Spoiler: I really wanted to post on this episode last night while fresh in my so-called mind, so I've forgotten a few more tidbits than usual.
Season 3 hits its next home run after the awesome "The Enterprise Incident" and "The Paradise Syndrome".
Kirk admits after the start of the story of superficial beauty being one of last of humankind's prejudices. I'd completely forgotten about that line when I saw this story last, some number of decades ago, and I'll never forget it again.
Kirk even questions himself and his beliefs to McCoy after berating Miranda with ugliness outside of sickbay, complete with gaping open door to ensure she hears him. And, trust me, it may take the Kelvin era movies to reach their 6th or 600th installment to finally dare discuss "the pretty is questionable". Ditto for DSC, I fear.
Apart from a slightly delayed flinch, which might be due to her sensor mesh reacting (so how does she handle walking in areas if everyone else is running toward her?), Diana Muldar pretty much steals the show as Miranda. Only overshadowed by Marvick, whose unrequited love is wonderfully underplayed by David Frankham. Nothing OTT, just a sincerity that truly engages the audience with its subtle sinister aspects, particularly after he loses his sanity.
Even from the regular cast, everyone is on top marks acting this episode out and then some. They knew this was an excellent script.
Granted, there aren't many human telepaths nowadays, sighted or otherwise. In 300 years' time, despite hundreds of centuries' worth of time, will humans who are blind develop telepathy as a replacement sense? Which is partially unfair to say, Kirk's pilot episode dealt with esper and 6th sense abilities and if anyone genuinely had such ability, they're not going to talk about it. In part because it wouldn't take long for anybody to realize the anomaly. and all this took place decades before Troi's time, too. Makes me wonder when first contact with Betazed really took place.
The handling of Spock forgetting the visor really works because of the writing, pacing, direction, and acting - everything comes together in this scene to make what would otherwise be a cliché overcome its trappings.
Chekov, in wonderful season 3 persona, gets the great line of how, if a madman got the Enterprise out of the galaxy, maybe a madman can get it back. Spock is quick to claim it's not helpful, yet that line is what triggers the subsequent thoughts and dialogue that lead to using the mindlink with Kollos.
Nimoy obviously relished the post-mindlink scene. Indeed, the banter with McCoy never gets more finer - or more revealing:
Ignoring both how "brave new world" isn't referring to Huxley or Fotostat, or how Jean, like Margaret Armen, DC Fontana, and others, all have a natural ability to make any Spock/McCoy banter - no matter how raw - work wonders, this episode has a ton of awesome bits of Spock/McCoy goodness. Like this exchange:
KIRK: Tell me, Doctor Jones. Why isn't it dangerous for you to be with Kollos? Spock I can understand. Nothing makes an impression on him.
SPOCK: Why, thank you, Captain.
KIRK: You're very welcome, Mister Spock. But no human can look at Kollos, even with a visor, without going mad. How do you manage?
MIRANDA: I spent four years on Vulcan studying their mental discipline.
MCCOY: You poor girl.
SPOCK: On the contrary, Doctor, I would say that Doctor Jones was indeed fortunate.
MCCOY: Vulcan is not my idea of fun.
MIRANDA: Joy can be many things, Doctor. On Vulcan, I learned to do things impossible to learn anywhere else.
KIRK: To read minds?
MIRANDA: How not to read them, Captain.
KIRK: I don't understand.
SPOCK: Doctor Jones was born a telepath, Captain.
KIRK: Oh.
MIRANDA: Vulcan was necessary to my sanity.
...
But back to the earlier exchange: Notice how Kollos/Spock doesn't include the descriptor "friend", which other episodes -despite their bickering - reveal they are indeed good friends. Perhaps Kollos was (unintentionally) tweaking, since - despite learning about Byron - probably couldn't have learned all of Spock's memories that quickly. Or knows that Spock would never consciously admit a close friendship despite it all. After all, McCoy was open in mentioning patient/doctor confidentially. Kollos could easily be as mindful of Spock and what he doesn't say. That, I do believe, was Jean's intent in that scene regarding The Big Three.
But of greater notice is McCoy's reacting to the duo-presence of Kollos going all poetic followed by Spock's un-emotive retort. I'd argue it's one of TOS's, if any of Trek's, best whole scenes to be written, acted, and filmed.
Let's look at one other snippet:
Spock nails the episode right there and then. As many people who give the Greek culture a pardon or believe things were oh-so-great back then, Spock is the one smart enough to remind that it wasn't all bread and circuses back then and he was right. But the Greeks also believed having big reproductive organs also suggested fascinating forms of ugliness as well - hence all the statues sculpted being not-so-well-endowed. The episode contains so many hints of so many related facets to ponder and research about and draw connections with, but for many reasons lacked the time and freedom to address so many facets of what it was introducing. But it clearly hints with bits and pieces like mentioning the Greeks' antiquated mindset that only good looks means a noble person, as well as the nuances IDIC quietly brings to the table. Not very strongly, leaving it up to the perception of the viewer. Or misperception, perhaps. That's the brilliance of Jean's writing and it's significant considering the time period in which this underrated, amazing little story was written in.
Going back to doctor/patient confidentiality I mentioned earlier, notice the sheer lack of sexism in pointing out the only reason Miranda could not pilot a starship is because she is blind and needs the sensor mesh to provide her data with what's around her. It's definitely not like Geordi's VISOR. Now, her retort is also excellent, though with one point: Despite knowing the distance from where she was to the door, she did not state what was written on the nameplate next to the door. Nor did she cite details of colors her quarters were lit in, or other such details. There is enough circumstantial evidence to suggest differences between the 23rd and 24th centuries in terms of realistic concerns despite the fictional setting. Geordi had the technology Miranda was unable to have because it did not exist. And McCoy was correct, given what was available at the time.
And it's the exchange with Kirk about why she tries to conceal the mesh as part of her wardrobe. She does not want pity, a subplot well-acted and, pardon the pun, well-woven into the script. That might be why the revelation works so well.
The use of camera angles may not be liked by all, but I felt they were wonderfully used to convey an artificially greater sense of distance in corridor shots (to sell the theme of loneliness). Or when those affected by Kollos the "Medussan", the name being the only real heavyhanded aspect to this story, react. The fast-clipped editing must have cost a lot back then, but it manages to sell otherwise dry scenes of Miranda fondling Spock's head to get him to come out of it.
Better, when Spock revives, there is no magic "I'm back on all fours again, whee!" moment - Spock is visibly shaken from his ordeal. Jean Lisette Aroeste crafted a fine episode, as she had also with "All Our Yesterdays". Especially considering the trappings of 1960s television.
And, of course, the groovy swingin' 1960s IDIC medallion that wouldn't look too out of place in Mardi Gras or Haight Ashbury. It's way too easy to see why Nimoy and others balked at trying to do lame product placement. Especially as, given the themes of the story, it'd arguably be an ugly thing to do. But it would likely be made with higher quality compared to any replicas sold today. There's a fun moment to fathom.
Also, some people criticize the music. Season 3 definitely needed a new set of stock scores. Season 3 delivers. Only with the Miranda/Spock meld at the end was there an obvious join, but the music sells the episode rather well. Put in the stock "Amok Time" action music into this episode. Or try to., You'll laugh and/or puke before the first stanza is completed.
Easily a must-watch, is one of season 3's greats, and is pretty above average for TOS in general.
Season 3 hits its next home run after the awesome "The Enterprise Incident" and "The Paradise Syndrome".
Kirk admits after the start of the story of superficial beauty being one of last of humankind's prejudices. I'd completely forgotten about that line when I saw this story last, some number of decades ago, and I'll never forget it again.
Kirk even questions himself and his beliefs to McCoy after berating Miranda with ugliness outside of sickbay, complete with gaping open door to ensure she hears him. And, trust me, it may take the Kelvin era movies to reach their 6th or 600th installment to finally dare discuss "the pretty is questionable". Ditto for DSC, I fear.
Apart from a slightly delayed flinch, which might be due to her sensor mesh reacting (so how does she handle walking in areas if everyone else is running toward her?), Diana Muldar pretty much steals the show as Miranda. Only overshadowed by Marvick, whose unrequited love is wonderfully underplayed by David Frankham. Nothing OTT, just a sincerity that truly engages the audience with its subtle sinister aspects, particularly after he loses his sanity.
Even from the regular cast, everyone is on top marks acting this episode out and then some. They knew this was an excellent script.
Granted, there aren't many human telepaths nowadays, sighted or otherwise. In 300 years' time, despite hundreds of centuries' worth of time, will humans who are blind develop telepathy as a replacement sense? Which is partially unfair to say, Kirk's pilot episode dealt with esper and 6th sense abilities and if anyone genuinely had such ability, they're not going to talk about it. In part because it wouldn't take long for anybody to realize the anomaly. and all this took place decades before Troi's time, too. Makes me wonder when first contact with Betazed really took place.
The handling of Spock forgetting the visor really works because of the writing, pacing, direction, and acting - everything comes together in this scene to make what would otherwise be a cliché overcome its trappings.
Chekov, in wonderful season 3 persona, gets the great line of how, if a madman got the Enterprise out of the galaxy, maybe a madman can get it back. Spock is quick to claim it's not helpful, yet that line is what triggers the subsequent thoughts and dialogue that lead to using the mindlink with Kollos.
Nimoy obviously relished the post-mindlink scene. Indeed, the banter with McCoy never gets more finer - or more revealing:
SPOCK: This is delightful. I know you. All of you. James Kirk, Captain and friend for many years. And Leonard McCoy, also of long acquaintance. And Uhura, whose name means freedom. She walks in beauty, like the night.
MCCOY: That's not Spock.
SPOCK: Are you surprised to find that I've read Byron, Doctor?
MCCOY: That's Spock!
KIRK: Am I addressing the Ambassador?
SPOCK: In part. That is, part of us is known to you as Kollos. Ah, Miranda. There you are. O brave new world, that has such creatures in it.
MIRANDA: 'Tis new to thee.
MCCOY: That's not Spock.
SPOCK: Are you surprised to find that I've read Byron, Doctor?
MCCOY: That's Spock!
KIRK: Am I addressing the Ambassador?
SPOCK: In part. That is, part of us is known to you as Kollos. Ah, Miranda. There you are. O brave new world, that has such creatures in it.
MIRANDA: 'Tis new to thee.
Ignoring both how "brave new world" isn't referring to Huxley or Fotostat, or how Jean, like Margaret Armen, DC Fontana, and others, all have a natural ability to make any Spock/McCoy banter - no matter how raw - work wonders, this episode has a ton of awesome bits of Spock/McCoy goodness. Like this exchange:
KIRK: Tell me, Doctor Jones. Why isn't it dangerous for you to be with Kollos? Spock I can understand. Nothing makes an impression on him.
SPOCK: Why, thank you, Captain.
KIRK: You're very welcome, Mister Spock. But no human can look at Kollos, even with a visor, without going mad. How do you manage?
MIRANDA: I spent four years on Vulcan studying their mental discipline.
MCCOY: You poor girl.
SPOCK: On the contrary, Doctor, I would say that Doctor Jones was indeed fortunate.
MCCOY: Vulcan is not my idea of fun.
MIRANDA: Joy can be many things, Doctor. On Vulcan, I learned to do things impossible to learn anywhere else.
KIRK: To read minds?
MIRANDA: How not to read them, Captain.
KIRK: I don't understand.
SPOCK: Doctor Jones was born a telepath, Captain.
KIRK: Oh.
MIRANDA: Vulcan was necessary to my sanity.
...
But back to the earlier exchange: Notice how Kollos/Spock doesn't include the descriptor "friend", which other episodes -despite their bickering - reveal they are indeed good friends. Perhaps Kollos was (unintentionally) tweaking, since - despite learning about Byron - probably couldn't have learned all of Spock's memories that quickly. Or knows that Spock would never consciously admit a close friendship despite it all. After all, McCoy was open in mentioning patient/doctor confidentially. Kollos could easily be as mindful of Spock and what he doesn't say. That, I do believe, was Jean's intent in that scene regarding The Big Three.
But of greater notice is McCoy's reacting to the duo-presence of Kollos going all poetic followed by Spock's un-emotive retort. I'd argue it's one of TOS's, if any of Trek's, best whole scenes to be written, acted, and filmed.
Let's look at one other snippet:
MCCOY: I don't care how benevolent the Medusans are supposed to be. Isn't it suicidal to deal with something ugly enough to drive men mad? Why do you do it?
SPOCK: I see, Doctor McCoy, you still subscribe to the outmoded notion, promulgated by your ancient Greeks, that what is good must also be beautiful.
SPOCK: I see, Doctor McCoy, you still subscribe to the outmoded notion, promulgated by your ancient Greeks, that what is good must also be beautiful.
Spock nails the episode right there and then. As many people who give the Greek culture a pardon or believe things were oh-so-great back then, Spock is the one smart enough to remind that it wasn't all bread and circuses back then and he was right. But the Greeks also believed having big reproductive organs also suggested fascinating forms of ugliness as well - hence all the statues sculpted being not-so-well-endowed. The episode contains so many hints of so many related facets to ponder and research about and draw connections with, but for many reasons lacked the time and freedom to address so many facets of what it was introducing. But it clearly hints with bits and pieces like mentioning the Greeks' antiquated mindset that only good looks means a noble person, as well as the nuances IDIC quietly brings to the table. Not very strongly, leaving it up to the perception of the viewer. Or misperception, perhaps. That's the brilliance of Jean's writing and it's significant considering the time period in which this underrated, amazing little story was written in.
Going back to doctor/patient confidentiality I mentioned earlier, notice the sheer lack of sexism in pointing out the only reason Miranda could not pilot a starship is because she is blind and needs the sensor mesh to provide her data with what's around her. It's definitely not like Geordi's VISOR. Now, her retort is also excellent, though with one point: Despite knowing the distance from where she was to the door, she did not state what was written on the nameplate next to the door. Nor did she cite details of colors her quarters were lit in, or other such details. There is enough circumstantial evidence to suggest differences between the 23rd and 24th centuries in terms of realistic concerns despite the fictional setting. Geordi had the technology Miranda was unable to have because it did not exist. And McCoy was correct, given what was available at the time.
And it's the exchange with Kirk about why she tries to conceal the mesh as part of her wardrobe. She does not want pity, a subplot well-acted and, pardon the pun, well-woven into the script. That might be why the revelation works so well.
The use of camera angles may not be liked by all, but I felt they were wonderfully used to convey an artificially greater sense of distance in corridor shots (to sell the theme of loneliness). Or when those affected by Kollos the "Medussan", the name being the only real heavyhanded aspect to this story, react. The fast-clipped editing must have cost a lot back then, but it manages to sell otherwise dry scenes of Miranda fondling Spock's head to get him to come out of it.
Better, when Spock revives, there is no magic "I'm back on all fours again, whee!" moment - Spock is visibly shaken from his ordeal. Jean Lisette Aroeste crafted a fine episode, as she had also with "All Our Yesterdays". Especially considering the trappings of 1960s television.
And, of course, the groovy swingin' 1960s IDIC medallion that wouldn't look too out of place in Mardi Gras or Haight Ashbury. It's way too easy to see why Nimoy and others balked at trying to do lame product placement. Especially as, given the themes of the story, it'd arguably be an ugly thing to do. But it would likely be made with higher quality compared to any replicas sold today. There's a fun moment to fathom.
Also, some people criticize the music. Season 3 definitely needed a new set of stock scores. Season 3 delivers. Only with the Miranda/Spock meld at the end was there an obvious join, but the music sells the episode rather well. Put in the stock "Amok Time" action music into this episode. Or try to., You'll laugh and/or puke before the first stanza is completed.
Easily a must-watch, is one of season 3's greats, and is pretty above average for TOS in general.
