Star Trek: The Next Generation 30th Anniversary Retrospective Part 3

So I finally got back to this project after two years with no progress. Hopefully I'll finish it before the 35th anniversary 😁.

Here are the first two parts if anyone missed them (which would not be surprising):

Revisiting Walt Disney's Davy Crockett: Part 4 (Western Wednesdays)

     The first episode of Walt Disney's Davy Crockett, Davy Crockett Indian Fighter, aired on Disneyland on December 15, 1954. Walt had started Disneyland earlier in 1954 in order to finance his dream amusement park. He wanted the episodes of the series to represent the park's four main sections: Adventureland, Tomorrowland, Fantasyland, and Frontierland. Davy Crockett would represent Frontierland. The show would be an unprecedented success, setting off a national craze that would generate 300 million dollars in profit, almost 3 billion dollars in today's money when adjusted for inflation.

     Watching the show today, after having grownup with the movie versions, is a somewhat strange experience. Exchanges of dialogue are extended, the musical score and sound-mixing are different and there are quite a few scenes that were cut from the films entirely. These scenes help to further flesh out Crockett and also contain additional bits of action.

     The show, immediately, has a more folksy, down-to-earth feel then the movies. The very first scene is one which was deleted from the theatrical release. In it Crockett is seen leaving his homestead to go off to fight the Creek War. Polly tells Georgie Russell, "If you don't stop makin' up those outlandish songs about Davy, there's no telling what will happen to the Crockett name." The first time we meet Davy in the movie, he's trying to grin down a bear, but here he is seen saying goodbye to his wife and children. This sets a general precedent for much of the deleted material: Crockett feels more flawed and human.

     Interestingly, River Pirates actually includes a scene that was cut from the first episode of the second series, "Davy Crockett's Keelboat Race". In it Crockett and Russell, pulling into a port after their ship is sabotaged by Fink, discuss sabotaging the Gullywhumper in retaliation but Crockett refuses, "No", he says, "we gotta win this race fair and square." The show, on the other hand shows Crockett tying a rope to the Gullywhumper so his own boat can be towed by it (until, of course, Fink discovers this).

     I have yet to really talk about Fess Parker's performance. Both the larger-then-life movie Davy and the more relatable TV Davy are perfectly embodied by Parker. He is the reason the show was such a success. He captured Crockett's easy going manner, his stalwart, righteous heroism, and his matter-of-fact country wisdom that came to embody the American Frontier spirit. Parker's easy, slow southern drawl, his formidable physical presence, his easygoing cheerful manner, and the subtle hints of sadness and melancholy he brings to the role made a huge impression on me as a youngster (along with millions of other kids from an earlier generation).

     As a result of this I have never been able to accept anyone else in the role. From John Wayne to Billy Bob Thornton (who actually bears pretty decent physical resemblance to the historical Crockett) all ring false to me. Fess Parker IS Davy Crockett. On the other hand, Buddy Esben, who was considered for the role of Crockett before Parker was chosen, is in a way, a composite of Crockett as George Russell (who, I'm surprised to learn was actually one of Crockett's comrades during the Creek war).While Parker is every inch the chivalrous paragon of virtue, Ebsen is fun loving, mischievous, and is portrayed as the one mainly responsible for perpetuating the Crockett myth.

     It's really fascinating how writer Tom Blackburn was able to integrate so many disparate sources of Crockett lore into the series. The almanacs, written to capitalize on Crockett's popularity, are seen here written by Russell. "I put up with your singin' them lies about me, but printin' 'em is goin' too far," Davy tells his friend. The description of Crockett as "half horse, half alligator and a little attached to a snappin' turtle" is also from the almanacs, and was further popularized in James Hackett's satirical play The Lion of the West. Crockett's autobiography, written during his last term in congress, is used to frame the narrative, with each episode opening and closing with an image of a book entitled "Davy Crockett's Journal." Crockett's traveling to the Alamo with a riverboat gambler and a Comanche Indian is taken from the spurious Col. Crockett's Exploits and Adventures in Texas, allegedly written by Crockett a few days before his death.

     And, of course, much actual history is referenced. Crockett did fight in the Creek Indian War though he didn't defeat a Creek chief hand-to-hand and singlehandedly end the conflict. His wife, Polly, passed away before he entered politics, though the show makes no mention of his second wife Elizabeth Patton. He did oppose Andrew Jackson's Indian Removal bill and make an impassioned speech against it on the House Floor. He did go on a tour of the eastern cities during his final term, recorded in the book: An Account of Col. Crockett's Tour to the North and Down East. He also received a rifle he named "Old Betsy" but while the episode shows him receiving it from the citizens of Philadelphia on his tour of the eastern cities, it was actually given to him by his constituents in Lawrence County during his tenure in the state legislature. Of course he did go to Texas where he died at the Alamo, although the manner of his death remains a subject of heated dispute.

In the end, I would say that the shows are, in some respects, better then the movies. This is not surprising, considering the fact that it was conceived with episodic television in mind. Nevertheless, the films do an admirable job of tightening the pace while leaving the narrative largely intact. Going back to the show all these years later was a fascinating experience. I was able to see this story I knew and loved in a new light. There are no "missing episodes" of Disney's Davy Crockett, but this restored material allowed me, in a small way, to relive the experience of watching the movies for the first time all over again.

Revisiting Walt Disney's Davy Crockett: Part 2 (Western Wednesdays)

Born on a mountaintop in Tennessee 

Greenest state in the land of the free 

Raised in the woods so's he knew every tree 

Killed him a bear when he was only three

Davy, Davy Crockett, King of the Wild Frontier 

     Originally released on May 25th, 1955 Davy Crockett, King of the Wild Frontier is directed by Norman Foster and Written by Tom Blackburn. After the unprecedented success of the Disneyland miniseries the studio decided to edit the three episodes together and release them theatrically. As a result of this the film has a very clear, three act structure. In the first act Crockett fights under Andrew Jackson in the Creek Indian War. In the second act he is elected to congress and opposes Jackson's Indian Removal Bill. In the third act he goes to Texas and joins the revolution against Santa Anna.

     While the film feels, understandably, episodic at times, they did a surprisingly good job making it feel like a connected whole. Davy's experiences in the Creek Indian War inform his actions in politics. Confronting the Creek war chief Red Stick (Pat Hogan), he promises that the government will let his tribe live on their own land in peace if they give up fighting. Redstick is sketical, "White government lie." "Davy Crockett don't lie," he reassures him. Looking for a western settlement to move his family to after the war he encounters a band of land grabbers led by Bigfoot Mason (played by wrestler Mike Mazurki), who make money running Indian settlers off their land and then selling it. Crockett becomes magistrate of this town, and arrests Mason and his followers. He then runs for state legislator and later for Congress, against an opponent who is in league with the Cherokee land grabbers. In Congress he opposes President Jackson's Indian Bill, as he feels it violates the promise he made to Red Stick and the government's treaties with the Indian nations.

     This opposition effectively ends his political career. In the meantime his wife has passed away from an illness. Davy has little to lose at this point. Reading about the Texas Revolution in the papers, he decides to join with the rebels. He sees American settlers oppressed by a tyrannical government and decides he must act. So he and Georgie head down to Texas. Along the way they are joined by a riverboat gambler named Thimblerig (Hans Conried, Jr.), who is trying to escape his debts, and a down-on-his luck Comanche (Nick Cravat), who Crockett and Russell nurse back to health after witnessing him be thrown off his horse while hunting buffalo. Eventually, the group reaches San Antonio, where they join the beleaguered defenders of the Alamo. It is here, along with James Bowie (Kenneth Tobey) and William Barret Travis (Don Megowan), that Crockett meets his demise.

     Watching this film is one of my earliest childhood memories. I can distinctly remember being frightened of Red Stick the first time he appears on screen. As I previously reflected, it left a huge impact on me. I attribute this to the film's quasi-mythic portrayal of Crockett. This film is a masterwork of mythic storytelling. The use of a ballad to tell the story and fill in the blanks immediately gives the movie the feeling of a folk tale. Stories and legends about Crockett are sprinkled throughout the film. The first time we meet Davy, he is trying to "grin down" a bear, "You see, there's nothin' so absolutely unresistable as an old-fashioned, good-natured grin" he tells General Jackson, "I got so good at it, an old 'coon throwed up his hands the minute he seen my teeth. ''You got me Davy,'' he hollered and he skinned down that tree and plopped himself in my sack before I knowed what was up." His first confrontation with Redstick is filmed like an epic battle between two titans. But it's the the final shot of the film, of Crockett furiously swinging his rifle in the air to fight off the hordes of Mexican infantry, that cemented his mythic quality for me. We don't see Crockett die rather, according to the final lyrics, "Storybooks tell they was all cut low but the truth of it is this just ain't so. Their spirits will live and their legends grow as long as we remember the Alamo."

     I refused to believe, for a time, that Crockett had actually died in the battle, I saw him as a larger then life hero, incapable of being killed in combat. His mantra "be sure your right and then go ahead" was for me not just slogan, but a way of life. Later on, after I had accepted the historical fact of his death, I learned that he had possibly been taken prisoner and summarily executed, again my young brain rebelled at this idea. Surely my childhood hero would never have surrendered. I've since learned that this story is of questionable historical validity but the point is that my admiration for Crockett exceeded that of passing interest in an historical figure. Fess Parker and the filmmakers had inspired in me a lifelong devotion to this long dead American congressman.

     Despite the film's mythic overtones, the writers were careful to portray Crockett as a real flesh-and-blood person. He gets hurt, he bleeds, and he is deeply affected by the premature death of his wife. He is not a man who goes looking for greatness. He just wants to raise his family in peace but destiny seems to steer him continually into situations that require heroic action. Despite this, his efforts seem to be met with failure more often then success. As I've grown older, it's these very human qualities that have continued to endear me to Crockett, his ability to carry on and follow his conscience in the face of continued failure and finally, certain death.

     Over the years I've had other heroes: celebrities, artists, political pundits, military veterans, but, in most cases (Catholic Saints excepted), my admiration for them has faded. Not so with Crockett. Rather, the more I've learned about the real man and what he did, the more I respect him. The great figures of history were more often than not tyrants, butchers, exploitative opportunists, et cetera. Davy Crockett, King of the Wild Frontier paints a picture of a man who refused to compromise with the corrupt ways of society and did what he felt was right no matter what the cost, a picture that, it just so happens, is fairly close to the truth. I have nothing but animus for what Disney, as a company has become. But, even if he did nothing else, I owe ol' Walt a debt of gratitude for making Davy Crockett.

Revisiting Walt Disney's Davy Crockett: Part 1 (Western Wednesdays)

I'm back! And I've finally graduated from college! To celebrate I wanted to do a bit of a retrospective/review on one of the formative pieces of media from my childhood: Walt Disney's Davy Crockett.

     I was first introduced to Fess Parker as Davy Crockett through the 1955 movie Davy Crockett: King of the Wild Frontier and its sequel, Davy Crockett and the River Pirates. Disney was mostly taboo in my home growing up (a fairly sensible restriction in retrospect) but there were a few exceptions. Movies that my father had grown up with, like Mary Poppins and the aforementioned Crockett pictures were allowed as he considered them to be of exceptional moral and artistic quality. My brothers and I were immediately hooked. We watched both movies so many times growing up that I believe I could recite all the dialogue verbatim if I really wanted to. We spent countless hours reenacting scenes from the movies and inventing new adventures of our own. Who would play Davy and who would be regulated to play his trusty companion Georgie Russel  (or worse, one of the bad guys) was a constant source of contention.

     This would lead me to a keen interest with anything Crockett related: books, documentaries, action figures; but also with other American frontiersman like Daniel Boone (who I was introduced to through the Disney series with Dewey Martin), Jim Bowie, and Grizzly Adams; and a longstanding fascination with the battle of the Alamo. But none of this was able to satisfy my Crockett craze. What I really longed for was a continuation of those two Fess Parker movies. Fueling this frenzy was my father's continued insistence that he remembered watching other "lost" episodes that Disney had never released on video. This, it turns out, was partly true.

When our family first got access to the internet (my dad needed it for his work-from-home job) I investigated his claims for myself. I found that, while there weren't entire episodes missing, the movies had edited the original five episodes quite a bit to shorten the run time. The three episodes that made of King of the Wild Frontier had each lost around fifteen minutes of footage while River Pirates, which only combined two episodes, had been edited much more minimally.  Disney had never seen fit to release to full, unedited episodes on home video. Since this discovery I had always hoped for an eventual release.

     Finally, I discovered the Walt Disney Treasures box sets. To celebrate Walt Disney's would-be 100th birthday the studio released a bunch of their early titles, including Crockett, uncensored, unedited and uncut on DVD. Unfortunately, these sets were sold in limited quantities and as a result were hard to find and expensive. Davy Crockett was upwards of $150 which was way out of my budget for a five episode mini-series at the time though I knew I would break down and buy it one day barring a less expensive alternative.

     Then I discovered YouTube. Low and behold, some one had uploaded the entire series (this was back in the early days of the website when you could still easily find copyrighted material for free). I was ecstatic when I first discovered this, like a kid on Christmas all over again (I was probably 15 or 16 at the time). I watched the first episode with my brothers as soon as I could find the time. But then something strange happened. My enthusiasm vanished. Like a man who spends his whole life hunting for something and then feels purposeless when he finally does. I decided to wait to watch the rest of the series, to savor it a little longer.

     I continued to procrastinate until, finally, the series was removed from YouTube for copyright restrictions. By this time I had moved on to other interests (comic books, WWII reenacting, western films, science fiction and fantasy stories), yet there was still a part of me that planned to revisit the series one day....

To be continued next week!

Star Trek: The Next Generation - 30th Anniversary Retrospective, Part 2 (Video)

 

      So, at this point, the 30th anniversary of TNG happened almost a whole year ago. It's taken me a long time to make this second part. Hopefully I finish this project before the 40th anniversary...

For anyone who missed part 1:

Star Trek: The Next Generation - 30th Anniversary Retrospective, Part 1 (Video)

I've been working on this for the past year in preparation for TNG's 30th anniversary, re-watching many of my favorite episodes and doing research about the story of the show behind the scenes. Stay tuned for more to come!

Saturday Evening Cartoons: Batman - Beware The Gray Ghost

     "Beware the Gray Ghost" is the 18th episode of Batman: The Animated Series. It is directed by Boyd Kirkland and written by Tom Ruegger and Garin Wolf. In it a criminal calling himself "the mad bomber" plagues Gotham with a series of bombings that remind Batman (Kevin Conroy) of an episode from the television series The Gray Ghost, which he watched as a child. Meanwhile the former star of that show, Simon Trent (Adam West), struggles to support himself, having been typecast in the role of the Gray Ghost.

     From the beginning, producers Bruce Timm and Paul Dini had Adam West in mind to voice Simon Trent. They were concerned that he might be offended because of the parallels between he and Trent's career but West was more then happy to play the character. After Batman ended in 1968 West was typecast as a camp, comedic actor and struggled to find other work. In addition to this, due to disputes between Warner Brothers, which currently owns the rights to DC television, and ABC TV, which originally broadcast the show, it was not released on home video until very recently. At the time this episode was made, the only way to watch Adam West Batman was to buy bootleg copies of episodes. Similarly, in this story, all the production copies of The Gray Ghost TV episodes were destroyed in a fire. These parallels add emotional weight to the episode, which serves, largely, as a tribute to West himself.

          The Gray Ghost is also a tribute to the pulp adventure heroes that inspired Batman in the first place, particularly The Shadow. Just as Bruce Timm and Paul Dini enjoyed the Adam West show as kids, and Bob Kane and Bill Finger drew influence from The Shadow, Bruce Wayne draws inspiration from The Gray Ghost when he takes on the mantle of the Batman. This helps to humanize the character in a way that had not been seen previously in the series. Bruce, like us, was a fanboy. He idolizes Trent and is saddened to see how impoverished he's become. By the end of the episode the case has become, for Batman, just as much about saving Trent as about stopping the bomber. By involving Trent in the investigation and revealing to him the impact he had on his decision to become Batman, Bruce helps Simon to find a new sense of self-worth. Trent sees that, even though he is unable to get more diverse acting roles, his career has mattered. He's had an impact on many young children who grew up with his show.

     Both West and Conroy put in really solid performances here. Even beyond the parallels between the real and fictional actors' careers, West really imbues Trent with a sense of humanity and pathos. The character could come off as pathetically tragic but West lends him an element of quiet strength and dignity. Conroy brings his usual moody, brooding quality to Batman, but is also able to express a sense of warmth and humor here that he's not often able to. Finally, Bruce Timm is clearly having fun lending his own voice to the Mad Bomber.

     The animation in this episode is up there with the best in the series. From the moody, noir-esque black and white opening, showing a young Bruce Wayne watching The Gray Ghost, to the explosive climax, where Batman and Trent (now dressed in his Gray Ghost regalia) confront the mad bomber, the animators deliver a lot of great visuals throughout the episode. The shows signature shadowy, art-deco visuals, with backgrounds painted on black paper, really serve this kind of nostalgic throwback well. Similarly, the score by Carl Johnson helps to set the tone and also adds an extra layer of emotional depth.

     Serving both as a nostalgic tribute to earlier material that influenced the show and as an exploration of how entertainment can shape the lives both of the performer and the viewer "Beware the Gray Ghost" is one of the best episodes of Batman: The Animated Series.

Score: 10/10

Star Trek: My 20 Favorite Episodes

     Fifty years ago, on September 8th, 1966, the first episode of Star Trek, "The Man Trap", aired on CBS. In honor of this momentous occasion I present to you my 20 favorite episodes of the original series.

     To create this list I went back and watched about 30 episodes that I remembered really liking, then ranked them accordingly. I've tried to include a variety of plots (ie. time travel, parallel world, artificial intelligence, intergalactic war etc.) and tones (both serious and light hearted). I tend to look for three things in any Star Trek episode namely good interaction between the cast (Kirk, Spock and Bones), thought provoking thematic material, and good pacing. All the episodes I selected contain one or more of these things and if supporting cast members (Scotty, Uhura, Sulu, Nurse Chapel, Chekov) are involved more than usual in an episode, so much the better.

Honorable Mentions

"The Enemy Within" (Season 1 Episode 5)
Written by Richard Matheson
Directed by Leo Penn

     One of the very first episodes that I ever watched, "The Enemy Within", written by veteren sci-fi writer Richard Matheson (I Am Legend), is a really intriguing commentary on the duality of man, his animalistic and often violent instincts on one side and his more evolved sense of morality and empathy on the other. It also features one of William Shatner's best performances as a more subdued Kirk who has been physically separated from his darker half. It probably would have made the cut if it wasn't for a rather insensitively handled rape subtext (rape is one subject that Trek writers never seem to get a very good handle on).

"Tomorrow is Yesterday" (Season 1 Episode 19)
Written by D.C. Fontana
Directed by Micheal O'Herlihy

     In this episode the Enterprise is thrown back in time to 60's era earth where they are spotted by a U.S. Air Force pilot and forced to beam him aboard. The crew must figure out how to return to the 23rd century without damaging the timeline. It's a really fun episode and was originally intended to be the second episode of a two parter, following the "The Naked Time". It was reworked into a stand-alone episode written by Trek regular D.C. Fontana. His script anticipates Star Trek IV: The Voyage Home, both in its lighthearted tone and in establishing that the Enterprise can time travel by using what's called the slingshot effect.

"Bread and Circuses" (Season 2 Episode 25)
Written by Gene Roddenberry and  Gene L. Coon (based on a telepaly by John Kneubuhl)
Directed by Ralph Senensky

     One of three episodes, along with "A Piece of the Action" and "Patterns of Force", where the crew of the enterprise encounter a planet whose cultural closely parallels earth history. In this case it's ancient Rome. It's not as comically entertaining as the former or thought provoking or well paced as the latter but it's the only one of the three to fully embrace parallel planetary development theory as opposed to someone purposely basing their culture on that of ancient earth and the implication (at the very end of the episode) that Christian worship is able to transcend space and time as a force for peace and liberation really intrigues me. It also features a really nice moment between Spock and Bones which was edited out of the original broadcast version.

Countdown of My 20 Favorite Episodes

20. "Day of the Dove" (Season 3 Episode 7)

Written by Jerome Bixby 

Directed by Marvin Chomsky

     Tensions run high aboard the Enterprise when the crew comes into conflict with the crew of a Klingon ship. Kirk, Spock, and Bones discover that they are all being manipulated by a mysterious alien entity that feeds off of violent emotions. They and the crew must overcome their violent impulses, and convince the Klingons to do the same, if they are to escape from the entity's control and from an eternity of pointless conflict.

     One of the few great episodes from Star Trek's uneven third season, "Day of the Dove" explores themes of hatred and violence. Watching the cast turn against each other is highly entertaining but there's also a spiritual quality to Jerome Bixby's story. The idea that the entity, or others like it, have been around since the beginning of time causing trouble echo's the Christian idea of the devil, an idea that transcends many different religions and mythologies. When Kirk tell's the entity that "We'll be on guard now" he seems to be speaking for all of humanity. This is also the first episode to really humanize the Klingons and explore their militaristic culture in a meaningful way. This is due in part to the performances of  Micheal Ansara and Susan Howard, who play the captain of the Klingon ship and his wife, respectively.

19. "The Ultimate Computer" (Season 2 Episode 24)

Written by D.C. Fontana and Laurence N. Wolfe
Directed by John Meredyth Lucas

     The Enterprise is selected to be the test vehicle for the new "M-5 Multitronic System" designed by renowned computer scientist Dr. Richard Daystrom (William Marshall), a system which will control all the ship's functions without human assistance. When the M-5 malfunctions, destroying an unmanned freighter without provocation, Kirk orders it taken off line. The M-5 then takes over the ship, generating a force field to keep the crew from shutting it off. Under M-5's control the Enterprise attacks Federation vessels that are taking part in war games as part of the test, causing them to fire on the Enterprise in retaliation. Kirk, Spock, and Scotty must act fast to take control from the M-5 before the ship is destroyed.

     "The Ultimate Computer" is the best of Star Trek's evil AI episodes. The overused plot device of defeating the AI by convincing it to destroy itself works better here because of M-5's connection to Daystrom, who programmed it with his own engrams. This is due, at least partly, to William Marshall's performance. His Richard Daystrom is a man driven by a need to prove himself and reclaim his former glory. Because of this the episode becomes a commentary not just on the dangers of computer automation but also of prideful ambition. Fontana is really good at writing characters whose large ego works toward their detriment. Shatner puts in a solid performance in this episode as well, as Kirk's ego is shaken when he is confronted with the prospect of being replaced by a machine.

18. "A Taste of Armageddon" (Season 1 Episode 23)
Written by Robert Hammer and Gene L. Coon
Directed by Joseph Pevney

     The Enterprise escorts Senator Robert Fox (Gene Lyons) to Eminiar VII to establish diplomatic relations with Federation. On arriving they receive a warning, barring them from approaching the planet surface, but Fox orders Kirk to enter orbit anyway. Deciding to investigate the situation Kirk beams down with Spock and a security team only to find that the planet is involved in a "war" with nearby Vendikar. In this war, attacks are simulated with computers and any person designated a casualty must be executed in a disintegration chamber. The planets leader, Anan 7 (David Opatoshu) informs Kirk that the Enterprise was "hit" in one of these attacks and that his crew are all considered casualties and must report for execution. When Kirk refuses to senf his men down, he and the landing party are taken prison. Kirk and the others must escape and warn the Enterprise before Anan 7 can lure them into a trap. Meanwhile, Senator Fox butts heads with Scotty, who distrusts Anan 7 and wants to threaten the planet with military action.

     Joseph Pevney and Gene L. Coon can usually be counted on to make an engaging episode and this one is no exception. "A Taste of Armageddon" is notable mostly for its strong ant-war themes. The idea presented is that war on Eminar VII has become so sterile and routine that the people of the planet no are no longer motivated to seek peace and Kirk's impassioned plea for peace at the end of the episode is just classic Trek. On the other hand the federation's General Order 24 could be read as an allegory for nuclear weapons, in which case this episode could be read as a defense for the use of such weapons to ensure peace. Given this, it's not surprising that this order has since been revoked by Federation law in Trek continuity. This episode is also the first in which Scotty takes command of the Enterprise.  In a scene inspired by James Doohan's military career he disobeys an order from Fox and refuses to lower the shields.

17. "The Doomsday Machine" (Season 2 Episode 6)

Written by Norman Spinrad
Directed by Marc Daniels

     Following a distress call from the USS Constellation, the Enterprise finds her sister ship stranded in space with only one survivor aboard, her captain, Commodore Matt Decker (William Windom). He informs them that his ship was attacked by a giant, planet-killing machine which severely crippled it. After evacuating his crew to a nearby planet Decker then watched helplessly as it was completely obliterated by the machine. The beleaguered Decker is beamed aboard the Enterprise while Kirk, Scotty and some engineers attend to the heavily damaged Constellation. When the planet killer returns, cutting Kirk off from his ship, Decker takes command of the Enterprise, determined to destroy the machine at any cost.

     "The Doomsday Machine" is one of the darkest episodes of the original series and it's also one of the best. Norman Spinrad based his script for the episode on a Moby Dick-esque novella he wrote. William Windom puts in a really good performance as the Ahab-like Commodore Decker, a role reportedly offered to Robert Ryan! His obsession to destroy the planet-killer is what drives the episode and ultimately, makes it work so well. It also serves as an interesting counterpart to "A Taste of Armageddon", an episode which, in some ways, can be seen as justification for the existence of nuclear weapons. This one, on the other hand, can be read as a cautionary tale about the implications of having weapons with such great destructive capacity.

16. "All Our Yesterdays" (Season 3 Episode 23)
Written by Jean Lisette Aroeste
Directed by Marvin Chomsky

     The Enterprise arrives on the planet Sarpeidon in order to evacuate its populace before the planet goes supernova. There Kirk, Spock and Bones meet the planet's last inhabitant Atoz (Ian Wolfe), who shows them the Atavachron, a time portal which the inhabitants of Sarpeidon have used to escape into the planet's past. Before he can explain this, Kirk, hearing a woman scream on the other side of the portal, jumps through it, followed by Spock and Bones. Kirk finds himself stuck in a time resembling 17th century earth. Spock and Bones are stuck in a frozen wasteland with a single inhabitant, a girl named Zarabeth (Mariette Hartley), who Spock finds himself inexplicably drawn toward.

     Marvin Chomsky was really the show's secret weapon in it's third season. Both of the episodes he directed are among the best. "All Our Yesterdays" owes a lot to "The City on the Edge of Forever" . Both episodes feature a time portal that a member of the Enterprise accidentally steps through and both are tragic romances. This time, however, its Spock who falls in love. Eschewing typical Sci-Fi tropes about messing with history this episode instead explores Spock's friendship with Bones and his attraction toward Zarabeth, which he is ultimately forced to choose between. It also showcases the history and culture of both Vulcan and Sarpeidon. Kirk's adventure is less interesting but the parts with Spock and McCoy more than compensate for this.

15. "Arena" (Season 1 Episode 18)
Written by Gene L. Coon and Fredric Brown
Directed by Joseph Pevney

     Kirk, Spock, Bones beam onto the Federation outpost on Cestus III with an away team only to find it destroyed. The Enterprise is then attacked by an unknown enemy. Kirk decides to hunt down and destroy the enemy ship in retaliation for the attack on Cestus III but a powerful alien race called the Metrons intervenes, forcing Kirk to face the captain of the opposing ship one-on-one in a battle to the death on a barren planet, with the fate of the Enterprise in the balance.

     An iconic episode "Arena" features the famous (or perhaps infamous) fight between Kirk and the giant lizard like alien called a Gorn.  Another Pevney/Coon collaboration with an underlying message about rejecting violence, one which takes a little to long to set up. Kirk's arc here, going from a single minded quest for retribution to finding true cultural understanding showcases Rodennberry's vision of a compassionate and "evolved man. It's also great fun watching Kirk battles the Gorn and improvise a weapon in order to defeat him. Watching the crew of the enterprise use their knowledge of science to ultimately win the day is always satisfying.

14. "Patterns of Force" (Season 2 Episode 21)
Written by John Meredyth Lucas
Directed by Vincent McEveety

     Investigating the disappearance of Federation cultural observer John Gill (David Brian), the Enterprise arrives at the planet Ekos. When the ship is attacked by a primitive nuclear missile, Kirk and Spock beam down to investigate. On the planet's surface they discover a culture closely resembling that of Earth's Nazi Germany, complete with a holocaust against the Zeons, a more advanced culture from a neighboring planet. When they further discover that John Gill is the leader, or Führer, of this Nazi state, Kirk determines to confront Gill on his inexplicable violation of the Prime Directive.

     "Patterns of Force" is the best Trek episode dealing with parallel worlds. It's also John Meredyth Lucas' best script. His exploration of the effectiveness of fascism as a system of government is really complex. It's definitely a darker episode, about how easily man can fall into systematic violence when motivated by a strong group mentality. It has some lighter moments as well though, especially when Bones enters the scene. He and Spock's conversation about fascism at the end of the episodes is a particularly good moment. As a student of history I find all of this to be really fascinating. Director Vincent McEveety keeps the episode well paced and suspenseful throughout. If nothing else, this episode can be enjoyed as a solid political thriller.

13. "The Menagerie: Part I and II" (Season 1 Episodes 11 and 12 )
Written by Gene Roddenberry
Directed by Marc Daniels (and Robert Butler)

     Responding to a a message from Spock's former captain, Christopher Pike (Sean Kenney), the Enterprise arrives at Starbase 11. There they find that Pike has suffered from a severe burn accident and is now confined to a wheelchair, able to communicate only by answering yes/no questions with the aid of a red light on his wheelchair. Commodore Mendez, doubting that Pike was even capable of sending the message, orders an investigation. Meanwhile Spock kidnaps Pike and commandeers the Enterprise for unknown purposes. Kirk and Mendez pursue Spock, forcing him to beam them aboard. Finding out that the Enterprise is headed for the forbidden planet of Talos IV Mendez convenes a court martial, trying Spock for mutiny and disobeying Star Fleet orders. During the proceedings Spock presents recordings of Pike's original adventures on Talos IV as evidence. These recordings show that he was held against his will by powerful alien telepaths determined to use him to breed a race of slaves. Kirk increasingly worries about what his first officer is up to.

     "The Menagerie" was the first Star Trek episode to win a Hugo award for Best Dramatic Presentation. It's also the original series only two-part episode. It was made because Gene Roddenberry ran out of scripts half-way through Season One and, by cleverly utilizing footage from the unaired pilot "The Cage" as Spock's evidence for the court martial, this only episode only required a minimal amount of new material. It takes the brilliant (though somewhat problematic) premise of the pilot and explores it in more humanistic terms. What started as an exploration of reality, illusion, and free will becomes more complex, looking at old age and disability as well. Besides this, it also works well as a thriller. Seeing Spock commandeer the Enterprise for unknown purposes, at the bemusement of his shipmates, makes for great television. It's also interesting to see the Enterprise at an earlier date. Captain Pike (played by Jeffrey Hunter in the flashbacks) later became a reoccurring character when J.J. Abrams rebooted the franchise in 2009.

12. "The Corbomite Maneuver" (Season 1 Episode 10)
Written by Jerry Sohl
Directed by Joseph Sargent

     When the Enterprise encounters a mysterious and powerful alien ship, its commander, Balok (Clint Howard), identifying his ship as the flagship of the "First Federation", threatens to destroy the Enterprise for trespassing into First Federation territory. Kirk enters a game of cat and mouse with Balok, trying to bluff his way out of the situation. Meanwhile his new helmsman, Bailey (Anthony Call), struggles to cope with the stressful situation.

     "The Corbomite Maneuver" was the first episode of the series to be produced after NBC bought the pilot "Where No Man Has Gone Before". It is also the first (filmed) appearance of Bones, Uhura, and Janice Rand. It establishes Bones friendly relationship with Kirk really well, though he and Spock's antagonistic rapport had yet to really show itself. Kirk's battle of wits with Balok is really exciting and the episode presents one of the show's central themes, the wonder of discovery and contact with the unknown, really well. There is a somewhat sexist line from Kirk that I don't care for and the uniforms were still being refined but, nevertheless, for people wanting to get into the show, I'd say this is a pretty good entry point.

11. "Dagger of the Mind" (Season 1 Episode 9)
Written by Simon Wincelberg
Directed by Vincent McEveety

     During a supply run to the penal colony on Tantalus IV, an escaped inmate stows away aboard the Enterprise and attacks one of the crew. The inmate, former doctor Simon Van Gelder (Morgan Woodward) demands asylum aboard the Enterprise only to be subdued by a Vulcan nerve pinch from Spock. On McCoy's insistence, Kirk beams down with psychiatrist Lt. Helen Noel (Marianna Hill) to investigate. There they find the inmates oddly complacent. Dr. Tristan Adams (James Gregory), who runs the facility, shows Kirk an experimental device which, he claims, Dr. Van Gelder mentally injured himself with. Meanwhile, aboard the Enterprise, Van Gelder becomes increasingly frantic, warning Spock and Bones that Kirk and Noel are in danger.

     The first episode of the original series I ever watched "Dagger of the Mind" features strong direction from Vincent McEveety, who keeps the episode really suspenseful. Though it features some nice, lighter moments between Kirk and Noel who, it's revealed, have a history, this episode has some really dark undertones. It's an almost Orwellian exploration of  criminal "rehabilitation" at the cost of identity loss. It also introduces the Vulcan mind-meld, a plot device which would become a staple of the franchise. Morgan Woodward said that the role of Simon Van Gelder was the most exhausting of his career and took a toll on his personal life while also opening up new acting opportunities for him.

10. "The Tholian Web" (Season 3 Episode 9)
Written by Judy Burns and Chet Richards
Directed by Herb Wallerstein

     The Enterprise encounters her sister ship, the USS Defiant, after a long search only to find that its crew have killed each other. After discovering that the Defiant is dissolving in an inter-dimensional drift, Kirk is caught on board and fades away with the ship. With the arrival of an unfriendly Tholian ship and the spread of a kind of space madness caused by proximity to the rift, Spock must decide whether to flee or stay and try to retrieve the captain in hopes that he survived the inter-phase.

     "The Tholian Web" is the best episode of Trek's spotty third season. In it we see how much of a middle man Kirk is to Spock and McCoy as their relationship is really put through the ringer in his absence. Watching the whole crew react to Kirk's supposed death one of my favorite scenes in the series. The episode also delves into inter-dimensional theory a concept  that would be explored further in the Enterprise episode "A Mirror Darkly" which was a sequel of sorts to this one. With all the craziness going on, this episode bears a strong resemblance to season one's "The Naked Time" and, like that episode, is well paced and suspenseful. Judy Burns had never written a screenplay before this episode but she could have fooled me.

9. "The Trouble With Tribbles" (Season 2 Episode 15)
Written by David Gerold
Directed by Joseph Pevney

     The Enterprise arrives at Deep Space Station K7 in response to a distress call. Arriving there, Kirk meets Under-Secretary Nilz Baris who sent the distress call so the Enterprise could guard a consignment of grain bound for Sherman's Planet. Annoyed at being summoned for such a menial task Kirk reluctantly agrees, using this as an opportunity for the crew to get some much deserved rest and recreation. A trader named Cyrano Jones (Stanley Adams) gives Lt. Uhura a tribble, a small fuzzy creature which reproduces at a remarkable rate. Soon the Enterprise and the space station are overrun with the creatures. The arrival of Captain Koloth and his Klingon battle-cruiser further complicates matters, as Baris fears for the safety of his grain.

     "The Trouble With Tribbles" is one of the most beloved episodes of the Original Series. Scotty gets more character development in this episode than usual as we learn how much pride he takes in being the engineer of the Enterprise when some Klingons decide to insult it. There are themes in the episode dealing with overpopulation and food distribution but the real reason this episode is famous is the comedy. Watching Kirk's exasperation as he tries to deal with Baris, the Klingons and, of course, the Tribbles, is highly entertaining. The climax, or low point of this struggle, where Kirk is literally buried in Tribbles, took eight takes to get right. Perhaps the appeal of this episode is best summed up in the words of William Shatner, "The trouble we had with 'Tribbles' was [to] keep your straight face. It was just a lot of fun."  

8. "Space Seed" (Season 1 Episode 22)
Written by Gene L. Coon and Carey Wilbur
Directed by Marc Daniels

    The Enterprise encounters the derelict SS Botany Bay, a relic of late 20th century earth, floating in space, her crew kept alive in suspended animation. Kirk, Bones and Scotty beam aboard the freighter along with historian Lt. Marla McGivers (Madlyn Rhue) and revive a man that McGivers identifies as the leader. Bringing him on-board the Enterprise they discover that his name is Khan (Ricardo Montalban). Spock discovers that he is actually Khan Nonien Singh, a warlord and genetically engineered superhuman form the eugenics wars of the 1990's. When Khan seduces McGivers, who has become infatuated with him, into helping him take over the ship, Kirk and his crew must prevent Khan from using the Enterprise to begin his new rule over mankind.

     This episode is famous for introducing Khan but he is not yet the revenge driven mad man of Star Trek II here. The script, originally written as a concept for a different Sci-Fi series by Carey Wilbur is really intelligent and well written. Khan is portrayed as a sophisticated autocrat, one who believes that he ought to ruler over others because his innate superiority makes him more capable. He makes an interesting foil for the more moral and empathetic Kirk, Spock and Bones. Given its somewhat sexist implications, Khan's relationship with McGivers is one of the weaker aspects of the episode, but it's also one of the most fascinating. Having studied history her whole life McGivers is fascinated by this savage, assertive man from the past. She's also sick of serving on the Enterprise, where she rarely gets a chance to do anything important. Joining Khan gives her the opportunity to take part in and help shape history instead of just studying it. It's just to bad that she seems so indecisive most of the time. Despite this, "Space Seed" remains a really smart and entertaining episode.

7.  "The Devil in the Dark" (Season 1 Episode 25)
Written by Gene L. Coon
Directed by Joseph Pevney

     When workers at the mining colony of Janus VI are killed by a mysterious creature, the Enterprise is sent in to investigate and eradicate the creature. On arriving, the Chief Engineer of the colony, Vanderberg (Ken Lynch), explains the situation. Then the creature attacks the colony's nuclear reactor room, killing the guard and stealing the circulation pump. Kirk and the crew must kill the creature and retrieve the pump within 48 hours, or the reactor will go critical. Spock however, has misgivings, suspecting that the creature may be the last of its kind. On finding the creature he and Kirk discover that it is intelligent, and that it's intentions have been misunderstood.

     If "The Trouble With Tribbles" is about population control "The Devil in the Dark" is its pro-life counterpart. It's also Coon's best script. Kirk and Spock, in protecting the Horta, demand respect for intelligent life in all it's forms and at all it's stages. What's surprising is the way the miners react when they learn that they've been destroying the Horta's eggs, not with blind anger but compassion and understanding. This episode presents Roddenberry's vision at its most optimistic. The banter between Kirk and Spock which closes the episode is one of the best exchanges between the two characters ever. William Shatner, who's father died during the filming of this episode, has said that it's his favorite, partly because of the positive experience he had when the cast and crew helped him to cope with his loss.

6. "Mirror, Mirror" (Season 2 Episode 4)
Written by Jerome Bixby
Directed by Marc Daniels

     During a mission to the peaceful planet Halkan a transporter malfunction causes Kirk, McCoy, Uhura, and Scotty to become trapped in a mirror universe. Here the Federation has been replaced with the brutal Terran Empire which the counterparts of Kirk and his crew in this universe serve. Attempting to impersonate their doppelgangers, who have been trapped in the universe which our heroes left, Kirk and company must find a way to return to their own universe. Matters are further complicated when the Terran Empire orders Kirk to destroy Halkan unless they meet their demands.

     Most famous for featuring an evil doppelganger of Spock who sports a beard, "Mirror, Mirror" presents a really interesting parallel universe. Jerome Bixby, who based the story for this episode on a short story he wrote, really digs into the workings of this world and its characters. Seeing how Kirk, Spock, and all the characters turn out in this universe is really interesting. Bone's insistence to save the mirror version of Spock when he is hurt shows how much he really cares for the Vulcan. Kirk's treatment of Lt. Marlena Moreau (Barbara Luna), his "kept woman" in this universe, reveals both the similarities and differences between him and his counterpart. Scotty's easygoing treatment of the whole affair reveals the character's quiet confidence that makes him so good at his job. I especially like how Uhura is able to blend into this world, in many ways, better than Kirk does, suggesting that her and her doppelganger are not that different. Finally, Spock's logical behavior throughout and his decision to let Kirk and company return at the end suggest that he too is not that different than the Spock we all know and love and that he may indeed take Kirk's advice and try to put an end to the Terran empire's reign of terror.

5. "Journey to Babel" (Season 2 Episode 10)
Written by D.C. Fontana
Directed by Marc Daniels

     The Enterprise is tasked with transporting Federation ambassadors, including Spock's father Sarek (Mark Lenard), to the Babel Conference to discuss the admission of the Coridan System to the Federation. Trouble arises when a Tellarite ambassador is murdered and Sarek is the main suspect. Later, he suffers a cardiovascular malfunction and Kirk is attacked and stabbed by an Andorian assassin. With the arrival and attack of an unidentified ship Spock is faced with a choice: give Sarek a lifesaving blood transfusion or take command of the enterprise in accordance with regulations.
 
     "Journey to Babel" along with "Amok Time" helps to flesh out Vulcan culture and Spock's background. It also helps to cement his friendship with Kirk and Bones. Mark Lenard's Sarek makes a really interesting contrast to Spock. Though this is his only appearance on the original series he would return to the franchise many times in the movies and the Next Generation TV show. His strained relationship with Spock is really the heart of this episode and is something that would not be resolved until the two part Next Generation episode "Unification". His mother Amanda (Jane Wyatt) acts as a balance between the two men. Her relationship with Sarek is also fascinating and always leaves me wishing for more. The way Kirk and Bones go out of their way to help Spock helps to further establish the depth of their friendship.

4. "Balance of Terror" (Season 1 Episode 14)
Written by Vincent McEveety
Directed by Paul Schneider

     While inspecting a line of Federation outposts, the Enterprise finds that many of them have been destroyed by an unknown enemy. A wedding aboard the ship, officiated by Captain Kirk, is interrupted when Outpost 4, near the Romulan neutral zone, is attacked. The Enterprise travels there to investigate and aid the the men at the outpost. After arriving they witness the outpost being destroyed by a cloaked Romulan Bird of Prey. Kirk decides to follow the Bird of Prey to the edge of the neutral zone before they can return to Romulus and report about the Federation's weaknesses. A games of cat and mouse ensues between the two ships and their commanders.

     Another episode featuring Mark Lenard but this time as a Romulan Captain (so much for continuity), "Balance of Terror" is a taught thriller in the tradition of old submarine movies. Indeed, writer Paul Schneider drew much inspiration from the WWII film, The Enemy Below but his script goes a step further and explores themes of racial distrust in time of war. In addition to introducing the Romulans this episode hints at their shared ancestry with Vulcans. This would become an important part of Trek mythology later on, as Spock would seek to reunify the two cultures, a goal he would pursue all the way up to his last prime universe appearance in Star Trek (2009). Vincent McEveety, who always excels at delivering suspense driven episodes, is at the top of his game here. Watching Kirk go toe to toe with the Romulan commander is probably the most intense climax in any episode of the original series. As a side note the woman getting married at the beginning of the episode, Angela Martine (Barbara Baldavin), is shown genuflecting, which was a bold move for the producers as prejudice against Catholics was common in the United States in the 1960's.  

3. "The City on the Edge of Forever" (Season 1 Episode 28)
Written by Harlan Ellison
Directed by Joseph Pevney

     While treating Lt. Sulu, Dr. McCoy accidentally injects himself with an overdose of cordrazine. Delusional, he flees from the bridge and beams down to a nearby planet where Kirk and a landing party pursue him. There they come across a large stone ring and a voice, calling himself the Guardian of Forever, explains that this is a time portal to any place and time. When McCoy appears and jumps through the portal and the landing party loses contact with the ship the Guardian explains that McCoy has changed history, causing both the ship and the Federation to be erased from history. Kirk and Spock decide to follow Bones through the portal and repair whatever damage he's done to the timeline and the Guardian agrees to return them to the present time once this is done. They come through and find themselves in Depression era New York City. They must use whatever crude tools they can find there to determine when McCoy will pass through the portal so they can stop him.

     Probably the most famous and acclaimed episode of the original series "The City on the Edge of Forever" was plagued with production problems. The script, written by renowned Science Fiction scribe Harlan Ellison, took over ten months to complete as Gene Roddenberry kept requesting rewrites. Before it was done the script had to be doctored by up to four other writers including D.C. Fontana, Gene L. Coon, Steven W. Carabatsos, and Roddenbery himself. Ellison was displeased by the final draft and he and Roddenberry had a long lasting feud as a result. The troubles weren't over even after the episode began filming however as it went $50,000 over budget. Despite all these problems the episode turned out amazingly well and went on to win a Hugo award for Best Dramatic Presentation. It certainly deserved it. This episode is a great exploration of causality and the limits of optimism. It features, perhaps, William Shatner's best performance of the series, as we watch Kirk fall in love with Edith Keeler (Joan Collins) only to be forced to let her go. It also has some great exchanges between Kirk, Spock and Edith Keeler. Joseph Pevney's direction was never stronger. It's simply a must-see episode.

2. "The Naked Time" (Season 1 Episode 4)
Written by John D.F. Black
Directed by Marc Daniels

     While documenting the breakup of planet Psi 2000 the crew of the Enterprise investigate the status of a research team on the planet's surface that has not been heard from in months. A landing party finds the team frozen to death, apparently after suffering from some form of madness. Without realizing it, one member of the party becomes infected with a strange red liquid. Soon more of the crew become infected and begin behaving irrationally with Ensign Riley (Bruce Hyde) getting drunk and taking over the ship via the engine room and Lt. Sulu running around the ship, shirtless, with a sword. Dr. McCoy determines that the water from the planet acts on the bloodstream like alcohol, impairing judgement and self-control. While he works on a cure Kirk and Spock, who are infected themselves, must work to regain control of the ship along with Scotty so they can leave the system before the ship's orbit decays.

     "The Naked Time" is a really entertaining episode. The script, by John D.F. Black, helps to shed more light on the characters early in the series run. We learn that Sulu fancies himself a swashbuckler and we see how brilliant of an engineer Mr. Scott is. More importantly, we learn how much the Enterprise means to Kirk, as his fear of losing command surfaces when he is infected. We also see how vulnerable Spock is and how much he struggles to contain his emotions. We learn that he and Nurse Chapel have feelings for each other when both of them become infected. This is reiterated later in the show. The scene where Spock breaks down crying, which is some of the best acting Nimoy ever did, was improvised. The episode is also a superb thriller, as events keep escalating until the (nearly) explosive conclusion where the Enterprise enters time warp for the first time. It's a favorite of George Takei, who taught himself fencing during his free time and apparently terrorized the film crew by poking them with his sword whenever they walked by.

1. "Amok Time" (Season 2 Episode 1)
Written by Theodore Sturgeon
Directed by Joseph Pevney

     Mr. Spock, who has been displaying erratic behavior of late, requests leave to travel to his home planet of Vulcan. When Star Fleet orders the Enterprise to Altair VI to represent the Federation at the inauguration ceremony for the planet's new president and refuses Spock's request, Kirk, seeing that Spock is in deadly earnest, insists on knowing why he must go to Vulcan. Spock reluctantly explains that he is going through pon farr, a condition experienced by young Vulcans, and that he must mate or he will die. Kirk disobeys Star Fleet orders and takes Spock to Vulcan. Once there he invites Kirk and Bones to attend the mating ceremony. On the planet they meet Spock's intended mate T'Pring (Arlene Martel) who requests the koon-ut-kal-if-fee, her right to a physical challenge between Spock and her selected champion. When she selects Kirk as her champion he decides, despite Spock's protests, to accept, only to learn that the fight is to the death!

     I had a hard time choosing between my top three episodes. Ultimately I picked "Amok Time" because it has the best interaction between Kirk, Spock, and Bones. Theodore Sturgeon really gets at the heart of their relationship and Kelley, Shatner, and especially Nimoy all put in great performances. The scene in the elevator were Spock asks Kirk and McCoy to attend the ceremony is, in particular, a really great, understated character moment as is the scene where Spock finds out that Kirk is alive and smiles, the only time in the series that Spock would show emotion without being influenced by some outside force.

     We learn a lot about Spock in this episode, both his culture and his character. We see the planet of Vulcan and meet other Vulcans for the first time. The Vulcan hand salute and the phrase "Live long and prosper" both appear here for the first time as well. Finally, we find out how private and prideful Spock and his culture are, as he avoids telling Kirk about pon farr almost at the cost of his life. There's also another hint at his romantic feelings for Nurse Chapel. Joseph Pevney's direction is quite strong and he gives the scenes on Vulcan a really exotic, otherworldly feel. In the end I love "Amok Time" because it does what Star Trek does best, telling a story about a new and strange world but a story that is surprisingly human and relatable at its core.