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I’m watching The Original Series again

Re: Miri

Posted by The Laughing Vulcan:
Putting aside the incongruity of a virus that has a hundred percent infection rate, or indeed the sheer absurdity of a planet that is the exact duplicate of Earth....

I just re-watched Miri myself, and I also was puzzled why the planet was an exact Earth duplicate. Surely the same message could have been conveyed using any planet. The only explanation I can come up with is that the episode's writers wanted to truly sledge-hammer its moral message that if we're not careful, this could happen to us, too.
 
Re: Miri

^^^ I think the explanation is that the producers wanted to save money by not having to build an alien set. :)
 
Re: Miri

Posted by The Laughing Vulcan:
....A nice concept, but the execution doesn’t live up to the idea.

It's undoubtedly true that the execution often falls short in TOS. But do we reach this conclusion because we are judging an episode by today's standards? Or would informed critics from 1966 also reach the same conclusion?

My sense is that in the 1960s, audiences were so enthralled by the Star Trek Concept that they were either oblivious to weak execution or were willing to forgive it.
 
The Conscience Of The King

The Enterprise is drawn off course by a message from renowned scientist, Thomas Leyton. However Leyton’s claim of developing a new food source is actually a ruse to introduce James Kirk to the Karidian players, a troupe of actors who are performing Shakespeare on an interstellar tour. Both Kirk and Leyton number among the few survivors of the Tarsus massacre. They witnessed Governor Kodos give the order to wipe out half the colony twenty years earlier. Kirk is enraged at this abuse of authority, and initially refuses to give credence to Leyton’s claims that Anton Karidian is actually Kodos. Kodos was presumed dead by suicide on Tarsus and Kirk is unwilling to accept an alternative to this. His conscience is niggled though, and he returns to the planet’s surface to meet the theatre troupe, only to find Leyton has been murdered. Kirk gets to know Lenore Karidian, Anton’s daughter, and uses his charm and influence to take the players aboard the ship. Kirk’s investigations are a double-edged sword though, his obsessive need for justice begins to concern Spock, and when it becomes apparent that the few surviving witnesses are dying, Kirk becomes a target, as does one Kevin Riley.

My word, The Conscience Of The King is an exemplary episode, with a stunningly rich and detailed story. There simply is so much going on in these fifty minutes that it is hard to explore all its aspects in detail. Like many of the Star Trek episodes, it concerns itself with the more fundamental of emotions, obsession, vengeance, love, and like many episodes it is a tragic story, even a little heartbreaking. It also boasts some of the best acting performances of the series, not only from the guest stars, but also William Shatner, who here delivers a masterclass in understatement, something not usually associated with the actor.

Twenty years after the end of World War II, the prosecution of war criminals was still a priority for many, and there were rumours of prominent Nazis having escaped the fall of Berlin to new lives in South America. This is a nod to that idea, with the perpetrator of a horrendous massacre escaping after faking his own death and creating a new life for himself as an actor. This is the initial conceit, but the episode looks at how the survivors have fared. Leyton is one who is consumed by the event, both physically and mentally, and seeing someone who resembles Kodos, he loses all semblance of rationality in lying and fabricating news of a scientific breakthrough, just so he can divert the Enterprise to his planet. Kirk on the other hand has built a life and successful career after witnessing the horrors of Tarsus. He is comfortable and well adjusted on the surface, because he takes solace and strength in the idea that Kodos died at Tarsus. When he is presented with evidence refuting that, the vehemence with which he clings to that belief goes beyond stubbornness; Kirk truly needs to know that Kodos is dead so that he can function. When that view is challenged, he almost reluctantly begins to investigate Leyton’s claims, and when Leyton dies, we see the obsessive side of Kirk’s nature come to the fore again. He’s initially cold-hearted in the way he charms Lenore Karidian, he pulls in favours to get the troupe stranded so that only the Enterprise can pick them up, and he pursues the investigation with dogged zeal. It’s enough to get his second in command troubled enough to bring his concerns to the Doctor.

The difference here is that Kirk is fully aware of his obsession, enough so as to anticipate it in others. His apparent demotion of Riley to engineering could be seen as putting the Lieutenant out of harm’s way, but I see it as a recognition of himself in the younger man. Kirk knows how he wants to act presented with the idea of Kodos’ survival, and he knows just how Kevin will react if he knew of the same, not having the maturity to deal with it rationally. Indeed Kirk is proved right later on when Riley does indeed learn of the rumours. Kirk is aware of his obsessive chase after Kodos, even before Spock confronts him about it. He knows he is abusing his authority in his dealings with the actors, and tries to mitigate this by pursuing the investigation alone. Spock reminds him the danger he faces, pronouncing with certainty that Kodos and Karidian are one and the same, but Kirk is torn between a desire for vengeance and a need for justice, and needs certainty beyond mere logic before he condemns a man. That he recognises this in himself is a sign of the character’s complexity.

Themes that we’ll come to repeatedly in the series crop up here as well. Spock describes Kodos’ actions as a blunt exercise in Eugenics. Lenore wonders of how much humanity remains in Kirk when he is in command of a futuristic technological marvel, sterile and unfeeling, but she is still enchanted by the power that Kirk wields. There are powerful performances is the show, moments worthy of notice including the tragic climax, and also the moment when Karidian recites from memory the speech that Kodos used to pronounce the deaths of four thousand people. The one weak point in the show is McCoy’s dictation of a medical log that just manages to contain the information to send Riley on a search for retribution. It’s just too transparent a plot device. As for Shatner’s restraint in acting, the final moments of this episode are a shining example when McCoy asks Kirk just how he felt about Lenore Karidian. Shatner manages to get his point across with just a glance.

Ultimately, despite the hunt for justice and Kirk’s dogged pursuit of Kodos, the focus of the story, the final tragedy lies with Karidian himself. A man, who had once been a monster, escaped his fate on Tarsus and began his life anew, this time trying to hide from justice in plain view, and find some peace and innocence in his life. He believed he had found that in his daughter Lenore, who he assumed he kept unaware of his previous life. Yet in the end, his guilt and his burden tainted her purity as well, turning her into a shadow of the monster he was in her desire to keep her father safe. Her descent into insanity is perfectly observed, and a chilling denouement to the episode. I always wonder in the final moments of this episode, whether Karidian had redeemed himself with his final act of self-sacrifice. I certainly can’t see him as a simple monster.
 
Re: The Conscience Of The King

This is just to let you know that I, too, am enjoying your reviews greatly. I haven't seen the series in quite some time, so I don't have much of substance to add, but you are certainly strengthening my resolve to get hold of the DVDs. It would be very nice to be able to contribute to this excellent thread, and to the forum as a whole.
 
Re: Miri

Posted by scottydog:
Posted by The Laughing Vulcan:
Putting aside the incongruity of a virus that has a hundred percent infection rate, or indeed the sheer absurdity of a planet that is the exact duplicate of Earth....

I just re-watched Miri myself, and I also was puzzled why the planet was an exact Earth duplicate. Surely the same message could have been conveyed using any planet. The only explanation I can come up with is that the episode's writers wanted to truly sledge-hammer its moral message that if we're not careful, this could happen to us, too.

Exact Earth duplicates? Read "Preserver" by Shatner and the Reeves-Stevens team. Some frightening concepts there.

Bri
 
Re: Miri

TLV,

I'll add my voice to those who like reading your reviews, although I thought your review for Dagger of the Mind was a bit harsh.
 
The Galileo Seven

The Enterprise is required to deliver some urgently needed medical supplies, and to that end, High Commissioner Ferris is aboard to see that all goes to schedule. However, the ship has some time in hand and the prerogative to explore can’t be ignored, especially when the Murasaki Quasar is in range of the ship’s shuttlecraft. Spock takes a team of seven, himself, Scotty, McCoy, Boma, Yeoman Mears, Latimer and Gaetano, aboard the shuttle Galileo and head off into the quasar. But the quasar disrupts the shuttle’s systems causing it to crash on an M Class planet inside the quasar’s influence. With the ever-present Commissioner Ferris reminding Kirk of his obligations, the Enterprise must race against time to locate its missing crew. Meanwhile on the planet, Spock must apply his logical command style to a crew of illogical and irrational humans, as they face repairing the shuttle before the ship departs the region, a shortage of fuel and the threat of the planet’s indigenous humanoid population, giant in stature and primitive in nature.

What idiot drafted the regulation that states that the need to explore supersedes an emergency situation as long as time permits? I mean what kind of idiot would ignore a developing humanitarian crisis in favour of less significant more material concerns? We have to be thankful for this particular idiot however, otherwise Kirk might just have delivered the medical supplies first, and then come back to explore the Quasar at leisure, and we would have had to do without this splendid episode.

I find that my perception of this story has been coloured by subsequent Trek literature, in this case Diane Carey’s Dreadnought. I was all set to praise this episode for having the gumption to portray Boma as a racist, (The idea of a person of colour being portrayed as a racist would have been ahead of its time in the sixties, and certainly considered un-PC today). But to my surprise there is no such portrayal in this episode, Boma’s character was actually re-invented to fit the storyline of Dreadnought, and in no way resembles the character in this episode. I find that this lessens my perception of the book while strengthening my opinion of this episode, I feel quite foolish for forgetting Gene Roddenberry’s vision of a future where bigotry is no longer an issue. The conflict and antagonism that does occur in this episode do so not because of the colour of Spock’s blood, or the shape of his ears, but rather his attitude to the rest of the shuttle crew, and the decisions he makes while in command. While attitudes may have hardened, and the atmosphere became heated, no one ever generalised Spock’s actions down to his Vulcan heritage, rather they attribute his behaviour specifically to him.

The presence of Boma, and the strength of his character are specifically because of this tense situation. Spock’s command skills are to be tested, his ability to relate to a human crew challenged. It’s a tense dramatic situation; tempers fray and things are said that can’t be taken back. You can’t have a series regular say these things; otherwise you drive a wedge between the characters that irreparably damages the character dynamic. Boma as a guest star can say these things, and indeed he is the one that crosses the line into insubordination. It’s a narrow and faint line, given McCoy’s personality and tendency to speak plainly to all around him, but it’s there nonetheless. Where McCoy, berates, cajoles and generally grouches his way into making others re-examine their actions, he never speaks out of malice.

The oddest part of this story is the revelation that the mission on the Galileo is Spock’s first command. I find that impossible to believe, given that he is the second in command of the Enterprise. I take McCoy’s statement to mean that this is the first time that Spock has been cut off from the chain of command, the first time that the assigned mission has become irrelevant and that he has had to redefine parameters and command a new mission, that of keeping the shuttle crew alive long enough to be rescued. But even with that rationalisation it still remains implausible that Spock has never had to work without training wheels before.

But this is an essential plot point, as this is the first episode more or less devoted to Spock, where we get to know the character and what drives him to a greater extent than before. We understand now, just what role logic and pragmatism play in his life as he tries to get the Galileo repaired and off the surface of Taurus II. It’s brought out in stark relief against the emotional and sentimental behaviour of the crew, many of who insist on a burial for their fallen crewmates in the face of attack by the indigenous primitives. The shuttle crew aren’t all of a piece though, and where McCoy and Boma allow their emotional sensibilities to colour their responses to Spock, it is Scott the engineer who seems the most simpatico, working relentlessly to repair the shuttle. I think that Spock acted as a deflector, taking much of the conflict on himself. Were Spock not there, I feel that Scotty would have been just as pragmatic and logical as Spock. This episode also highlighted Spock’s lack of social understanding, and it is McCoy who points out to a totally flummoxed Spock the sheer illogic in expecting irrational beings, whether they are human or the primitives, to behave rationally. This is a Spock who can’t have had much social contact with humans, although whether through circumstance, or whether through personal choice is unclear. I get the feeling that this incident was a turning point for the character in that he must learn to understand and accept irrationality, both from without and within to understand the universe. It’s this naivety in the character that sells the still bizarre idea that this was Spock’s first true command, despite his position on the Enterprise.

The weakness in the story occurs back on the Enterprise in the form of High Commissioner Ferris. This is a wholly unnecessary character whose presence blights an otherwise fine episode. He begins the hallowed tradition of high and mighty muckety-mucks, screwing up situations or getting underfoot on the Enterprise and requiring a timely rescue, or some icy put-down by Kirk. The knowing smirk that the character delivered when the Galileo vanished established him as a villain of the highest order, yet his only purpose in this episode is one of an ambulatory chronometer, popping up regularly to remind Kirk that time was running out. Frankly this episode didn’t need the external conflict, and would have been far stronger with Kirk having to feel the internal strain of duty and loyalty, without a convenient villain to demonise.

This episode also is noteworthy for the technobabble, or sheer lack of it. Uhura gets to deliver a lot of the dialogue normally attributed to Spock, and if you listen to the scientific jargon, you’ll find that it is all valid and real world. They talk about the Quasar’s radiation output and they use measures in Angstroms. McCoy examines the atmosphere of Taurus and he talks about partial pressures of Nitrogen and Oxygen, and traces of inert gases like Argon and Xenon (absolutely no made-up-elementiums). Listen to Kirk talk about the difficulty of finding the shuttle, at first in the Quasar and then on the surface of a planet, and you get a sense of the immense vastness of space. “Finding a needle in a haystack would be child’s play in comparison,” he says. I miss this scientific rigour and reality in Trek in particular, and in television in general, where even police shows have 30-minute DNA tests.
 
Re: The Galileo Seven

Posted by The Laughing Vulcan:... it is Scott the engineer who seems the most simpatico, working relentlessly to repair the shuttle. I think that Spock acted as a deflector, taking much of the conflict on himself. Were Spock not there, I feel that Scotty would have been just as pragmatic and logical as Spock.

I agree, Scotty's number one priority appeared to be completing the repair work. When the other crew members were insistent on performing a burial and were badgering Spock, Scotty stayed on-task. I've seen this occur where I work -- the leader is the lightening rod, especially a leader who takes controversial actions and with whom a few malcontents have personality clashes.
 
Court Martial

The Enterprise is at Starbase 11 for repairs following a particularly damaging ion storm, a storm in which Records Officer Ben Finney was killed. As required by regulations, Kirk makes his statement to base commander, Commodore Stone. However, when Spock arrives with the required log recordings, Kirk stands accused of perjury when it appears that he ejected the pod containing Ben Finney before he ordered the ship to red alert, instead of after as he claims. When Stone offers Kirk an easy option, an honourable desk assignment, Kirk is adamant that he is in the right, and demands an unprecedented Court Martial. But with both evidence and opinion stacked against him, he needs a crack lawyer to prove his innocence. His first choice, former flame Areel Shaw is busy, gut wrenchingly so as she is heading the prosecution. But she wants to help Kirk regardless, and she recommends an unconventional counsel. From behind a stack of books emerges the unique Sam Cogley. Still, things do not look good for Kirk until Sam Cogley gets a hunch. When Jaime Finney, Ben Finney’s daughter becomes oddly forgiving of Kirk after initially accusing him of murdering her father, Cogley’s suspicions are raised. Meanwhile Spock finds the Enterprise computer strangely easy to defeat at chess. These two hunches lead to the Enterprise bridge, where the mystery is solved with a magic microphone.

Star Trek’s first courtroom drama is certainly not its last. Indeed the producers went from one straight onto another, with Spock facing the spotlight next. But Court Martial was Kirk’s big trial, as he faced the end of his career after being accused of perjury, and possibly even manslaughter. What follows is a classic courtroom drama, with all the evidence pointing to the guilt of our hero, and with only a last minute piece of brilliance saving his bacon. The actual mechanics of the episode are no longer as fascinating as the background to the story, and some oddities that crop up. Sam Cogley is a wonderful character, and it’s no wonder that Trek Lit returns to him again and again. But seen with a modern, jaundiced eye, the courtroom section of the story seems excessively dramatic, and with the occasionally awkward musical score emphasising even minor moments of the drama, it descends into histrionics. It’s surprising that I feel that way now, considering this used to be among my favourite episodes of Trek. The tragedy at the heart of this episode is the regret and bitterness that taints Ben Finney. Both he and Kirk share a past, and served together on the Republic, where Kirk dutifully reported a mistake made by Finney, that in his eyes forever tainted his career. Since then he has been nursing his hatred and resentment, and the ion storm gives him the chance to exact his revenge. Cogley with his extensive paper library typifies the battle between technology and humanity that Star Trek often fought in its 50 minutes.

A 21st Century viewer may wonder why the idea of image manipulation would be considered novel by a 23rd Century courtroom, and with the number of photoshopped images that appear on this board, one wonders why only Spock, Finney and the Captain have the necessary ability to fabricate false images. That is a minor nitpick noting how times have changed, but more obvious is the fact that even this early, Spock shows that there are beliefs and ideas that transcend logic, when despite all evidence to the contrary he insists on believing Kirk’s innocence. His idea of playing the computer at chess certainly has all the hallmarks of playing a hunch, and in the closing stages of a trial, he may even have been grasping at straws.

A couple of plot points that bugged me include Kirk’s statement that the auditory sensors had an increased sensitivity of one to the fourth power (which as most high school graduates will tell you is still one). In court, McCoy is introduced as a qualified psychologist, but one wonders how he missed Ben Finney’s growing resentment to Kirk and his descent into a delusional state.

There is a wonderful glimpse at the diversity of Starfleet, with a Swedish Admiral and Indian and Russian Starship captains on the board of judges, but what this episode has to say about Starfleet’s internal politics is worrying to say the least. A man has died under Kirk’s command, and it appears that he bears significant responsibility for that fact, but Stone’s first instinct is to brush the whole matter under the carpet, ‘promote’ Kirk to a bureaucratic desk position where he can do no more damage, and forget about the affair, keeping Starfleet’s nose clean. He states with assurance that in Starfleet’s history, there has never been a Court Martial of a captain. Given his attitude, one has to wonder, just how many similar cases have been hushed up, and just how corrupt Starfleet is. Another interesting thing to note is the reaction that Kirk gets when he walks into the Starbase bar. He tries to greet all his fellow graduates and officers but gets an icy reception. His guilt or innocence is yet to be decided, but everyone else in the room has already tried and convicted him. It gives the impression that Kirk is a maverick, on oddity to be in the position that he has achieved, and that while he was riding the rocket to success, his peers were happy to be friends with the bright prodigy in the Captain’s chair. It also seems that they have been waiting for him to fail. I feel that in reporting Finney on the Republic, Kirk broke an unwritten rule, and he has been resented for turning in one of Starfleet’s own, something that isn’t the done thing, and that now with Finney’s apparent death, that resentment of Kirk bubbles to the surface. However one looks at it, it suggests an ‘old boys’ network in Starfleet that looks after their own to an unethical degree. When taken into account with Commodore Stone’s attitude, it suggests a corrupt and unhealthy organisation.

Court Martial is still an entertaining episode, but I find that over the years it has slipped a couple of notches in my estimation, but I do find it paints a picture of Starfleet that is very human and real, as opposed to the ideal view that we are usually presented with.
 
Re: Court Martial

Another cool thing about Court Martial that enthralled me as a young boy 35 years ago was the ship's ability to make the heart beats of its occupants audible. Then, one by one, Bones McCoy would shut off each person's heartbeat with a simple turn of his advanced gizmo. How cool is that? Very!

In fact, all of the technology was amazing to me. The little computer disks that Spock would pop into the computer, for example. Great stuff for 40 years ago.
 
Re: Court Martial

Those are really good points about the dark side of Starfleet. They're actually portrayed like a the Local 209 union or even, if I dare suggest, a major police force (like the NYPD). You don't turn on a fellow officer. Only Internal Affairs does that and generally they are outside the "blue." This may be in part because of Roddenberry's experience as a police officer (remember, he was rewriting everything in those days) and he may have put that in deliberately.

Either way, great observation.

Personally, the things that bothered me in this episode were visual: Jaime Finney's dress was horrible. She was in some 12 year old's frilly thing when the actress looked about 40. Ben Finney's tunic was way too small (looks like an old Shatner throwaway after it shrank). And the great thing is, according to this episode, CGI will be 100% lifelike and realistic by the 22nd/23rd century!
 
Re: Court Martial

Thanks for the great review! I've enjoyed reading all your reviews, I hope someday you make them available on a website or something so people will be able to access them anytime.

This may sound dumb, but one of the things I like most about "Court Martial" is the window showing a night scene when Kirk is in Stone's office. It's proof of the designers' talents, they were able to create something out of simple materials which, although on one level it looks fake, an other level it's remarkably evocative of a whole world outside the sound stage.
 
Re: Court Martial

considering that people like tracy existed one does wonder about how many more like him where there.

and i guess they just shipped garth on out to the mental colony without an actual court martial.
 
The Menagerie: Parts I & II

The Enterprise responds to an urgent call, and diverts to Starbase 11 at the behest of Mr Spock (although apparently not the same Starbase 11 as the previous episode). However, the staff at the base state that no such message has been sent, and the man who is claimed to have sent the message is in no fit state to have done so. Kirk and McCoy are introduced to Spock’s former commander, Fleet Captain Christopher Pike, and the vital man who Spock remembers has been reduced to a pale shadow. An accident on a training ship caused severe injury when he was exposed to Delta radiation, and with his vital intellect now severed from his shattered body, Pike is confined to a wheelchair, and can only communicate by flashing lights. While Kirk and base commander Commodore Mendez investigate the bogus call, Spock is planning something illegal. Utilising his skills with computers, he fabricates new orders for the Enterprise, and then kidnaps Pike and assumes command of the ship, putting it on an irreversible course to Talos IV. Kirk is not one to see his ship stolen, so with Mendez, he takes a shuttlecraft and set off in pursuit. When Spock realises the shuttle has passed the point of no return, he places himself under arrest, and allows the shuttle to board. However the Enterprise remains locked on course for Talos IV. Kirk has no option but to order an enquiry, but Spock provokes matters, demanding a Court Martial, a trial at which he will be judged by Kirk, Mendez and Pike. At the trial, Spock manoeuvres matters so that he can submit evidence on his own behalf, and suddenly images appear on the viewscreen, images so clear that they match no Starfleet record at all, and purport to tell the story of the only ever mission to Talos IV, conducted by Christopher Pike, with a young science officer in tow named Spock. Spock claims that this will have every bearing on the case, but he apparently seals his fate when it is discovered that the images are coming from Talos. Any contact with Talos invokes the last remaining death penalty on the books.

I’ve already looked at the Cage in the first post on this thread, so I won’t examine it again. Instead it is the contemporary framing story that interests me here. I find it curious that the courtroom drama is pulled out two (rather three) episodes in a row, and The Menagerie’s placement in production order, immediately after Court Martial seems odd indeed. I feel that it is lessened in impact by being made just after the superior earlier episode. The Menagerie does have novelty value, it is TOS’s only two-parter, and given that audiences of the time would have most likely not seen The Cage, it is an ingenious way of visiting the first pilot. Given the technology of the 60’s, it’s a feat almost on the par of Trial and Tribbleations, to apparently effortlessly craft a new story around the existing one.

Of course with 21st Century technology in many ways more advanced than that shown on Star Trek, Pike’s chair looks woeful now. When luminaries like Stephen Hawking retain their faculties and ability to communicate despite crippling infirmities, I have to wonder just how damaging Delta radiation really is. It must go beyond neurological damage and affect the brain itself. Yet if it damages the brain, how can they be sure that Pike’s personality and intellect remained intact, unless contrary to McCoy’s statement, future medicine has indeed learnt about how the mind operates. Other technical questions regard the shuttle that Mendez and Kirk pilot after the Enterprise. The idea of taking a sublight craft after an FTL one is ridiculous, the shuttle’s ion engine (considered a leap forward in technology in Spock’s Brain) must be an FTL one.

I always feel as if this story is a non-event, with nothing really at stake for Spock. That becomes apparent when Mendez turns out to be one of the Talosians’ figments. With the Mendez illusion accompanying Kirk from Starbase 11, the extent of the Talosian’s powers becomes immense. One wouldn’t have put it past them to ‘convince’ Starfleet to rescind General Order 7 letting Spock off the hook just this once. In that respect, the whole drama played out on the briefing room screen is solely for Pike’s benefit, who had been reluctant to agree to Spock’s plan to avoid his former officer facing charges. The replaying of the mission serves only to convince him that he can live out the rest of his life unconfined by his broken body. (Although the timing between Spock’s departure with Pike, and the Talosian’s display of his reunion with Vina seems suspiciously short)

This episode is another Spock builder, showing that for him loyalty transcends duty, and friendship transcends logic. He breaks all the rules to do his former Captain a favour, and he is conversant enough with human nature to keep his current Captain distracted long enough to accomplish his goals. I’m of two minds regarding Spock’s motives towards Kirk in this episode. Either he was sure that Kirk’s friendship would motivate him to help Spock regardless of regulations, and he kept Kirk at a distance to avoid him being implicated, or he suspected Kirk would try and stop him, and realised the distraction would be necessary to buy time. Given Kirk’s actions towards Ben Finney, it would be understandable why Spock would believe this, although later episodes and films would show Kirk is hardly a stickler for regulations. I want it to be the former explanation, but my suspicions are that it is the latter. I feel that at this point, while Spock may be able to logically understand human nature, he doesn’t quite trust it. He kidnaps Pike and takes him to Talos, he hoodwinks Kirk and leads him by the nose in a manufactured Court Martial. This is a Spock who is still utterly self reliant, who doesn’t trust people to make logical decisions. He still has some way to go.

The downside of this is that by the end of this double episode, Kirk is made to look a fool. He is duped by Spock, has his starship stolen from under his nose, wastes his time in a Court Martial engineered by his first officer, and is even relieved of command by an illusory Commodore. He’s merely a sightseer on this particular trip, and his comment to Spock at the end of the story is remarkably restrained. Were I in his position, best friend or no, I’d want to punch Spock on the nose. Menagerie is an interesting episode that makes ingenious use of the first pilot, but one or two flaws leave it a little weak, and coming so soon after another courtroom drama, it is ill placed in the production order.
 
Re: Court Martial

Honestly, "Court Martial" just doesn't work too well for me anymore. It's rather dated and has a few too many contrivances for my taste.

The prosecutor just happens to be an old girlfriend of Kirk's. One would think she'd recuse herself because she had a prior relationship with the defendant. And if Areel Shaw was a prosecutor, why the heck did Kirk try to hire her as his defense attorney?

And personally, I'd concerned about any 23rd century defense attorney that insisted on looking up everything in books instead using the much more efficient legal computer, the way Sam Cogley does. It's an understandable attitude in 1966, but in 2266, it's just :wtf:.

The 20 century microphone and the "one to the fourth power" bit coming one after the other pretty much kill my suspension of disbelief at the end of the show. I could overlook either one by itself, but together...

The "Eject Pod" button on the captain's chair is also rather hard to buy. A faked ship's log of Kirk surreptitously pressing a button on Spock's console would've been a LOT more believable.
 
Re: The Menagerie: Parts I & II

It's interesting to note that only two years elapsed between the making of The Cage (1964) and The Menagerie (1966). Yet during that two-year interval there were so many changes to the character of Spock, to the look of the bridge, and to the make-up of the crew, that Kirk notes that 13 years have passed. Indeed, it even looks like at least 13 years have passed. A very nice touch to add those extra years.
 
Shore Leave

A new planet is being explored, a veritable paradise that looks like parkland but lacks animal life of any form whatsoever. While landing parties are making sure the planet is safe, Kirk is reminded that his weary crew need some time to rest and recuperate after three months of tiring missions. McCoy as CMO is eager to begin transporting the crew down, but he is stunned when moments after describing the world as a wonderland, he is confronted by a large tardy rabbit, followed closely by a young blonde haired girl in a blue dress. Kirk is ready to begin shore leave, and assumes that McCoy’s comments are humorously directed at the Enterprise’s own workaholic Captain. He changes his mind when he beams down to find giant rabbit tracks where McCoy indicates. Shore leave must wait until the mystery is resolved. Unbeknownst to the landing party, their movements are being tracked by discrete antennae. They find that not long after they discuss something that the planet reminds them of, their fantasies are brought to life. Initially it seems harmless, although with Sulu finding an old style gun, and Rodriguez conjuring up a tiger, the amusement value begins to fade. Kirk begins to get a persecution complex when Finnegan, a tormentor from the Academy resurfaces to challenge him. It soon becomes apparent that the planet is draining power from the ship, affecting its systems including communications. Spock is just about able to beam down to report to Kirk, when Paradise takes a sinister air, as a mediaeval knight impales and kills McCoy.

After several dramatic episodes, Star Trek takes a lighter tone for this story, the first such since Mudd’s Women early in the series. But much more than Mudd’s Women, this is a piece of absolute whimsy, an opportunity for the writers to play. It appears as much an opportunity for relaxation for them as the prospect of Shore Leave is for the crew. As such the humour is extended beyond reason. It takes the crew painfully long for them to realise that it is their thoughts which are being brought to life, and were it not for the entertainment value in this episode, I would grow impatient with them. The fact that this is a comedy episode is telegraphed early on, when Kirk believes erroneously that he is getting a back rub from Spock, and not long after, Spock has to trick him into getting some rest. I also believe that McCoy delivers Trek’s first double take when he is confronted with the rabbit. Speaking of which there is the quintessential Kirk line, “You follow the rabbit, I’ll back track the girl”. Another Trek tradition that begins here is the mysterious planet that drains the ship’s power.

It’s all one big amusement park, as Spock confirms (He knows about amusement parks? That must have been an odd Vulcan upbringing), doubly confirmed when the planet’s resident Walt Disney shows up to hand the crew the keys to the magic kingdom. It makes me wonder what effect this planet had on the crew, beyond reading their minds. Sulu behaves recklessly when he finds the gun, and Kirk is mesmerized when he encounters his old flame Ruth. In fact, Shatner plays it to an extreme, suggesting he is literally entranced by her presence. When you add to that the fact that just after McCoy dies, Kirk still gets satisfaction in winning a brawl with the recreation of Finnegan on Vasquez Rocks of all places, then I have to conclude that ‘there is something funny in the water’. The crew’s behaviour was atypical.

The oddest note in the show was McCoy’s death, something that jarred with the lighter tone of the show. We’re spoiled with 40 years of hindsight. I can only wonder what first time viewers thought when they saw this episode on transmission. Kelley’s name wasn’t in the credits at this point, and all of a sudden a major character is killed off. It must have come as big a shock as Tasha Yar’s death in TNG, and for 15 minutes, it must have seemed that McCoy was no more, DeForest Kelley was leaving the show. It all worked out in the end, as McCoy turns up hale and hearty, healed by the magic planet. I also must commend his imagination, girls in lurid fur bikinis indeed. :drool: However, Angela Martine/Teller’s resurrection passes by unnoticed. The episode ends, as it should, with a collective bridge chuckle at a Spockism, although Shatner holds it a little too long, sending it into awkward Dr Evil territory.

Two things I noticed for the first time last night. One is that this episode is quite the precursor to Westworld, although minus the psychotic Yul Brynner droid. The second is that forget The Next Generation, this is Star Trek’s first holodeck episode.
 
Re: Shore Leave

When you add to that the fact that just after McCoy dies, Kirk still gets satisfaction in winning a brawl with the recreation of Finnegan on Vasquez Rocks of all places, then I have to conclude that ‘there is something funny in the water’. The crew’s behaviour was atypical.

i like your theory that something possibly the air?? was having a mild effect on the crew because the behavior was odd in places with the above being the most out of place.

but overall it is like a ride where some serious things happen but things work out in the end.
 
Re: Shore Leave

Posted by The Laughing Vulcan:
Kirk is mesmerized when he encounters his old flame Ruth. In fact, Shatner plays it to an extreme, suggesting he is literally entranced by her presence.

Kirk is SO enraptured by Ruth that it makes me think that the real Ruth came to untimely end.
 
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