The Romulan Commander really lays it on thick in trying to seduce Spock, not only personally but also ideologically away from Starfleet and the Federation. It's hard to say how much of her interest in Spock is personally sincere, but she never seems to really lose sight of what capturing a Federation starship would do for her career wise. It's also quite apparent that she knows and understands little of Vulcans and yet has the gall to accuse Kirk of not likely being able to understand such things. She understands next to nothing about Vulcan honour, integrity and loyalty in thinking Spock could be so easily swayed by vague promises and her attempts to liquor him up and seduce him. And Spock gives as good as he gets by letting her believe he's being taken in by all her bullshit. He certainly disproves that Vulcans cannot lie.
I like the scene when the two Romulans are beamed aboard the Enterprise and Scotty just stares them down. And then later when he issues his own defiance to the Romulan Commander.
Another aspect that comes across in this episode is that it doesn't feel cheap. Unlike some later episodes where the budget constraints start to show it isn't really apparent here.
Joan Linville does a good job as the Romulan Commander---and she's commanding a squadron and not just a single ship. I also liked the way Sub-Commander Tal was portrayed.
There is one small logic flaw I noted. When Spock informs her she's not likely to find the missing cloaking device you'd think they'd quickly get the idea that it's no longer aboard their ship. Also it was rather convenient that Kirk grabbed the one major component of the cloaking system needed to make it work. I would have thought such a system would have been a lot more involved and components spread throughout the ship.
No matter, though, because overall it's an interesting and well told story. After these last four episodes Season 3 gets off to an admirable start and you would certainly find it strange the hear the season overall so heavily criticized.
However...
“And The Children Shall Lead” *
A scientific expedition is found to have all suicided...except the children.
This episode starts off pretty damned dark with the scene of a group of adults laying about, all dead by self-inflicted poison. And it's made all the darker and creepier by the sight and sound of children playing amongst their dead parents. Another really disturbing moment is the realization they've just beamed two innocent security personnel unknowingly out into the vacuum of space while under way at warp. Ouch, that's cold.
Candidly this episode isn't bad...for about the first twenty minutes and then it starts to go off the rails. It comes down to questionable and truly over-the-top execution best exemplified by Shatner's exaggerated performance when he's affected by the children. And then to cap it off you have a villain that looks absolutely ridiculous and performed by some schmuck who can't act worth a damn. Some of the written dialogue is pretty bad too.
It's a huge letdown after an initial run of good episodes for the season. It's even more of a disappointment because underneath the poor execution is a genuinely dark and unnerving story waiting to be told. Some editing and smarter writing and more nuance could have gone a long way. The Gorgan needed to be rethought and someone actually talented needed to portray him. The gestures the children make to wield their influence looks rather screwy too.
This isn't just a disappointment---it's a show falling on its face.
The thing about "And The Children Shall Lead" is also the missed opportunity. You're already starting with something potentially dark and creepy so why not go for it and unnerve the crap out of the audience? I could easily see that being done today only perhaps more graphically. But actually I'm thinking in terms of what's been done like in some of the best X-Files episodes where you could really creep folks out just by playing with their imagination yet without really showing anything.
A little rewriting and a better director perhaps to keep things focused and you may really have something…
"Spock's Brain" **
An alien steals Spock's Brain and kirk races against time to retrieve it.
No matter how you try to describe this episode it's going to sound absurd. That said it would have helped significantly if they had started with a better title. Even something as plain as "The Controller" would have been a huge improvement.
What gets me is I think there is a really interesting science fiction story at the heart of this: a living mind needed to maintain a functioning society. And there are some pretty creepy moments in it as well. But it's mostly undermined by poor choice in story elements.
For one thing was it really necessary to have Spock's body brought along like some mechanized zombie??? In James Blish's adaptation I recall Spock's body being left aboard ship until the surgery was ready to proceed. As is it comes across as too absurd. Also was it really necessary to have the Morg women be total airheads??? A little nuance would have worked wonders here. But the last bloody straw was having Spock speak and direct McCoy through completion of the surgery. And then to end the whole thing with a cheap laugh. Gimme a freakin' break!
Most of the episode is played straight with few missteps, but every so often one of the aforementioned absurdities would ruin what had been accomplished up to that point. It's really hard to accept that Gene Coon could turn in such a botched effort in writing this.
I'd like to add that I quite liked the design of the alien ship. Sadly, instead of enhancing the original retro design, TOS-R felt the need to change it completely for something more contemporary.
I like the story idea, but I'm disappointed with aspects of its execution. And all I can add is that as disappointing as it is I like it better than "And The Children Shall Lead."
"Is There In Truth No Beauty?" *****
The Enterprise transports an enigmatic woman and her unusual alien companion.
This one is a bit of a surprise because I recall it as okay to possibly good, but not really special. But there's a lot going on here. In terms of trivia we get the first mention of IDIC, a highly sophisticated sensor web that allows the blind to "see" (something of a precursor to Laforge's visor in TNG) and an alien so unimaginable in appearance that he can only be among humans while hidden away. We meet one of the designers of the Enterprise (or perhaps one of the designers of the Constitution-class starships). Hmm, wonder if he once worked with Richard Daystrom?
We also see the return of Diana Muldaur in a different role.
Stepping up we get yet another distinctive---and very interesting---soundtrack (they're just rockin' it out in this area for the beginning of this season ). There's interesting cinematography (Season 3 seems pretty strong for this). And another look at the arboretum, a new interior set for the Enterprise (okay, probably a redress of an existing set). We also get some pretty subtle and nuanced performances from all the major characters of this story. What a wonderful surprise coming on the heels of two such disappointments as "And The Children Shall Lead" and "Spock's Brain."
And it's a damned good story: the possibility of using the highly unusual Medusans as navigators for starships of the future. Pity TNG never revisited this idea. Additionally we get a highly unusual love triangle between Larry Marvick, Miranda Jones and Medusan Ambassador Kollos---one that results in Marvick's insanity and his taking the Enterprise into an unknown void. And I have to say I've always liked the look of that void: very surreal and psychedelic and bang-on with the era. I have to add I also like it far better than the TOS-R version which just looks rather ho-hum. Oh, and there is another triangle, although a professional one rather than romantic, between Spock, Kollos and Miranda.
It's a very stylish episode---the soundtrack and the cinematography serve to create an unusual and moody atmosphere and thereby enhancing an already good story. And how interesting that much of the story revolves around characters that are not one of the major three. Finally we get one of the most poetic titles for a Star Trek episode.
Frankly I kept waiting for this episode to fumble somewhere along the way as it unfolded yet it never missed a step. In some ways I felt almost like I was seeing this for the first time after only hearing about it.
Well done and very welcomed.
The episode really marks a difference in overall style and atmosphere from the previous seasons. Season 1 has a distinct early '60s feel to it, one I could describe as rather Kennedy-esque. The second season is a bit lighter and looser. Season 3 feels very late '60s with its varied cinematography and scoring. There's something almost Woodstock about it the way it resonates with the music and films of the time (and beyond "The Way To Eden" ). It's actually rather cool. For all the criticism the third season gets there is also a lot of unrecognized creativity going for it.
“The Empath” ****
Kirk, Spock and McCoy are subjected to incomprehensible tests by two manipulative aliens.
Many years ago I really didn't care for this. And I can attribute much of that to not really understanding it. I suppose it's why in some ways I can appreciate TOS more now than when I was younger because I can now see it with an adult's perspective. Now I can see a lot more in this episode and have a better understanding of how it all works.
Like "Is There In Truth No Beauty?" which preceded it this episode is quite stylish...and quite creepy and disturbing. The Vians play with and torment our heroes in incomprehensible ways for an unfathomable purpose until the end of the story. Candidly I can't really imagine this story being done in the previous seasons primarily because the danger presented and the purpose for it aren't something so easily recognized. But in this episode we really see how these three men value each other. Kirk doesn't make any big speech here, but he really nails the Vians' failure to recognize the very thing they claim they're trying to identify in Gem.
I also rather liked Gem's portrayal. Here was an alien who really seemed alien despite her very human appearance. She conveyed everything in facial expression and exaggerated body language.
Way, way back I never cared for the blacked out set and floating alien instrumentation, but now I grasp its alienness and the clever use of light and dark. Its surreality really makes it feel alien. Actually when I look at the set now I find myself thinking The Outer Limits or The Twilight Zone. The lighting system seemed to work by proximity sensors so when you left an area the lights went out and when you approached an area the lights came on. Imagine a system doing that in your own home: the sensors detect your approach and presence in a room and turn the lights on, but when it senses your departure then the lights go off. Of course, here the lighting was done for dramatic purposes, but there can be a rationalization for it. I keep wondering about what might be just beyond our view in the darkness---creepy.
I gotta admit I find the floating instrumentation rather funky and that feels unreal and alien. We're very accustomed to actually seeing something supporting a structure or construct either from the floor or suspended from the ceiling. And, yes, they could have been supported either way only the means were blacked out and whatever lighting there was didn't illuminate them. It's certainly not how a human would think of designing it, but it could possibly appeal to an alien's preferences.
Again we have more distinctive music as well as an almost tangible late '60s vibe to the whole production. In some respects it felt more like a stage play than a television episode. It's quite imaginative and quite creative.
“The Tholian Web” *****
The Enterprise is trapped in an unstable region of space while insanity works its way through the crew.
McCoy seems unusually cranky in this one, but I think it can be attributed to showing early signs of the interphase space affecting him. This story is notable for Kirk being almost totally absent from the bulk of the story as Spock, McCoy and Scotty work to find a way to save the ship and themselves as well as retrieve Kirk. And it's interesting to see the dynamic among the characters when Kirk is absent.
We get our first look at TOS' environmental suits. It's never explained, but I still wonder if the suits were used because they detected that there was no functioning life support aboard the Defiant or they had reason to want to protect themselves from some possible contaminant. I still like the f/x in this although I don't recall seeing what TOS-R did with them, except for the revised Tholian ships which I think TOS-R botched thoroughly.
This is essentially a bottle show and yet like in "The Immunity Syndrome" they keep things moving along smartly. Well done.
Lastly, I think I noted some original music in this, but I'm not entirely sure because I could also hear familiar pieces from previous episodes.
“For The World Is Hollow And I Have Touched The Sky” ***
The Enterprise encounters a "world" ship that is on a collision course with an inhabited planet.
It's not bad, but it isn't anything special either. It's real problem is that it feels abbreviated. Too many things happen in a compressed amount of time to the point that it beggars credibility. And too many coincidences as well.
McCoy has an incurable disease. The Enterprise intercepts Yonada asteroid. On Yonada McCoy meets woman who offers a final chance at happiness. Woman just happens to be the High Priestess with access to ancient knowledge that Kirk and Spock need to correct Yonada's course. By marrying Natira McCoy finds out where that ancient knowledge can be accessed. Spock can easily read Yonada's ancient language while some episodes ago he had to study another ancient language for weeks before he could get a handle on it. Once translated it turns out to be relatively easy to correct Yonada's course. Oh, and finally the ancient knowledge just happens to hold a cure for McCoy's "incurable" illness. Now sprinkle some clunky dialog throughout. And while not really a detriment most if not all of the music in this are familiar bits from previous episodes.
On the plus side Natira is rather nice looking and I like her outfit.
And this episode has yet another rather poetic title to it. Also nice to see Scotty (over these past two episodes) with a more flattering hairstyle than just brushing it back. Oh, and McCoy finally gets the girl.
My impression of the worldbuilding aspect of this story is that the Fabrini ancestors may well have intended their descendants to forget or not really appreciate they were on a spacecraft. Why else to program the Oracle to perpetuate the suppression of that knowledge? In a way the Enterprise's intervention was timely because now Natira has a chance to get her people accustomed to the idea that they will have to leave the only world they have ever known within the near future, as opposed to likely expecting to live out yet another generation on Yonada.
It's a worthy story at heart, but things happen too quickly to be really credible. Not poor or outright bad, but just fair.
“Day Of The Dove” ****
The Enterprise crew and Klingons are locked in deadly combat while the ship hurtles out of the galaxy.
Essentially another bottle show, but a good one. Still, I remember really liking this more. It's still good, but occasionally I find some of the acting a bit wanting or not nuanced enough.
It's essentially an antiwar story, and you can fill in the warring parties dependent on your interpretation. It basically boils down to anyone who has ever asked themselves, "Just what the hell are we fighting about anyway?"
There are a couple of continuity blips in this. Kang says the Klingons have honoured the treaty to the letter---I guess he didn't know about the events in "A Private Little War," which is quite possible because the Klingon High Command likely wouldn't inform all of its personnel of its operations. The other blip is in regards to Koloth ("The Trouble With Tribbles") claiming their ships didn't have "nonessentials" aboard, meaning female personnel. And yet here we see at least two Klingon females as crew and one is Kang's Science Officer and wife, Mara. She certainly wasn't as full of bluster as the Duras sisters. Mind you a TNG era Klingon might well have kicked Chekov's ass down the corridor.
And speaking of Klingons I really liked Michael Ansara's portrayal of Kang here. After all the sorry excuses of the second season (including Koloth and Korax) Kang is the best Klingon to come along next to John Collicos as Kor in "Errand Of Mercy."
The alien entity here is just a patch of swirling light that changes intensity of colour, but then again many later Trek episodes had entities that were little more than blobs or blurs of coloured light as well.
In the end I quite enjoyed this, but candidly I think it could have been a bit better.
“Plato’s Stepchildren” ****
The Enterprise crew encounter a small colony of telekinetic beings.
I know I'm likely to hit a wave of dissent here, but I've always rather liked this episode. It's grown on me over the years and I appreciate it more now than when I first saw it. And this despite all the criticism that's been dumped on it all the while.
The idea in this episode harkens back all the way to TOS' second pilot episode: unlimited power can corrupt anyone. And here we see it laid bare as the Platonians are so arrogant, so corrupt and sadistic that they recognize and value nothing but their own selfish whims. Also, and increasingly more so as I've grown in age and experience, it a sharp allegory of many of the very powerful and influential in the world and throughout history.
I really like Alexander, and more than just because he is the ideal example of the ordinary and disadvantaged that can be willfully exploited and easily pushed around. He is a sensitive and very likable character. I can easily imagine his joy moving about the Enterprise crew and being treated with friendliness, fairness and dignity. Alexander represents perhaps the most disadvantaged in our society (within context of the story), but anyone without means and influence is disadvantaged in relation to the truly powerful, and that means many of us regular folks.
This episode isn't perfect and there are some awkward moments, but I can bear those because I really like the rest of it. Many fans over the years have expressed varying discomfort and even disapproval at seeing our heroes so abused, and well they should though not for the reasons they might think, but because that is exactly the point of the story---that our heroes (who are not perfect) who strive to do what they can could still be so casually mistreated by the corrupt should disturb you. It's a sharp representation of the good people in the world who can be casually brutalized if they stand in the way of those with their own agendas.
Some might think I may be reading too much into this episode. But for some reason this episode has long spoken to me, and evermore so over the years.
To that end I thought I'd share the revisit of the third season again, primarily for those who didn't follow it with the rest of us back then.
Season 3 starts off with some noticeable changes. The accompanying music sounds different and fresh. In the opening theme the accompanying vocals so evident in Season 2's opening credits seem to have been toned down---a welcome change.
Another noticeable change is in the crew's uniforms. It's the same design and colour scheme, but they're obviously made of a different fabric that is more form fitting than those of the previous two seasons.
And even this early on I sense yet another welcome change: a change in overall tone, not as light as Season 2 and seemingly more serious minded alike Season 1. This is a difference I welcome in principle.
“Spectre Of The Gun” ****
An alien race sentence Kirk and his crew to die...in 1880s Tombstone, Arizona.
When I was younger I was not a fan of this episode. I thought it was just okay and admittedly part of what bothered me was the incomplete sets of the supposed western town that the landing party is dispatched to. But over the years I've learned to appreciate this episode more because I grew to understand the symbolism and surreality involved. And I like the music with the harmonica which really helped set the atmosphere.
Everyone in the story except Kirk and company see everything around them as complete and real. And yet, as McCoy states, the town and buildings look incomplete to the Enterprise landing party. The symbolism is that Kirk and company are in something of a twilight state of mind, much like dreaming, where often the environments in our dreams make little sense to us when remembered while awake, and yet we behave as if those surroundings are real when we're there in our dreams when asleep. And it's that surreality that's the clue to what's really going on long before Spock figures out why their antiquated gas grenade fails to work as expected.
The ending of the episode nails it: the Enterprise never actually passed the Melkot buoy to establish orbit for Kirk and company to beam down planetside. The entire sequence of events was a powerful telepathic fiction of the Melkots. And it all starts with each member of the bridge crew first hearing the Melkotian buoy's message in each of their own language.
"Spectre Of The Gun" is a variation of "The Corbomite Maneuver" in that the Melkot are testing the Enterprise crew in their own way much as Balok tested them by threatening them with certain destruction.
My opinion of this episode and story rose as I learned to better understand how it was all supposed to work. It also speaks of using a budgetary limitation and turning it into an asset...at least as far as this story is concerned. It also delivers what I think is a powerful message: mankind ready to kill...and choosing not to.
It's a cool sounding title too.
“Elaan Of Troyius” *****
The Enterprise must ferry a reluctant high-ranking bride to her wedding.
I REALLY like this episode and candidly I always have. I like the way the bridge is lighted. I LOVE the music. I LIKE the way Kirk deals with the Elaasian Dohlman. I think Troyian Ambassador Petri is quirky and amusing. And even with the touches of contextual humour (like "Spectre Of The Gun" before it) I like how the episode's overall sensibility feels more like that of Season 1.
The other thing I quite like is how Shatner plays Kirk over the past two episodes. This Kirk isn't quite as casual as in Season 2. He's more like how he was played in Season 1.
Although "The Enterprise Incident" is the first aired episode to show the new Klingon Battle Cruiser in terms of production order this is the first time it's used. It's a beauty of a design and nice to see it in combat with Starfleet's best.
It's quite enjoyable, but candidly I think it could have been better with some new footage of the Enterprise to go along with the new Klingon battlecruiser. It would have jazzed it up some. Indeed there are other stock sequences of the Enterprise from previous seasons---shots of the series production version of the ship---I think would have served better than some of what they used in this episode.Another interesting wrinkle here is it's the girl throwing herself at Kirk and him trying to resist. He weakens momentarily, but Elaan can't compete with Kirk's real lady: the Enterprise.
This episode is just damned fun and in mostly good ways. If I have to quibble I would say that the supposed body armor suits of the Elaasian look ridiculous.
Finally it's amusing for Spock and McCoy to catch Kirk with his Prime Directive violation showing...in a matter of speaking.
“The Paradise Syndrome” ***
An amnesiac Kirk finds peace and happiness amongst a simple people while unaware an asteroid threatens their world.
Here is another episode I really didn't care much for when I was younger. But now I actually rather like it even if I see flaws in it. My biggest criticisms are in regard to some of the thinking behind the Enterprise having to intercept the asteroid, how easily the ship is crippled and Spock's methods in trying to deflect it.
If it takes mere hours to reach the asteroid at Warp 9 then I think it's going to take a lot more than two months for the thing to get to the planet. And even at impulse the Enterprise should easily be able to outrace this thing. Even at .1c or a tenth to a quarter or so impulse the ship should outrace it by a considerable margin. Next the use of ship's phasers and deflectors was stupid. A little old fashioned thinking would have sufficed. How about a series of photon torpedo charges to deflect the asteroid by degree with each successive blast? I also didn't like the f/x shot showing the ship retreating from the asteroid in reverse all the way back to the planet. It would have made more sense for them to go forward and put the pedal-to-the-metal. At any rate this whole sequence of the episode grates on my nerves.
That said I rather like the exchanges between Spock and McCoy as Spock is trying to decipher the obelisk's symbols. I also like Spock's discovery about the Preservers and giving at least a nod to the notion of why there are so many humanoid cultures throughout the galaxy. It's an interesting story idea and one I wish they could have followed up later.
Once again the general sensibility and overall execution of this episode I find admirable. Also, three episodes in and each with its own distinctive soundtrack.
Although it fits in conceptually with the story I found the "corruption" of Kirk's name to Kirok didn't really work. And having "Kirok" trying to invoke his name to get into the temple seemed kind of cheesy. Finally Spock's mind meld with Kirk also seemed rather weird this time around. And McCoy is so preoccupied with Kirk that even when he appears to be okay McCoy has to be reminded to look after the very injured Miramanee?
What it comes down to is that there are actually a lot of things I like in this episode and some things that bug me a little too much. So in the end it's a wash and I rate it as fair.
“The Enterprise Incident” *****
The Enterprise is caught trangressing the Romulan Neutral Zone.
Fourth episode in and yet another distinctive soundtrack.
And lots of other good stuff in this. Of course the interiors of the Romulan ship are redresses of existing Enterprise interiors, but points for making an effort to looking and being lighted differently as well as sound f/x to create a different atmosphere. A really nice touch having the Romulan Commander being a woman even if she is supposed to be an alien.The Romulan Commander really lays it on thick in trying to seduce Spock, not only personally but also ideologically away from Starfleet and the Federation. It's hard to say how much of her interest in Spock is personally sincere, but she never seems to really lose sight of what capturing a Federation starship would do for her career wise. It's also quite apparent that she knows and understands little of Vulcans and yet has the gall to accuse Kirk of not likely being able to understand such things. She understands next to nothing about Vulcan honour, integrity and loyalty in thinking Spock could be so easily swayed by vague promises and her attempts to liquor him up and seduce him.
And Spock gives as good as he gets by letting her believe he's being taken in by all her bullshit. He certainly disproves that Vulcans cannot lie.I like the scene when the two Romulans are beamed aboard the Enterprise and Scotty just stares them down. And then later when he issues his own defiance to the Romulan Commander.
Another aspect that comes across in this episode is that it doesn't feel cheap. Unlike some later episodes where the budget constraints start to show it isn't really apparent here.
Joan Linville does a good job as the Romulan Commander---and she's commanding a squadron and not just a single ship. I also liked the way Sub-Commander Tal was portrayed.
There is one small logic flaw I noted. When Spock informs her she's not likely to find the missing cloaking device you'd think they'd quickly get the idea that it's no longer aboard their ship. Also it was rather convenient that Kirk grabbed the one major component of the cloaking system needed to make it work. I would have thought such a system would have been a lot more involved and components spread throughout the ship.
No matter, though, because overall it's an interesting and well told story.
After these last four episodes Season 3 gets off to an admirable start and you would certainly find it strange the hear the season overall so heavily criticized.However...
“And The Children Shall Lead” *
A scientific expedition is found to have all suicided...except the children.
This episode starts off pretty damned dark with the scene of a group of adults laying about, all dead by self-inflicted poison. And it's made all the darker and creepier by the sight and sound of children playing amongst their dead parents. Another really disturbing moment is the realization they've just beamed two innocent security personnel unknowingly out into the vacuum of space while under way at warp. Ouch, that's cold.
Candidly this episode isn't bad...for about the first twenty minutes and then it starts to go off the rails. It comes down to questionable and truly over-the-top execution best exemplified by Shatner's exaggerated performance when he's affected by the children. And then to cap it off you have a villain that looks absolutely ridiculous and performed by some schmuck who can't act worth a damn. Some of the written dialogue is pretty bad too.
It's a huge letdown after an initial run of good episodes for the season. It's even more of a disappointment because underneath the poor execution is a genuinely dark and unnerving story waiting to be told. Some editing and smarter writing and more nuance could have gone a long way. The Gorgan needed to be rethought and someone actually talented needed to portray him. The gestures the children make to wield their influence looks rather screwy too.
This isn't just a disappointment---it's a show falling on its face.
The thing about "And The Children Shall Lead" is also the missed opportunity. You're already starting with something potentially dark and creepy so why not go for it and unnerve the crap out of the audience? I could easily see that being done today only perhaps more graphically. But actually I'm thinking in terms of what's been done like in some of the best X-Files episodes where you could really creep folks out just by playing with their imagination yet without really showing anything.
A little rewriting and a better director perhaps to keep things focused and you may really have something…
"Spock's Brain" **
An alien steals Spock's Brain and kirk races against time to retrieve it.
No matter how you try to describe this episode it's going to sound absurd. That said it would have helped significantly if they had started with a better title. Even something as plain as "The Controller" would have been a huge improvement.
What gets me is I think there is a really interesting science fiction story at the heart of this: a living mind needed to maintain a functioning society. And there are some pretty creepy moments in it as well. But it's mostly undermined by poor choice in story elements.
For one thing was it really necessary to have Spock's body brought along like some mechanized zombie??? In James Blish's adaptation I recall Spock's body being left aboard ship until the surgery was ready to proceed. As is it comes across as too absurd. Also was it really necessary to have the Morg women be total airheads??? A little nuance would have worked wonders here. But the last bloody straw was having Spock speak and direct McCoy through completion of the surgery.
And then to end the whole thing with a cheap laugh. Gimme a freakin' break!Most of the episode is played straight with few missteps, but every so often one of the aforementioned absurdities would ruin what had been accomplished up to that point. It's really hard to accept that Gene Coon could turn in such a botched effort in writing this.
I'd like to add that I quite liked the design of the alien ship. Sadly, instead of enhancing the original retro design, TOS-R felt the need to change it completely for something more contemporary.
I like the story idea, but I'm disappointed with aspects of its execution. And all I can add is that as disappointing as it is I like it better than "And The Children Shall Lead."
"Is There In Truth No Beauty?" *****
The Enterprise transports an enigmatic woman and her unusual alien companion.
This one is a bit of a surprise because I recall it as okay to possibly good, but not really special. But there's a lot going on here. In terms of trivia we get the first mention of IDIC, a highly sophisticated sensor web that allows the blind to "see" (something of a precursor to Laforge's visor in TNG) and an alien so unimaginable in appearance that he can only be among humans while hidden away. We meet one of the designers of the Enterprise (or perhaps one of the designers of the Constitution-class starships). Hmm, wonder if he once worked with Richard Daystrom?
We also see the return of Diana Muldaur in a different role.Stepping up we get yet another distinctive---and very interesting---soundtrack (they're just rockin' it out in this area for the beginning of this season
). There's interesting cinematography (Season 3 seems pretty strong for this). And another look at the arboretum, a new interior set for the Enterprise (okay, probably a redress of an existing set). We also get some pretty subtle and nuanced performances from all the major characters of this story. What a wonderful surprise coming on the heels of two such disappointments as "And The Children Shall Lead" and "Spock's Brain." And it's a damned good story: the possibility of using the highly unusual Medusans as navigators for starships of the future. Pity TNG never revisited this idea. Additionally we get a highly unusual love triangle between Larry Marvick, Miranda Jones and Medusan Ambassador Kollos---one that results in Marvick's insanity and his taking the Enterprise into an unknown void. And I have to say I've always liked the look of that void: very surreal and psychedelic and bang-on with the era. I have to add I also like it far better than the TOS-R version which just looks rather ho-hum. Oh, and there is another triangle, although a professional one rather than romantic, between Spock, Kollos and Miranda.
It's a very stylish episode---the soundtrack and the cinematography serve to create an unusual and moody atmosphere and thereby enhancing an already good story. And how interesting that much of the story revolves around characters that are not one of the major three. Finally we get one of the most poetic titles for a Star Trek episode.
Frankly I kept waiting for this episode to fumble somewhere along the way as it unfolded yet it never missed a step. In some ways I felt almost like I was seeing this for the first time after only hearing about it.
Well done and very welcomed.
The episode really marks a difference in overall style and atmosphere from the previous seasons. Season 1 has a distinct early '60s feel to it, one I could describe as rather Kennedy-esque. The second season is a bit lighter and looser. Season 3 feels very late '60s with its varied cinematography and scoring. There's something almost Woodstock about it the way it resonates with the music and films of the time (and beyond "The Way To Eden"
). It's actually rather cool. For all the criticism the third season gets there is also a lot of unrecognized creativity going for it.“The Empath” ****
Kirk, Spock and McCoy are subjected to incomprehensible tests by two manipulative aliens.
Many years ago I really didn't care for this. And I can attribute much of that to not really understanding it. I suppose it's why in some ways I can appreciate TOS more now than when I was younger because I can now see it with an adult's perspective. Now I can see a lot more in this episode and have a better understanding of how it all works.
Like "Is There In Truth No Beauty?" which preceded it this episode is quite stylish...and quite creepy and disturbing. The Vians play with and torment our heroes in incomprehensible ways for an unfathomable purpose until the end of the story. Candidly I can't really imagine this story being done in the previous seasons primarily because the danger presented and the purpose for it aren't something so easily recognized. But in this episode we really see how these three men value each other. Kirk doesn't make any big speech here, but he really nails the Vians' failure to recognize the very thing they claim they're trying to identify in Gem.
I also rather liked Gem's portrayal. Here was an alien who really seemed alien despite her very human appearance. She conveyed everything in facial expression and exaggerated body language.
Way, way back I never cared for the blacked out set and floating alien instrumentation, but now I grasp its alienness and the clever use of light and dark. Its surreality really makes it feel alien. Actually when I look at the set now I find myself thinking The Outer Limits or The Twilight Zone. The lighting system seemed to work by proximity sensors so when you left an area the lights went out and when you approached an area the lights came on. Imagine a system doing that in your own home: the sensors detect your approach and presence in a room and turn the lights on, but when it senses your departure then the lights go off. Of course, here the lighting was done for dramatic purposes, but there can be a rationalization for it. I keep wondering about what might be just beyond our view in the darkness---creepy.
I gotta admit I find the floating instrumentation rather funky and that feels unreal and alien. We're very accustomed to actually seeing something supporting a structure or construct either from the floor or suspended from the ceiling. And, yes, they could have been supported either way only the means were blacked out and whatever lighting there was didn't illuminate them. It's certainly not how a human would think of designing it, but it could possibly appeal to an alien's preferences.
Again we have more distinctive music as well as an almost tangible late '60s vibe to the whole production. In some respects it felt more like a stage play than a television episode. It's quite imaginative and quite creative.
“The Tholian Web” *****
The Enterprise is trapped in an unstable region of space while insanity works its way through the crew.
McCoy seems unusually cranky in this one, but I think it can be attributed to showing early signs of the interphase space affecting him. This story is notable for Kirk being almost totally absent from the bulk of the story as Spock, McCoy and Scotty work to find a way to save the ship and themselves as well as retrieve Kirk. And it's interesting to see the dynamic among the characters when Kirk is absent.
We get our first look at TOS' environmental suits. It's never explained, but I still wonder if the suits were used because they detected that there was no functioning life support aboard the Defiant or they had reason to want to protect themselves from some possible contaminant. I still like the f/x in this although I don't recall seeing what TOS-R did with them, except for the revised Tholian ships which I think TOS-R botched thoroughly.
This is essentially a bottle show and yet like in "The Immunity Syndrome" they keep things moving along smartly. Well done.
Lastly, I think I noted some original music in this, but I'm not entirely sure because I could also hear familiar pieces from previous episodes.
“For The World Is Hollow And I Have Touched The Sky” ***
The Enterprise encounters a "world" ship that is on a collision course with an inhabited planet.
It's not bad, but it isn't anything special either. It's real problem is that it feels abbreviated. Too many things happen in a compressed amount of time to the point that it beggars credibility. And too many coincidences as well.
McCoy has an incurable disease. The Enterprise intercepts Yonada asteroid. On Yonada McCoy meets woman who offers a final chance at happiness. Woman just happens to be the High Priestess with access to ancient knowledge that Kirk and Spock need to correct Yonada's course. By marrying Natira McCoy finds out where that ancient knowledge can be accessed. Spock can easily read Yonada's ancient language while some episodes ago he had to study another ancient language for weeks before he could get a handle on it. Once translated it turns out to be relatively easy to correct Yonada's course. Oh, and finally the ancient knowledge just happens to hold a cure for McCoy's "incurable" illness. Now sprinkle some clunky dialog throughout. And while not really a detriment most if not all of the music in this are familiar bits from previous episodes.
On the plus side Natira is rather nice looking and I like her outfit.
And this episode has yet another rather poetic title to it. Also nice to see Scotty (over these past two episodes) with a more flattering hairstyle than just brushing it back. Oh, and McCoy finally gets the girl. My impression of the worldbuilding aspect of this story is that the Fabrini ancestors may well have intended their descendants to forget or not really appreciate they were on a spacecraft. Why else to program the Oracle to perpetuate the suppression of that knowledge? In a way the Enterprise's intervention was timely because now Natira has a chance to get her people accustomed to the idea that they will have to leave the only world they have ever known within the near future, as opposed to likely expecting to live out yet another generation on Yonada.
It's a worthy story at heart, but things happen too quickly to be really credible. Not poor or outright bad, but just fair.
“Day Of The Dove” ****
The Enterprise crew and Klingons are locked in deadly combat while the ship hurtles out of the galaxy.
Essentially another bottle show, but a good one. Still, I remember really liking this more. It's still good, but occasionally I find some of the acting a bit wanting or not nuanced enough.
It's essentially an antiwar story, and you can fill in the warring parties dependent on your interpretation. It basically boils down to anyone who has ever asked themselves, "Just what the hell are we fighting about anyway?"
There are a couple of continuity blips in this. Kang says the Klingons have honoured the treaty to the letter---I guess he didn't know about the events in "A Private Little War," which is quite possible because the Klingon High Command likely wouldn't inform all of its personnel of its operations. The other blip is in regards to Koloth ("The Trouble With Tribbles") claiming their ships didn't have "nonessentials" aboard, meaning female personnel. And yet here we see at least two Klingon females as crew and one is Kang's Science Officer and wife, Mara. She certainly wasn't as full of bluster as the Duras sisters.
Mind you a TNG era Klingon might well have kicked Chekov's ass down the corridor. And speaking of Klingons I really liked Michael Ansara's portrayal of Kang here. After all the sorry excuses of the second season (including Koloth and Korax) Kang is the best Klingon to come along next to John Collicos as Kor in "Errand Of Mercy."
The alien entity here is just a patch of swirling light that changes intensity of colour, but then again many later Trek episodes had entities that were little more than blobs or blurs of coloured light as well.
In the end I quite enjoyed this, but candidly I think it could have been a bit better.
“Plato’s Stepchildren” ****
The Enterprise crew encounter a small colony of telekinetic beings.
I know I'm likely to hit a wave of dissent here, but I've always rather liked this episode. It's grown on me over the years and I appreciate it more now than when I first saw it. And this despite all the criticism that's been dumped on it all the while.
The idea in this episode harkens back all the way to TOS' second pilot episode: unlimited power can corrupt anyone. And here we see it laid bare as the Platonians are so arrogant, so corrupt and sadistic that they recognize and value nothing but their own selfish whims. Also, and increasingly more so as I've grown in age and experience, it a sharp allegory of many of the very powerful and influential in the world and throughout history.
I really like Alexander, and more than just because he is the ideal example of the ordinary and disadvantaged that can be willfully exploited and easily pushed around. He is a sensitive and very likable character. I can easily imagine his joy moving about the Enterprise crew and being treated with friendliness, fairness and dignity. Alexander represents perhaps the most disadvantaged in our society (within context of the story), but anyone without means and influence is disadvantaged in relation to the truly powerful, and that means many of us regular folks.
This episode isn't perfect and there are some awkward moments, but I can bear those because I really like the rest of it. Many fans over the years have expressed varying discomfort and even disapproval at seeing our heroes so abused, and well they should though not for the reasons they might think, but because that is exactly the point of the story---that our heroes (who are not perfect) who strive to do what they can could still be so casually mistreated by the corrupt should disturb you. It's a sharp representation of the good people in the world who can be casually brutalized if they stand in the way of those with their own agendas.
Some might think I may be reading too much into this episode. But for some reason this episode has long spoken to me, and evermore so over the years.
Last edited:
And what a disappointment after the generally decent run of the previous dozen episodes of the season.
