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Just watched "And the Children Shall Lead" Again...

Albertese

Commodore
Commodore
So, I just watched "And the Children Shall Lead" once more. I've probably seen it half a dozen times over the years and I've always hated it, but I recently decided to watch all through Season three, since actually it's been a while since I watched any Star Trek.

Anyhow, I didn't hate it. It wasn't awesome, but it wasn't the nausea-inducing puke-fest I remembered it to be.

One thing I did notice: After the kids caused Sulu to leave orbit and later Kirk beamed down the two red shirts to their untimely death in the hard vacuum of space, and only realized his mistake when he tried to beam up the other two guys who were already there. BUT, at the end of the episode, rather than going back to Triacus to pick these two guys up, they set course to Starbase 12!

Sucks to be a red shirt!

--Alex
 
For all we know, those two redshirts are still waiting on Triacus. They must be awfully old and gray by now.
 
They could always dig up the buried colonists and eat them.

Well, there would be the shelters the colonists had, and whatever provisions were left behind. I'd imagine there'd be emergency rations at least. They should be able to hold out for a reasonable time.
 
Also, note that Kirk has no reason to set course for Triacus rather than Starbase 4 - because SB 4 is en route to Triacus!

That is, having evacuated the kids, Kirk orders course set for SB 4, but the Gorgon tells the kids to hijack the ship for a more distant destination, Marcos XII. They do so, and the ship reaches Marcos XII before Kirk regains control. So, turning around, his first destination indeed ought to be the starbase.

Timo Saloniemi
 
This one remains on my bottom three list. Even after all these years, I want to toss all those kids out an airlock.
 
I have something good to say about this episode: It features an original score by George Duning. (I especially like the final presentation of the four-note motif that runs throughout, C-B-D-Bb.) I just wish it had been attached to a better story. Then again, two other perfectly weird third-season scripts ("Is There in Truth..." and "The Empath") elicited even better music from him.
 
The original two security guards on the planet are Leslie and Lemli, but they are onboard the ship later. So there must have been another switch we didn't see before the Enterprise left orbit.

The More You Know!
 
Which is only natural, as Kirk himself was convinced of the "dread" emanating from the cave, and would have felt pity for any guard he posted down there (that is, he would have "considered it ineffective to establish long shifts for the guard in such a stressful environment" or however he formulated it for his official log).

Indeed, Kirk later inquires on how the security team down there is faring, a concern that must be psychological as the guard cannot possibly have anything relevant to report. Nothing is supposed to be happening down there, and the security team isn't tasked with accomplishing anything specific.

Timo Saloniemi
 
Between this episode and DAGGER of the MIND, is there some reason for these stories revolving around all of these maladies of the mind? Repressed feelings, denial, and so on, with the kids over their parents and psychosis in DotM? There are other episodes that seem to touch on mental problems, was this a popular theme in 1960's television?

Was Gene Roddenberry going through some shit at the time, and looking for dark scripts to reflect his own mood? There's always a touch of that in everyone in STAR TREK and that's certainly explored, here and there in other ways. For example, when Kirk's duplicated in a transporter accident and the first thing his other half does is seeks out that delicious yoman of his an outrage. I mean ... damn, Kirk, what's up with that?

Then Spock's taking over the ship when he got horny. When he gets what he wants and lands on Vulcan, hmmBOY!!! Glad we didn't see THAT Spock, again! On and on ... But episodes like "And the Children Shall Lead" are entirely different from that. The good ship ENTERPRISE is flung out to the furthest reaches of The Void to run into psychos, all the time ... I don't get it. Is it just cheap - was that the idea?
 
^^ Ouch...I can't answer the question but that's some tough stuff to chew.

Next to Leslie not saying "I don't understand a word you are saying" (WTF, your captain is talking to you, and now you are coming along on the next away mission :lol:) the scene that really makes no sense at all is Sulu thinking that these daggers in space are real !!! :wtf:

Heck, they could have reused the asteroid field footage from "Mudd's Women" and "The Doomsday Machine" so Sulu was under a false but believable impression, right?

My favorite is the Season Three "Rec Room" (arboretum/herbarium was the one in "Is There In Truth No Beauty?"). Now, with a female crew member taking a sunbath there in the deleted scene from "Elaan of Troyius" and the kids having ice cream (I scream, you scream, we all scream for Iscream) I shall use the word "solarium" in future references.

Bob
 
I have something good to say about this episode: It features an original score by George Duning. (I especially like the final presentation of the four-note motif that runs throughout, C-B-D-Bb.) I just wish it had been attached to a better story. Then again, two other perfectly weird third-season scripts ("Is There in Truth..." and "The Empath") elicited even better music from him.

Well said.

ATCSL was helped by a very sympathetic, memorable score.
 
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