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):

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!

My Favorite Films: Star Trek IV: The Voyage Home

"They say the sea is cold, but the sea contains
the hottest blood of all, and the wildest, the most urgent."
-D.H. Lawrence, Whales Weep Not

     Star Trek IV: The Voyage Home is not my favorite Star Trek film (that would be Star Trek II: The Wrath of Khan) but it is the closest in spirit to Gene Roddenberry's original vision for the series: a bright future where humanity has left behind its petty conflicts and joined a larger, intergalactic community. Fun, entertaining stories with big ideas are the very essence of Trek and Leonard Nimoy, who wrote and directed this film recollected, “No dying, no fighting, no shooting, no photon torpedoes, no phaser blasts, no stereotypical bad guy. I wanted people to really have a great time watching this film [and] if somewhere in the mix we lobbed a couple of big ideas at them, well, then that would be even better.”

     At the end of Star Trek III: The Search for Spock Spock remembers that Kirk's first name is Jim. This is but a first step in the character regaining his old sense of identity. In the opening scene of Star Trek IV, we see him testing his mental faculties using a computer program on Vulcan. He aces every question until the computer asks, "how do you feel" which perplexes him. Intellectually, he's back to normal, but emotionally, he still has much to regain. Throughout this film we see him learn to stretch the truth, to "guess" and we see him rekindle his friendships with Kirk and Bones. At the end of the film, when Spock chooses to stand along side his shipmates at the court martial we get the sense that he has finally found himself again. He tells his father "They are my friends" and when asked by Sarek what he should tell his mother he replies, "Tell her, I feel fine."

     Similarly, after the crushing events of the previous two films Kirk is also struggling to move forward in his life. In addition to the emotional scars left by the destruction of the Enterprise and the death of his son, he must also deal with the material consequences of defying Starfleet Command and returning to Genesis to find Spock. This film takes him on a classic hero's journey. He leaves his home when it becomes imperiled in order to save it and on returning he regains his honor and is able to reenter society. This nicely completes Kirk's arc from the previous two films, after being confronted by his past and having gone through hell, Kirk can now get back to doing what he loves.

     Star Trek IV is a great comedy. The script, by Nicholas Meyer and Harve Bennett, is filled with quotable lines. It's not as thematically complex as Star Trek II but, as far as dialogue goes, it may have the best script of any Trek film. There are so many witty exchanges. When a disgruntled cab driver calls Kirk a dumbass he replies, "Well, uh, double dumbass on you!" Discouraged in his attempts to discuss Spock's recent death and rebirth with the Vulcan McCoy says "You're joking!" to which Spock replies, "A joke ... is a story with a humorous climax." When trying to sneak into the hospital to rescue Chekov, McCoy says that Taylor "has immediate postprandial, upper-abdominal distention." When asked by Kirk what that is, he replies "cramps." All of this dialogue is hilarious but it also feels consistent with who these characters are and who they've become. In addition, many of the scenes were at least partly improvised. This lends a great sense of spontaneity to the film. It helps that all of these actors, especially Nimoy and Shatner, already have great chemistry, as does newcomer Catherine Hicks as Doctor Gillian Taylor, the scientist whose dead set on saving "her whales." The scene where she asks Kirk and Spock if they like Italian, which was completely improvised by Shatner and Nimoy, is one of the film's funniest moments.

     Even more then in Star Trek III Nimoy goes out of his way to give the supporting cast heavier involvement in the story and more memorable scenes. While Kirk and Spock are tracking down the whales, Sulu, Scotty and Bones are tasked with obtaining the materials to construct a water tank in the ship while Uhura and Chekov must obtain a nuclear reactor to restore power to the ship. DeForest Kelley and James Doohan get to preform this wonderful scene where their characters bribe the head of the Plexicorp plant to give them the plexiglass they need in exchange for the formula for transparent aluminium (a substance which has actually been invented since the films release). Nichelle Nichols and Walter Koenig, of course, are featured in the now iconic scene where Chekov asks passersby if they can tell him where to find "the nuclear wessels." Finally, although a subplot featuring Sulu meeting his distant ancestor was ultimately cut, George Takei gets his own, briefer subplot where Sulu piloting skills (and love of antiques) are both referenced. Nimoy clearly cared about the cast and valued their contributions to the film. His direction, in general is more assured this time around, featuring longer takes and, as I mentioned, improvisational comedy.

     Another great thing about The Voyage Home, which I alluded to earlier, is that it's one of the few Star Trek movies that doesn't feature a main villain. In many episodes of the original series, the crew had to deal with scientific problems that were not caused by some malevolent being but were rather caused by a misunderstanding or were simply natural disasters. In Star Trek IV, humanity itself (or at least humanity as it existed in 1986) is the central source of adversity for the crew of the Enterprise. By hunting the humpback whale into extinction, humanity has forever deprived itself of the secrets these creatures hold. This was very prescient in the 1980's, a time when there was growing concern over the hunting of humpback whales. In one scene, reminiscent of actions taken by members of Greenpeace, the crew pilots the Bounty (their repurposed Klingon ship) in front of the whales to protect them from a group of Russian whalers.

     The whales themselves are animatronic, and they look amazing. Many people, including myself, mistakenly thought they were real on a first viewing. The sound effects for the probe where taken from a baby's heartbeat, slowed down and digitized. Originally, the studio wanted subtitles to explain the probe's message to the audience, but Nimoy disagreed as he wanted a sense of mystery surrounding the probe and the whales. Indeed, there's a respect for nature and for mystery present in Star Trek IV that is contrasted with the films sense of joy and whimsy. The score, by Leonard Rosenman, has a really lighthearted, festive quality that really complements the film's tone. The film's unique premise allowed Rosenman to write in a variety of styles including a jazz fusion piece (preformed by Yellowjackets), a classical baroque piece, and even a fugue. It's a bit dissonant but it works. I would be remiss not to mention the punk song "I Hate You", which provides the impetus for one of the films most iconic scenes. Written by associate producer Kirk Thatcher(who also played the punk on the bus who annoys Kirk by blasting the song on his boom box) it's easily the best fake punk song ever produced.

     Star Trek IV remains the most optimistic film in the Trek canon. It's not concerned with deep philosophical questions or social allegory nor is it filled with mindless action. At the end of Star Trek II Kirk says that he feels young, a statement that was severely tested in the following film. At the end of this film McCoy says "The bureaucratic mentality is the only constant in the universe. We'll get a freighter." But this acerbic statement is immediately proven false as the Enterprise comes into view and we find that the crew is finally home again. Like the whales, and like humanity itself, the crew of the Enterprise have finally been granted a second chance.

Star Trek III: The Search for Spock Review

After much delay I have finally gotten back to reviewing the Star Trek movies...

     Star Trek III: The Search for Spock was released in 1984 (which, by the way, is probably my favorite year for movies). It is directed by Leonard Nimoy and written by Harve Bennet. In it Admiral Kirk (William Shatner) still recovering from the events of Star Trek II: The Wrath of Khan, learns that Spock's katra (his living spirit), which was transferred to Doctor McCoy (DeForest Kelley) must be reunited with his body and laid to rest on Vulcan. He must risk his career in order to return to the now restricted Genesis planet and retrieve the body of his departed friend.

     Star Trek III: The Search for Spock has the unenviable task of following up one of the best science fiction films of all time, Star Trek II: The Wrath of Khan. It is also burdened with bringing Spock back from the dead, a move that can't help but come off as corporately mandated. After all, it would be difficult to market Star Trek without its most iconic character. Thematically, it parallels but also subverts The Wrath of Khan. Kirk's emotional loyalty to his dead friend in this film is contrasted with the cold logic of Spock's sacrifice in that film. "The needs of the few outweigh the needs of the many" Kirk tells Spock near the end of the movie, the idea being that, while sacrificing oneself for the good of the many is noble it's also noble to risk one's life for a single human person, especially a friend, or even for a whole group to do this collectively. Jesus laid down his life so that "the many will be made righteous" but we also know that he would have done the same thing even if it would have saved only one person. "There will be more joy in heaven over one sinner who repents than over ninety-nine righteous persons."

"He saw the linen cloths lying there, and the face cloth,
which had been on Jesus’a head."

    It may seem odd to quote scripture in a review for a Star Trek movie but then, this film is filled with religious allusions. A comparison could be made between Kirk's efforts to retrieve Spock and Dante's journeys in the Divine Comedy. After his experience in Wrath of Khan Kirk goes on a sort of quest, descending into purgatory and then hell, metaphorically, in order to regain his lost friend. Spock's return from the dead, on the other hand, evokes the Resurrection of Jesus. When David Marcus (Merritt Butrick) and Lt. Saavik (Robin Curtis) come across his coffin (a torpedo casing) they, like Peter and John on Easter morning, find his burial robes. Then, just before finding the newly reborn Spock, an earthquake occurs. "There was a great earthquake, for an angel of the Lord descended from heaven and came and rolled back the stone." If Khan in Star Trek II can be likened to Satan from Paradise Lost seeking revenge against Kirk the "god" who banished him from paradise, then Spock is like Jesus, who sacrifices himself to save paradise and then is brought back to life through Kirk's efforts.

     As in Wrath of Khan, the characters in this film are faced with the consequences of their actions. David, we learn, used an unstable element to create Genesis, reducing the device to a destructive force, a mistake he pays for with his life. Kirk regains the friend he lost but loses his ship and his son in the process. The destruction of the Enterprise is this films greatest conceit, as it makes Spock's return feel earned. It's also just a great, cinematic moment. The death of David Marcus, on the other hand, is its biggest mistake. Star Trek II ended with the prospect of Kirk forming a relationship with his son. Essentially he had become a father. Because David dies here, that will never come to fruition. It doesn't help that his execution by the Klingon's feels unnecessary and lacks the emotional impact it should have, as we've barely gotten to know the character. 

     I should note however, that his death will have important repercussions later one in Star Trek VI, where Kirk must put aside his hatred of the Klingons in order to pursue peaceful relations with them. Indeed, Star Trek III probably contributes more to both Klingon and Vulcan mythology than any big-screen Trek adventure. Christopher Lloyd clearly has a lot of fun in the role of Commander Kruge and imbues the character with that strange combination of savagery, loyalty and uncompromising sense of honor that would forever after be the mark of the Klingons in Trek.

     The biggest flaw of Search for Spock is it's pacing. The main conflict of the film only takes up about 40 minutes of run-time. This is preceded by nearly an hour of set up and then a 20 minute resolution where Spock's body is reunited with his katra on Vulcan. This imbalance between the three acts makes for a rather awkwardly paced movie. It's also shot and edited in a rather dull manner and, despite having a bigger budget than Wrath of Khan, it has a cheap look and feel much of the time. On the other hand the score, once again by the late, great James Horner, is magnificent. Appropriately, it's much less rousing then that of its predecessor, filled instead with understated, somber music befitting this film's subject matter. Horner also utilizes Alexander Courage's original theme for the show, making Star Trek III one of the few films of the series to do so.

     The biggest advantage Star Trek III has is it's director, Leonard Nimoy. If there's anyone who knows what makes Trek work its him. There's a real feeling of camaraderie among the Enterprise crew in this film, largely thanks to Nimoy's familiarity and friendship with the rest of the cast. Both Sulu and Uhura get nice little moments, though they are rather fleeting. The cast, generally, is in good form, though Nimoy has barely any screen time and DeForest Kelley is well, not himself through much of the run-time. As Kirk says at the beginning of the film "Enterprise feels like a house with all the children gone." In many ways that's the entire crux of this film: to bring the crew back together again so Kirk (and the franchise itself really) can begin the new lease on life that he felt he gained at the end of Star Trek II.

     Out of all the Star Trek movies, this one feels the most like an episode of the original series. This is partly due to the cheap look it often has but it's also because of the film's relatively short run time. Cut out about 15 minutes and this could easily be a two part episode of a tv show. In many ways it relies on its predecessor in order to work and, because of this, it will always be stuck in that film's shadow. It may be the weak link in the loose trilogy made up of Star Trek II, III and IV, but it's still a pretty decent film in it's own right and, in many ways, an essential part of Trek canon.

Score: 8/10

My Favorite Films: Star Trek II: The Wrath of Khan

"I see a beautiful city and a brilliant people rising from this abyss. I see the lives for which I lay down my life, peaceful, useful, prosperous and happy. I see that I hold a sanctuary in their hearts, and in the hearts of their descendants, generations hence. It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known. "
-Charles Dickens, A Tale of Two Cities

     My first exposure to Star Trek was to listening to the opening themes to the various movies on YouTube. After hearing in the comments section for one song how Star Trek II greatly improved upon it's predecessor I immediately became intrigued. After watching the original trailer for the film I was even more interested in watching it. The voice over in the trailer speaks of "a genetically superior tyrant" "banished by a star-ship commander he is destined to destroy." In retrospect it's a pretty poor description of the movie. But my teenage self was attracted to the idea of films that had a larger mythology or backstory and here was a film with a whole TV series worth of continuity behind it. This was a time when I was just getting into other franchises like Star Wars, The Lord of the Rings and Indiana Jones. Wrath of Khan wasn't the first Trek movie I saw, that was Star Trek VI, but it was the film that really sparked my interest in the series.
   

     What's great about Wrath of Khan is how tight it is thematically. This is a story about old age, death and friendship. Kirk starts out as an admiral. Outwardly he seems to be in a good place having moved up the chain of command and being able to enjoy the benefits of his storied career in relative comfort. But, as Kirk quotes from the opening lines of A Tale of Two Cities, Spock's birthday present for Kirk, "It was the best of times, it was the worst of times." As an admiral Kirk is forced to sit on the sidelines and watch others perform the job he used to love. He feels like a relic, as he tell's McCoy "Galavanting around the cosmos is a game for the young". He wants to captain a starship again but doubts that he still has what it takes. At the same time he's dubious of the legacy he's left behind. After serving starfleet for so many years, what has he got to show for it? Carol Marcus and her son David who, unbeknownst to either of them is also Kirk's son, are an extension of this regret, representing the life he might have had if he'd not have sacrificed so much for his career. In some ways he mirrors Ebenezer Scrooge from that other Dicken's classic, A Christmas Carol, watching the woman he once loved celebrating Christmas with her family, the family he could never have. Khan, on the other hand, is a mirror for Kirk. He is quite literally a relic, a man from centuries ago who's main purpose, conquest and domination, has been left behind by humanity. He also represents Kirk's legacy, a figure from his past coming back to haunt him. A reminder that his illustrious career was not all it was cracked up to be.

     Another theme in the film is death, something that Kirk, as he tells David near the end of the film, has never really faced before. This is beautifully foreshadowed by the Kobayashi Maru, a no-win scenario designed to force aspiring starfleet officers, in this case Lt. Saavik, to face the possibility of death. We later find out that, during his time in star fleet academy, Kirk cheated in order to beat this test. This demonstrates the way Kirk approaches life, he doesn't believe in a no-win scenario. As he tells David, later in the film, "I haven't faced death. I've cheated death." In this film he's forced to come to terms with this, as he's repeatedly confronted by the consequences of his actions. First, when he witnesses Scotty's nephew dying after Khan's surprise attack catches him off-guard and then, at the end of the film, when Spock dies. The Genesis Device, something that could have been a cheap macguffin, serves to further reinforce this theme of facing death. McCoy only sees Genesis for it's destructive capacity at first. Similarly Khan is only interested in using Genesis as a tool for conquest. Spock on the other hand, sees it's creative possibilities. At the end of the movie he dies as a result of Khan activating the device. His death makes Kirk realize that sometimes, no matter what you do, you or people you care about will be hurt or killed. Ultimately you can't run from death.

     Finally, Kirk's friendship with Spock informs his arc in this film. For Trek fans we already know how close these two characters are but for newcomers the film helps to reinforce their friendship in a few key scenes. Firstly, when Spock gives Kirk his birthday present, a copy of Dicken's A Tale of Two Cities. Then, when Kirk goes to Spock's quarters to tell him that they have to investigate Regula One they have this wonderful conversation where Spock urges Kirk to become a captain again, his own sense of pride as the current captain notwithstanding. He says,"You are my superior officer, you are also my friend. I have been and always shall be yours." Finally, when Kirk and the others are beamed off the Genesis planet we get a sense of there working relationship as they explain how they tricked Khan. Saavik accuses Spock of lying to which he responds "I exaggerated". When we finally get to the climatic death scene we really understand what it means for these two characters. After Spock's death Kirk begins to bond with David who realizes that Kirk is his father and tells him that he's proud of him. Kirk realizes that death and old age are not the end and determines to honor Spock's sacrifice. As Kirk says, quoting Spock "There are always possibilities" (something that Spock never said, exactly, but in line with similar sentiments he expressed). As Spock's coffin (a repurposed torpedo) descends toward the newly formed Genesis planet Kirk is able to say "I feel young." He and McCoy have both come to appreciate the creative possibilities of Genesis more fully.

     Star Trek II is a very performance driven movie. It's carried, chiefly, by William Shatner and Ricardo Montalban. Kirk and Khan never share any screen-time together, yet their rivalry is palpable. I love William Shatner and this film contains, perhaps, his best performance. He brilliantly channels over-the-top acting that people remember him for in the original series in a way that totally makes sense for this film. People remember this movie for the scene in which Kirk yells KHAAN! after Khan maroons him on Regula One, but what they forget is that he says that line for Khan's benefit. Kirk is channeling his own anger toward Khan and his frustration with himself in order to fool Khan into believing that he's really won. It's Kirk who's acting over-the-top not Shatner. Montalban is also really great as Khan. He steals every scene he's in as the brilliant former dictator with a touch of madness. He's driven enough to make you fear him and flawed enough to make you sympathize with him, at least to some degree. The rest of the cast also do well in their supporting roles, especially Nimoy. His method acting, as always, provides a really good contrast to Shatner's classically trained character acting. The quiet dignity he conveys during his death scene adds much to its emotional power as does Shatners teary eyed reaction. It's some of the best acting either of them ever did. I would be remiss not to mention DeForest Kelly, who is irascible as ever as the all-too-human Doctor McCoy. He adds a welcome element of humor in what is otherwise a very heavy, dramatic film.

     Nicholas Meyer direction also helps to carry the film. Despite being on a tight budget and a fairly cramped schedule, Meyer delivers a really smart and entertaining movie. As someone unfamiliar with Star Trek, Meyer was able to approach the material with fresh eyes and he really reinvigorated the franchise with this film. He enjoyed Horatio Hornblower novels growing up and so decided to imbue this movie with a nautical feel. The Enterprise is operated much like a sea-going vessel and the climatic battle in the Mutara Nebula is more in line with a submarine film then, say, something from Star Wars. The special effects, by Industrial Light and Magic, are truly spectacular. This film had a lower budget than its predecessor, The Motion Picture, but it never really shows.That's mainly because this film uses a less-is-more approach to the special effects, using them to tell the story rather than trying to evoke of a sense of awe for its own sake. James Horner's score for this film is one of the best of his career. Evoking the nautical feel that Meyer was aiming for, the score is both haunting and awe-inspiring. Horner's themes for the Enterprise and for Khan really help to drive the film's climax. This score, along with the visual effects and Nicholas Meyer's direction, add a lot of atmosphere to the film.

     Ironically the thing I most love about Wrath of Khan today is not how it reaches back into Trek canon, but how forward looking it is. It builds on and respects what came before by using a villain from the original show and bringing back the character driven storytelling that The Motion Picture lacked. But it also takes the series in a bold new direction featuring a darker, more mature story and making Starfleet more militaristic. Yet it still retains the charm and sense of hope that made the original series so enduring. Many of the executives at Paramount expected this to be the last Star Trek film but its thanks to its success that Star Trek was able to live on and tell more stories. As Spock would say "there are always possibilities." Indeed Trek has always championed the great possibilities offered by technology and human innovation and this film is no different. It recognizes the dangers of a device like Genesis but stresses that it's the human ability to overcome challenges and use this technology for good that makes it a worthwhile enterprise. The human adventure, like Star Trek itself, is just beginning.

Star Trek: The Motion Picture Review

To celebrate Star Trek's 50th anniversary I've decided to try and review all six films featuring the original crew. Here goes nothing...

     Star Trek: The Motion Picture was released in December of 1979. It is directed by Robert Wise (The Day the Earth Stood Still, The Sound of Music) and stars William Shatner, Leonard Nimoy, Persis Khambatta, and Stephen Collins. In it an enormous alien spacecraft called V'Ger is spotted approaching Earth and Admiral Kirk (Shatner) must take command of the Enterprise, currently under the command of Captain Willard Decker, in order to intercept, examine and stop the intruder.

     "There are some moments in Star Trek: The Motion Picture that are so beautiful – serene, cosmic, passionately alive with the possibility of The Infinite. You want to cry, you don’t know why."

     This quote, from Darren Franich's review of the film, sums up the movie about as well as I ever could. It try's to be 2001: A Space Odyssey but it's storytelling is, ultimately, too neat and straightforward to make that work. While Kubrick was content to leave the monoliths vague and ambiguous the secret behind V'Ger is explicitly given to us. While the former leaves you with a sense of awe and wonder the latter simply leaves thinking, hmm interesting. It's a story that could have worked for a pilot episode of a new series, as it was originally intended to be, but at two and a half hours it just feels stretched too thin.

     At the same time 2001 is a work of emotion and feeling not a character piece. Trek may be at it's best when it's dealing with interesting ideas, but it only really works when its character driven. Kirk and Bones are given very little to do here, reportedly Shatner and Kelley lobbied for greater characterization, and it really shows. It's not that there's no character drama in the film, Spock goes through an interesting transformation and Ilia and Decker have relationship drama. The real problem is that, while the film comes alive whenever we're watching the Enterprise travel through space, ironically the scenes involving the crew feel sterile and lifeless. The scenes focusing on Decker and Ilia in particular, feel about as passionate as the Padme/Anakin romance from the Star Wars prequels!

   
     With all that said The Motion Picture does have a few things going for it. The special effects are truly spectacular, which is all the more impressive given that the film's production was plagued with all kinds of technical problems. These effects help to make all the outer space sequences in the film truly breathtaking. Of course this would be for not without the sound design by Frank Serefine and the great soundtrack by Jerry Goldsmith. As a Trekkie (or Trekker?) I also appreciate that this is the only Star Trek film to feature Nurse Chapel  (Majel Barrett), who is now a doctor, though the film doesn't do much with her.

     In the end Star Trek: The Motion Picture is a rather dull affair. The impressive visuals and awesome score are at the service of a pretty standard sci fi story that is rather devoid of emotional weight. It's worth checking out for Trekkies (though most have probably already seen it) or for fans of cerebral science fiction but I would not recommended it for casual viewers or for those trying to get into Star Trek for the first time.

Score: 6/10

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.