At the core of this episode is a set of double-crosses, executed so carefully that every revelation uncovers another layer of complexity. All signs point toward Anton Karidian as mass murderer, but the certainty that builds around this conclusion is accompanied by doubt as to what consequences that should bring him, when it is learned that not a remorseless Anton, but his daughter, Lenore, has been covertly eliminating the potential whistle-blowers. So, Kirk has used Lenore even as Lenore was using Kirk, neither one initially aware of the other's intentions, and somehow, it is a mass murderer that is made the innocent victim of this crossfire. That is some stellar writing.
The Conscience Of The King
- Thread starter Mendon
- Start date
...Of course, the basic premise of the plot makes no sense, except as a king-size McGuffin with double fries. That doesn't stand in the way of a good story, but it does make one cringe even at the 47th rewatching.
How can there be only nine people who can identify Kodos the Executioner, when Starfleet has good recordings of both his face and his voice? What could these witnesses possibly contribute that Starfleet records cannot? And why are there exactly nine, when there supposedly were 4,000 survivors from the massacre? How can Lenore know who the nine are?
The story might be even more interesting if Lenore had managed to murder 3,998 witnesses already, rather than just seven...
Timo Saloniemi
How can there be only nine people who can identify Kodos the Executioner, when Starfleet has good recordings of both his face and his voice? What could these witnesses possibly contribute that Starfleet records cannot? And why are there exactly nine, when there supposedly were 4,000 survivors from the massacre? How can Lenore know who the nine are?
The story might be even more interesting if Lenore had managed to murder 3,998 witnesses already, rather than just seven...
Timo Saloniemi
Here's my thinking: the galaxy is a massive place. In the era of space travel, if one is careful to cover their trail and remains inconspicuous, he's virtually sure to evade capture. Add to this the fact that the authorities, foolishly or not, believe that he's dead, and in stating this have appeased most of those who'd have been hellbent on finding him. So I'm pretty contented with the idea that a chance encounter with an eyewitness would be more damning for Karidian than a run-in with the law.
The idea that there are only nine eyewitnesses, however, is much less easily understood. One can theorize, though, that Kodos went to pains to protect his identity while governor, and that his identity was was uncovered while nine others were present. If that idea isn't satisfying, then it would still be a shame to allow the use of the number 9 rather than 4000 to ruin an otherwise superior episode. It's a flaw, sure, but a very minor one that I can't imagine has alone caused this episode's lackluster reputation.
The idea that there are only nine eyewitnesses, however, is much less easily understood. One can theorize, though, that Kodos went to pains to protect his identity while governor, and that his identity was was uncovered while nine others were present. If that idea isn't satisfying, then it would still be a shame to allow the use of the number 9 rather than 4000 to ruin an otherwise superior episode. It's a flaw, sure, but a very minor one that I can't imagine has alone caused this episode's lackluster reputation.
Aside from the "only nine witnesses" thing, which is of course sillysillysilly, I have always liked this episode. I'll go further: I don't really understand why anybody would dislike it. I can see why it wouldn't be a favorite, but I don't understand the loathing it sometimes gets.
I mean, it makes me feel a little sorry for a probable mass murderer. Not bad for prime-time episodic TV.
I mean, it makes me feel a little sorry for a probable mass murderer. Not bad for prime-time episodic TV.
It's one of my favourite episodes - like the bits with Riley, Uhura singing Beyond Antares and Karidian suggesting that Kodos wasn't just evil, but thought he was doing the right thing.
Plus, any show with soft-focus closeups of Barbara Anderson... I can never decide if she reminds me more of Grace Kelly or Ingrid Bergman, or some transporter-accident melding of the two, but I've always found her to be one of the great beauties of her day.
John, still shallow.
John, still shallow.
I admire the ambiguity that is at the heart of this story. Remember, this was not at all common in the late '60s. The Conscience of the King is simply great writing. Arnold Moss is also great as Kodos/Karidian. That voice...
Tiger, I love that you mention the "Beyond Antares" scene, because it's an outstanding example of how drama is heightened atypically. It's wonderfully atmospheric, like the episode as a whole, and I find it truly baffling that this isn't generally hailed as one of the classics.
I think it's Ron Moore's favorite TOS episode, though, so there's something.
I think it's Ron Moore's favorite TOS episode, though, so there's something.
I agree Mendon: it's a great episode that deserves more that it ever got from the fans over the years. It also has some nice pathos when Kodos reflects on his decision and the tragedy of their rescue only a short time after. The tragedy is complete when he realises how like her father his daughter has become. It's a cruel, poetic irony.
This is the closest the series came to Shakespearan tragedy - and it does it so well...
That's some pretty towering praise for an episode of an adventure series. Ladies and gentlemen, is there anything Star Trek can't do?
You don't have to answer that. Just let it have its moment.
The Conscience of the King is a really good episode. Better than all the episodes that preceded it. Yes, not all of it makes sense, but it has enough mojo to make such concerns seem irrelevant.
...And one of the best lines...
"And this ship: all this power, surging and throbbing. Yet under control. Are you like that, Captain?"
Seriously. I hated this as a kid, but on my rewatch it really is a classic. As already mentioned; Almost Shakespearian in its delivery.
I was wondering about the mention of "barely identifiable charred remains from twenty years ago". Could this have been a real-life parrallel to the alleged discovery of Hitler's remains approximately 20 years before this episode was aired? Were they saying that he too could still be around?
And the final appearance of the series from Rand - If looks could kill.
"And this ship: all this power, surging and throbbing. Yet under control. Are you like that, Captain?"
Seriously. I hated this as a kid, but on my rewatch it really is a classic. As already mentioned; Almost Shakespearian in its delivery.
I was wondering about the mention of "barely identifiable charred remains from twenty years ago". Could this have been a real-life parrallel to the alleged discovery of Hitler's remains approximately 20 years before this episode was aired? Were they saying that he too could still be around?
And the final appearance of the series from Rand - If looks could kill.
I think it will be shame if this episode from NuKirk's history is erased. It was definitely a nod to WWII war crimes but took an interesting twist by making the villain quite sympathetic and yet demostrating that evil deeds can affect generations to come.
Rand absolutely rocked in this episode. A big boo-hiss for making this her last TOS appearance!
Rand absolutely rocked in this episode. A big boo-hiss for making this her last TOS appearance!
I daresay Barbara Anderson had a bigger acting job on this one than anything she did on "Ironside". It's not easy going to the dark place to give a convincing portrayal of full goose bozo crazy.
