For decades I thought it was just Uhura... "trolling" him (for lack of better word) because he was emotionless. Oops. That's a great catch re: the mind meld's creation.
I forgot about Questor...
Foreshadowing... just saying what's about to happen. GSK-783 would not be picked up on as likely as "private channel" (with everyone on the bridge hearing, but that's another story.) Hitchcock was good, that's for sure! Foreshadowing can indeed add to narrative glue... too much can also take away the glue. Also, those who like baseball might enjoy the 5 minutes of yakkety yak before the boom-boom happens and jar those viewers.
But Edith and Kirk are two twits for not understanding what those shiny things on wheels are if everyone keeps honking them and not in a good way, especially in the same scene.
Anton Chekov was right as well - for plot narrative and especially time constraints, it's silly to put emphasis on something not used. On the flip side, showing something that's used but then is given a new attribute out of nowhere can be risky too (e.g. "Live and Let Die" where we get the scoop on the watch, which also becomes a circular saw out of nowhere. Which is brilliant since he's a spy but stupid since (a) it comes out of nowhere, given how much was told about it earlier and is such a cheat, and (b) Dr Kananga would have removed the watch from THE SPY to begin with.
The parallel between Pike's cabin and his cage cell is eerily good... starts out as blabby exposition that alone tells us this character's deeper personality... but then we get to see it and pays off in real time. It's almost spoonfeeding but yet, at least for Oz and The Cage, it remained
engaging. It's also cool how a good pilot can foreshadow to-be-made episodes, sprinkling in ideas to remember for later on.
Still, "Cage" was intriguing but TOS as we know it was still more robust. And a pilot is still a lump of clay to be molded into a statue to be baked and glazed.
And now I'm off to go play with my pottery.
