Tag Archives: andrea castaneda

[January 18, 1968] I Would Advise Yas ta Keep Watching (Star Trek: "A Piece of the Action")


by Tam Phan (Secret Asian Man)

It’s hard to contain the joy that this episode brings to my heart. I’m a sucker for gangster films, like “Ocean's Eleven” and “Bonnie and Clyde”, but I have to admit, I’m always wary when a film does time travel. Period pieces tend to get things wrong one way or another, but “A Piece of the Action” somehow gets it all wrong in exactly the right way. This episode is chock full of amusing interactions that will engage you if for no other reason than it being delightfully fun.

Earth-like alien planets with humanoid populations have awkwardly made their way into Star Trek (e.g. "Miri", "A Taste of Armageddon"). This time, we finally get a plausible explanation for one. In this week's episode, the Enterprise is ordered to report to Sigma Iotia II. The spaceship Horizon went missing about 100 years earlier and is suspected to have contaminated the culture of the planet. Kirk, Spock, and McCoy beam down to the planet’s surface to meet with a Mr. Oxmyx to see what they can do about the contamination.


Let the contamination begin!

They are greeted by armed men wielding Tommy guns in an old-fashioned city suspiciously similar to America in the 1920s. Our landing party is escorted to see Oxmyx and discover that the Horizon crew left an old Earth book called “Chicago Mobs of the Twenties” on the planet. It was mentioned that the Iotians are imitative, which would account for their desire, given a blueprint, to emulate our past. It explains the culture and style, but it's clear the mimicry is skin-deep, which makes sense if they only have one book to go on. For example, during their negotiations, Oxmyx haphazardly shoots billiard balls around the table, and in the next scene when the henchmen are playing poker, it’s not any version that I’ve ever seen. It’s convincing until it’s not, but it’s convincing because it’s not.


"Don't tell me how to play Old Maid!"

Kirk interrupts their game to show them fizzbin (a fictitious game in which Kirk improvises the rules). It’s so absurd that he contradicts himself while explaining the rules of the game. Do you want a third Jack or not? Only Kirk knows. While the henchmen are distracted, Spock and McCoy clobber their captors and successfully escape to the radio station. Kirk decides to split off to find Oxmyx and is captured by Krako’s men. Typical.

Krako, Boss of the south side territory, is seen awkwardly throwing darts over his shoulder before Kirk enters, escorted by Krako’s men. He attempts to negotiate a deal with Kirk that would make Krako top Boss. Kirk isn't necessarily opposed; his aims aren't actually that different from that of the Iotians: Each Boss wants to take enough territory to become top Boss and Kirk thinks a unified government is a good idea, too. The difference is method–Kirk wants negotiation to determine the top Boss, not war. The deal falls through, of course. Krako doesn’t seem like the type to negotiate, stating that, “the book tells us how to handle things.”

A wild series of events ultimately gives Koik the perfect excuse to play a hunch. If you can’t beat ‘em, join ‘em. Koik and Spahck don the local garb and comically make their way back over to Krako’s place. The deal is that the Fed is takin’ over and he’s offered a piece of the pie, but little does he know, Koik’s got other plans. They put the bag on all the mob bosses while Krako’s on ice, ya see. Koik shows a small display of power and negotiates a deal to have Oxmyx be the head of the Syndicate with Krako as his lieutenant. The Federation gets a 40% cut.


What happens when you mess with the Federation.

This episode gives us a lighthearted look at the mob and a unique perspective on how an alien species might mimic a culture. Without minor details to guide them, it’s understandable that they wouldn’t know the rules to 9-ball, poker, or darts. Shatner’s Shatnerisms played well in this setting, and it was fantastic to see Spock have every logical reason to not object to Kirk playing a hunch. Not only that, but he gets to deliver the best line in the episode (adapted to title this article). The supporting cast was wonderful, and I’ve got no beef with this episode.

Five stars.


Against the Odds


by Lorelei Marcus

I will be the first to admit that, despite all it accomplishes, Star Trek has some major recurring flaws. Any show, particularly one that presents a world technologically beyond anything we can understand today, requires a modicum of suspension of disbelief. Such suspension becomes tested as increasingly outlandish claims are thrown around by the characters (particularly our beloved Captain Kirk) and such theories become the basis of the solution for an entire episode. Think Kirk divining the original purpose of the Doomsday Machine, or Jack the Ripper's ghost haunting across space-time (seriously THAT'S the most logical explanation for a series of interplanetary murders?) Sometimes the setup itself can destroy one's immersion, like "Miri" beginning with a planet completely identical to Earth. Or maybe it's a contradiction of preestablished rules in the universe that breaks an episode; Kirk seems to conveniently forget about the Federation's noninterference clause in "The Apple" and "Return of the Archons".

"A Piece of the Action" does everything I've mentioned above, but it does it right. I had my doubts when I first saw the preview for this episode. The Tommy guns and pinstripe suits made me expect another time travel jaunt like "City on the Edge of Forever". Instead, the explanation for the 20s gangster background is quite reasonable and SFnal: a hundred years ago the Federation tampered with a preindustrial planet, and the society of that planet has been modeled around the information the Federation left for them, including a textbook on gangs in the twentieth century. How concise and satisfying an explanation! And it also provides reason for why the Federation later implemented the noninterference clause – to avoid situations like this.


Imagine what they might have found if the Horizon had left the Bible…

This is the cue for Kirk, in his cowboy Kirk fashion, to decide that the structure of the society is not up to his personal moral standards and therefore he has the right to change it. Except this time it makes sense. As Kirk explains the episode, the anarchist state of this planet is the Federation's fault, and in this special case the noninterference clause has limited application because they have to fix the damage they've caused.

Even then, they try to minimize contact between the natives and Starfleet's advanced technology to allow the society to progress and mature on its own course. This has the added bonus of leading to some rather amusing fistfights.

Finally, while the solution of the episode does rest on Kirk's hunch, this too is set up in advance. Kirk both consults the ship's computer and Spock to suss out a logical course of action to save the planet. Only when both sources fail to give him answers does he decide to act on instinct instead. And when he finally carries out his plan, it actually makes sense! He manages to unite all of the gangs into a central government by posing as a larger, more threatening authority. All it takes is Shatner's progressively more dramatic Chicago accent.

I couldn't give this episode higher praise. It elegantly evades the pitfalls of Star Trek while also telling an engaging, funny, and science fiction story.

Five stars.


Embracing the Absurd: A Motto


by Andrea Castaneda

Truth be told, I had a difficult time formulating my thoughts for this episode. At first, I wanted to discuss the themes of authoritarianism. Then I was tempted to look at the governmental structures of a “lawless” society. But the more I thought back on the episode, the more I realized I was overthinking it. “A Piece of the Action” had me laughing with delight rather than putting me in deep thought. And perhaps that was the intention: a lighthearted way to play “cops and robbers” through the world of Star Trek. But even if one can peel back the layers, one can glean a simple lesson: when you find yourself standing in absurdity, embrace it.

First and foremost, I have to commend the writers for playing to Shatner’s strengths. From the comically over the top accent to donning a pinstripe suit, you could tell Shatner was having a gas the entire time. If I were a betting woman, I would wager good money that he was bouncing up and down in his chair as he read the script. Spock, meanwhile, did an excellent job at playing the “straight man” to Kirk’s ostentatiousness. His rigid and awkward attempts at playing a mobster not only highlighted how ridiculous the situation was, but also gave us some great deadpan deliveries.

As for the story itself, well, we’ve established how absurd the premise is. In fact the show explicitly states that there are no logical solutions out of this, shown when Spock goes through his various computer simulations. So, what can the crew of the Enterprise do? The only “logical” thing: outdo the absurdity. And that’s where the episode shines.


"What's the computer suggest, Spock?" "I've…got…zilch."

A mobster henchman foreshadows the concept at the start of the episode, telling Kirk, Spock, and McCoy “that innocent act don’t work on me.” And as predicted, their attempts at peaceful diplomacy only get them into more trouble. But their luck starts to turn when Kirk realizes the mobsters, in all their bluster and moxie, are pretty easy to manipulate. Playing to their sense of stubborn pride, he makes up a card game and flatters them enough to get them to drop their guard. When dealing with the bosses, he learns to come down to their level, framing concepts like taxes into terms they understand. Finally by the end of the episode, Kirk has smooth talked his way into becoming the head honcho of this cartoonish cabal of bosses and wise guys. It’s ludicrous, but still plausible enough to work.

This episode could have very easily become inane, puerile, and flat out stupid. But the self awareness from the writers and actors alike, combined with Shatner’s enthusiasm, gave it a charm that had us laughing along with them the entire way.

If I were one for clichés, I could say that embracing absurdity is a lesson we all can benefit from from time to time. But being realistic, I would say the writers wanted a palate cleanser for what appears to be a much heavier episode next week. We’ll see. In the meantime, I’ll be rummaging through my closet to see if I have anything pinstripe.

Four stars.


Pinch-hitting


by Gideon Marcus

Last week, I noted that the usual show runners had gone AWOL, to the detriment of the episode's quality.  This week, I was made trepidatious by the unknown names "David P. Harmon" (writer) and "James Komack" (director).  Moreover, the previews had led me to believe that this was going to be another silly time travel episode.

In fact, what we got was not only a thoroughly entertaining second-contact story, but one of the best made episodes of Star Trek we've seen in a while.

The editing and cinematography is some of the crispest and original we've seen to date.  There's nary a flat moment, thanks to the quick cutting and innovative camera wrangling.  Even the music, which I think was entirely from the library, fit the episode to a "T" – from the lilting strains lifted from "The Trouble with Tribbles" to the bombshell introduction tune from "Mudd's Women".

The director did an excellent job of reining in Mr. Shatner this time around.  While many of his favorite tics were on display, they did service in differentiating "Koik the Boss" from "Kirk the Captain."  And while Shatner often shone, he did not steal the scene.

Part of that was the snappy writing that put truly funny and effective lines in the mouths of Bones, Spock, and Scotty.  Part was the performances Komack elicited from his stars.  Even Uhura, though she gets very few lines, is memorable; the smile she gets when she realizes what Kirk has planned for Jojo Krako is just delightful.

Speaking of which, how about those guest stars?  Anthony Caruso (Bela Oxymyx) is an old hand, of course, and Vic Tayback, who is everywhere these days, and who does a creditable impression of George C. Scott in The Yellow Rolls Royce, is fantastic as Krako.


George C. Tayback

Finally, the sartorial touch of giving each gang's henchmen different headgear (fedoras for Oxmyx, straw hats for Krako's, bowlers for Tepo's) was brilliant.

Five stars!



This week, the Enterprise will be fighting the paramecium of doom!

Join us tomorrow at 5:00 PM Pacific (8:00 Eastern) or at 8:00 PM Pacific (11:00 Eastern)!



[September 22, 1967] (Star Trek: "Amok Time")


by Gideon Marcus

Back in the Starship Again

The Fall season of television is upon us again.  Some shows from last season did not survive the chopping block: good riddance to Gilligan's Island and It's About Time, genuine tears for the loss of Green Hornet, and shrugs for Love on a Rooftop, Laredo, Occasional Wife, and like that.

One show got a genuine ending: Richard Kimball finally caught the one-armed man, and now he can live a normal life.  At least, until The Invaders get him…


Notice how she keeps her pinky fingers just out of sight…

Other shows were renewed–from the stalwart Gunsmoke to the Mexican…er…African spectacle that is Tarzan.  But let's face it.  The program we were really waiting for was Star Trek, what Analog editor John Campbell called, "the first adult science fiction on television".

Would series star William Shatner make good on his threat to "put more of himself in the role"?  Would new cast member Walter Koenig, as Ensign Chekov, be as endearing as the rest of the crew?  After that dynamite, if not completely consistent, first season (not to mention a summer of reruns that held up remarkably well), would the second season knock our socks off?

I, for one, was not disappointed.  Production pulled out all the stops, most notably with an entire new score provided by Gerald Fried (echoes of which can be heard in his scores for episodes of the 1966 spy show, The Man Who Never Was and in this week's debut episode of Mission: Impossible).  Trek veteran, Joe Pevney, does a commendable job with directing, particularly in the scenes set on Vulcan, Dutch angles conveying the temporary madness of Mr. Spock.  Mainstream science fiction once again contributes a script, this time from the pen of the illustrious Ted Sturgeon.

Chekov does not have many lines with which to distinguish himself, but his repartee with Mr. Sulu is engaging.  As for Shatner, well, he definitely brings a few more personal tics to his portrayal of Captain Kirk.  It's a bit more broad, more punctuated a performance.  But he's still enjoyable to watch, convincing in the role.


"So, how did you enjoy working with Mike, Mickey, and Peter?"

That's the technical aspects.  What about the episode itself?  For that, I'll turn to my esteemed colleagues on the panel…


Ancient Rituals and Alien Biology


by Erica Frank

The episode begins with McCoy telling Kirk his first officer has a problem: he's been restless, avoiding meals. Kirk doesn't believe it; Spock is probably just meditating and wishes to avoid human contact. Then they see nurse Chapel ducking away from Spock's quarters as Spock throws a bowl of plomeek soup at her.

Spock is angry enough to be violent. This is shocking to everyone — Chapel, McCoy, Kirk, and the audience.

Has he been dosed with some kind of drug? Perhaps he was exposed to a natural hallucinogen that had the reverse effect of the pollen in This Side of Paradise — one that made him angry instead of happy.

No, he hasn't been drugged; his body is turning against him. The Vulcan mating drive will kill Spock if he doesn't get to his betrothed on Vulcan, with whom he was mind-bonded when they were seven years old.


Young T'Pring, looking every bit as serious as we expect a Vulcan child to be.
Kirk and McCoy accompany him to the ceremony, the Koon-ut-kal-if-fee. When they arrive, they get a shock: T'Pring demands that Spock win her in combat according to the ancient Vulcan rites.

Spock has no choice. He is deep in the plak tow, the blood fever; he must fight for her or die. T'Pring, accompanied by Stonn, chooses Kirk as her champion! Spock objects, but the officiating matriarch T'Pau simply asks, "Art thee Vulcan or art thee human?"

"I burn, T'Pau," he answers. "My eyes are flame. My heart is flame." He may not like T'Pring's choice, but if he cannot walk away, he cannot deny her.

Kirk accepts, figuring he'll roll with the punches, fall down, and leave Spock to his bride. After he agrees to fight, T'Pau informs him that this fight is to the death.


They fight with lirpa, a Vulcan weapon. Kirk, of course, manages to get his shirt torn.

After they disarm each other, McCoy treats Kirk with tri-ox, intended to counter Vulcan's thin air and heat, to make him closer to Spock's equal. They switch to ahn woon, a weighted long belt, and Spock uses his to capture and strangle Kirk… to death.

With Kirk's death, the blood fever fades, and Spock is once more his rational self. Before they leave, he insists that T'Pring explain her choice.

Spock, she says, has become a legend, and she does not wish to marry a legend. She wants Stonn. Kirk does not want her; if Kirk won, he would leave her to Stonn. If Spock won, they would wed… and he would leave, and she would still have Stonn.


T'Pring coldly explains why she made Spock fight his best friend instead of her chosen.

I think T'Pring has vastly underestimated Kirk's potential for spite. If he “won” her by killing Spock, he might haul her in front of a Federation tribunal for arranging the death of a Starfleet officer. He certainly wouldn't leave her to enjoy her boyfriend.

McCoy asks Spock for his orders, since he's in charge now. (I have trouble believing this; if a first officer kills his captain, he just takes over?) They beam back to the Enterprise, where Spock makes plans to resign and turn himself in.

Kirk comes out of sickbay to interrupt him. Apparently, McCoy actually dosed Kirk with something that simulates death. Everyone is fine, and now they can get back to their diplomatic mission.


Spock is overjoyed to see him alive. Because Starfleet needs good captains, of course. Not because it matters to him personally.

Color me unconvinced. What kind of "mate or die" drive vanishes if the one driven defeats his opponent? Why lose interest upon winning? I can only imagine that Spock's use of the mind-meld technique with various humans and aliens has weakened his bond with T'Pring, and that the shock of losing his dear friend completely erased whatever remaining mental bond he had with her.

That quibble aside, this really was fine stuff. "Amok Time" was perhaps the first true Star Trek episode, rather than a random science-fiction story with Trek characters. It built on what we know about the universe and the crew, and showed us a challenge that only they could face—which they resolved in a way that only they would.

Five stars.

The Birds and the Bees are not Vulcan


by Andrea Castaneda

It’s something to behold: a stoic man in his most vulnerable state. For the first time in the series (at least, without the interference of a spore or mickeyed water), the audience sees Spock’s steely veneer crack. He dashes soup across the room, verbally accosts his crewmates, and even undermines his captain’s orders. Yet his insubordination is revealed to come from a great source of anguish for the Vulcan. The anguish from having to suppress a biological drive, and being unable to tell anyone about it.

Now, I am no Vulcan. My blood does not “burn” and I am not compelled to return to my birthplace to spawn. But the fear, shame, and guilt he experiences– for something he has no control over– was something that deeply resonated with me, especially in my teenage years.

I’ll spare you the details, but my "birds and the bees talk" was nothing short of excruciating. “Don’t do this,” and “don’t do that”, lest you will be seen as a fallen woman. Any further questions I had regarding such an “uncouth” topic were treated with either avoidance, reluctance, or disgust. I shan't disclose how I cope with my nature now, as it is– to quote the vulcan– “a deeply personal thing”. However, what I will say is that my parents' fumbling attempts at sex-ed negatively impacted me growing up. It taught me to never speak up about “shameful” things, which in turn led me astray in many situations. I am relieved to see today’s youth has become more open and matter-of-fact regarding such topics. But there are still many who wish to hide behind old attitudes. Like the Vulcans, who seem partial to the same provincial mindset of my grandmother. I understand that there can be “logic” in knowing when to be prudent about such things. But considering how their biology can prove lethal when untreated, both to themselves and to others, where is the logic in choosing to avoid this topic altogether?


T’Pau explains nothing to Kirk before handing him a blade and telling him to fight his best friend.

The way I see it, regarding both the Vulcans and us humans, it is an exercise in futility. We want to feel safe and secure, and the only assured way to do so is to master nature and our own bodies. But it is hubris to think that a strong enough will can override mother nature. Our bodies will fail us, in one way or another. And the only way to conquer that fear is to confront it head on. The way to start is to name what ails us.

Of course, Vulcans and the world of Star Trek are not real but rather created by our human men– and at least one woman– here on earth. This epsiode leaves me asking why the writers, who wish to portray an idealized future, still feel that discussing sex is a terrifying prospect? [q.v. "Charlie X" (Ed.)]

Still, apart from my quandaries, this episode delivered a compelling story. It included wonderful details that upped the stakes, gave us a look into the enigmatic Vulcan culture and the politics of the federation. Season two starts by hitting a home run and I sincerely hope it continues this momentum.

Five stars.


POST-MODERN LOVE


by Joe Reid

Something old.

Something new.

Ritual combat.

Something blue.

Most of these are considered tokens of good luck.  The illogical creatures that we humans are, we rely on good luck charms, because of all the lying, trickery, bribery, and violence that we employ to convince other people to marry us doesn’t seem to be enough to make our unions last.  According to the U.S. Department of Health, Education, and Welfare, last year (1966) there were 1,857,000 U.S. marriages.  The same year 499,000 divorces happened.  The number of divorces for last year is 26% of the number of marriages.  With tallies like these, it’s obvious that we need help.

Along came the exciting first episode of the 2nd season of Star Trek to show us how beings who value logic and reason engage in the act of marriage.  How, you ask?  They do it with lying and trickery, and of course, violence.

“Amok Time” is the name of this week’s episode of Star Trek.  I want to start off by saying that it was splendid looking!  From the futuristic space outfits to the details in the props.  I was flown off to another world!


Silver future fashion

The show starts out with the Vulcanian (or Vulcan), Mr. Spock, behaving in a “most illogical” way.  He acts like a brute, breaking dishes and yelling at everyone.  Even Captain Kirk gets an ear full.  Through the course of the tale, we learn that Mr. Spock lost all his logic and control because of a Vulcan biological stage which causes him to burn with desire.  For what?  The same thing that the men of our day desire.  A girl.  Our calm and honest Mr. Spock becomes loud and irate.  His indiscretions extend to lying to the new Russian kid to send the Enterprise to Spock’s home planet of Vulcan.  He lies so badly that he doesn’t even remember that he lied!  How many of today’s guys and gal’s tell zingers to friends, family, each other and even priests, to get to that someone they desire the most?

We then witness Spock, Kirk, and Dr. McCoy on Vulcan, where we see a bridal party with a wise matronly leader. Also Spock’s soon to be wife, T’Pring, and a bunch of big soldier types that are guards. One thing stood out to me during this scene.  “Why isn’t the girl that Spock is supposedly marrying carrying on the same way that he is?”, I wondered.  She was as placid as still waters.  We all know what they say about still waters, and it isn’t long until we are shown the depths of trickery that T’Pring is willing to sink to.

We’ve all heard stories of friends who come to blows over a girl.  So why and how would people in an advanced future society based on reason and logic descend to fisticuffs over a female?  Why?  Because she wanted them to.  She manipulated friends to fight, not because she loved one of them, but because she didn’t love either of them, and it served her true purpose to have one eliminated.  In the end we learned that even though Spock was driven insane with passion for T’Pring, she didn’t want him at all.  She went through all the pomp and circumstance just to create a situation where she wouldn’t have to be with Spock.  Even if it cost him or Kirk their lives.  Which it just might have.

So, what is the current day parallel of T’Pring’s trickery?  From Cleopatra to Mata Hari, some ladies have only wanted a man that they can control.  Even today they are willing to say and do anything to get that.  “Amok Time” showed a wife that was willing to destroy Spock to get Stonn.  A shell of a man that she can lead.


T’Pring rejects Spock.

One of the reasons that I find Star Trek so special is because, even though it takes us to strange new worlds, at the end of the day what we find on those worlds is ourselves reflected back at us.  The situations in this episode were barely exaggerated reflections of the kind of people that we are and become when engaging in modern love.

5 stars

A Queer Episode


by Jessica Dickinson Goodman

This is perhaps my favorite episode of Star Trek so far; as Erica says, it may also be the first truly Star Trek episode of the series. A braided narrative of complex alien marriages, fraught male friendships, and taboo-filled – and taboo-breaking – reproductive rituals? Sign me up.

Last Spring, I reviewed a CBS "documentary" called "The Homosexuals," , noting that "There is something profoundly queer in enjoying science fiction and fantasy." I found this episode delightfully queer (meaning "odd" or "unusual", of course), each strand of the narrative challenging norms and assumptions in different ways.

The first queer thread in the episode was the Vulcan concept of marriage, starting with a wedding ritual that Spock says is "Less than a marriage but more than a betrothal." It is an in-between thing, this ritual we see, with some of the romantic declarations one might find at a regular church wedding, but also some theatrics and roles that have no analog to American marriage customs. One thing which stuck out to me was the queerness of the officiant, if we can call T'Pau that, being a woman. Sure, in Sweden and Norway, there are women conducting marriages, as well as in a precious few Presbyterian and Baptist churches (I have not heard of any women rabbis or imams, but I am open to correction). But amongst the more high-church, smells-and-bells Christian denominations, even the fairly open-minded Episcopal Church isn't allowing women further than the deaconate (and that is being debated today at General Convention LXII in Seattle; one hopes for more progress on that front). As it stands, a woman overseeing a highly formal wedding is pretty science fictional for most viewers.

The second queer thread was the intense relationships between Spock, Kirk, and McCoy. In a short television set hour, we saw these men throw themselves at each other; violate orders; disregard medical protocol; lie to diplomats of an allied planet to protect each other; fight to insert each other into the sacred rituals of a secretive culture; and lest we forget, roll around in the dirt ripping their clothes up. In our world, I see men often forced into stoicism, criticized for exhibiting any strong emotions other than anger (or perhaps enthusiasm for sports), for getting too involved as a father, for expressing affection toward each other. In that context, it was a balm to see Spock's beatific smile at Kirk's survival, McCoy's tenderness and protectiveness towards Kirk's "dead" body, or Spock's simple but powerful defense of his friends: "They are not outworlders. They are my friends. I am permitted this." One might hope for a day when all people are "permitted" this.

The third queer thread was the deeply taboo – to Spock at least – topic of Vulcan reproduction. As Andrea points out, the conversation between Kirk and Spock on this topic is deeply, and to me comically, awkward. But it also lit my imagination on fire, like all good science fiction and fantasy does. What does Spock mean when he analogizes his species' form of reproduction to spawning salmon? Is it just the traveling aspect, or does he have some kind of roe sacks hidden under his greenish-skin? And what does it mean for an entire society of beings who prize emotionlessness, and call it "logic" , to have every single member of it engage in a "time of mating" which is a "madness which rips away our veneer of civilisation"? It is queer both because this approach to reproduction exists at an oblique angle to our own human conceptions of it, but also because it deeply challenges our own assumptions about how other intelligent lifeforms might structure their societies, pick their bed fellows, and understand both their and our families and worlds.

A few of us here wrote stories, cocktail recipes, songs, articles, games, and drew art for a summer fanzine Gideon organized called The Tricorder, touching on the strange and wonderful worlds that Season 1 of Star Trek had given us to play in. With all of these new, queer threads to unwind and reknit into new creations, I can't wait to see where Tricorder #2 might take us.

Five stars.



Speaking of Star Trek, it's on TONIGHT!  By all the Ghods, it looks like an interesting one…

Here's the invitation!

Also, copies of The Tricorder are still available — drop us a line for details!



[March 22, 1967] The Lurking Fear (Star Trek: "The Devil in the Dark")

The Devil’s Advocate


by Andrea Castaneda

There appears to be a recurring theme in Star Trek that showcases how a planet's native species respond to human interaction. In “Arena”, “Galileo Seven”, and “Man Trap”, we’re presented with an outright hostile response that thwarts the possibility of a sustainable settlement. “Devil in the Dark " appeared, at first glance, to go in this direction. However, it is the way this week’s “monster” is framed in an empathetic light that sets this episode apart.

The episode proceeds predictably…at first. On planet Janus VI, a mysterious thing is killing man after man deep in the Pergium mines. Enter the Starship Enterprise, who are called to investigate the matter. After getting briefed by colony chief mining engineer Vanderberg, Kirk and his crew set out to track down and kill whatever this creature is. But not before Spock examines a perfectly spherical rock, describing it as a “geological oddity”. Vanderberg refers to it as a silicon nodule, saying his team found thousands of them after they opened a new level.

It didn’t take a lot of brain power for me to deduce that the nodules were probably the creature’s eggs. The mining operation threatened its nest, so the creature began to defend it. The Gorn in “Arena” and primitive species in “Galileo Seven” responded with a similar hostility to the perceived “invaders”. Why would this creature be any different?


"This egg-like thing? No idea what it is."

Suddenly, alarms blare, the crew rushes outside, and to their horror they see there’s been another attack. Not only is another man left dead, but the creature has taken a vital piece of equipment, one necessary to sustain human life. And while Scotty’s ingenuity buys them time, they now have a race against the clock. Perhaps that’s why Kirk takes on a more militant approach, ordering his men to shoot the creature on sight.

Eventually, Kirk and Spock come face to face with the creature at last. Looking like a blob made out of a shag rug and Chef Boy-ar-dee, it approaches them, and the men fire their phasers. Wounded, a piece breaks off, and it retreats back into the rock. Examining the piece, the men conclude that it is a silicon based lifeform–explaining why it didn’t appear on their carbon-based lifeform scans. As the men speculate about what the creature is, a fear dawns in Spock that it may be the last of its kind.

We are given a similar situation in "Man Trap", in which a lone shapeshifting salt-sucking creature kills many members of the Starship Enterprise to survive. But as the conflict hinges more on McCoy's personal affection for the creature–who looks like his old flame–its death is more symbolic of McCoy choosing duty over love. We get one mournful moment when Kirk reflects on the now extinct species, but it is framed as something that had to be done.

But this is where “Devil in the Dark” makes the most significant deviation from the format. When confronted with the creature again, Kirk has a change of heart when he sees it recoil from the sight of the phaser. Realizing it may be more than just a mere animal, he asks Spock–who now wants the creature dead to save Kirk–to touch minds with it.


Heart to…heart?

This was the moment that made this episode stand out for me. Speaking through the Vulcan, the creature identifies itself as a Horta and explains how she only started the attacks after the miners destroyed her eggs. Because the rest of her species died out, something that happened every 50,000 years, she was left as the lone protector of the eggs.

We are given a similar exchange in "Arena", when the Gorn tells Kirk his kind "destroyed invaders" of his planet, but it isn't nearly as emotionally charged as the Horta’s. Through Spock, the creature sobs, lamenting the impending doom of her kind and calling the humans “murderers” and “devils”. Kirk now realizes the misunderstanding and calls McCoy to heal and save the creature.

Unbeknownst to them, the angry mob of miners overwhelm the Enterprise’s security team, and rush to claim… whatever the Horta has for a head. But Spock, having learned her species’s history, convinces them that she is benevolent by nature. As proof, he explains that she had known about the human colony for the last 50 years, only attacking in recent months as a last resort to protect her species. And by some miracle, the men’s anger is suddenly quelled, having seen the error of their ways. It is, perhaps, an over-generous portrayal of human forgiveness. But maybe the agreement of letting Horta hatchlings help in their mining operations–thus giving them more profit–is what helped let bygones be bygones.

“Devil in the Dark” isn’t a flawless episode. But the moving portrayal of the Horta lamenting her lost future is what made this episode one of my favorites. It offers a new perspective for what the native species of a planet may feel when confronted with the “alien” humans. Still, I can't help but spare a thought for the salt-creature of "Man Trap", and even the Gorn in "Arena", who also may have felt the same sense of existential anguish.

Five stars.


FUTURE IMPERFECT


by Joe Reid

I love and enjoy a good sci-fi story. I am a lover of the works of Mr. Robert Heinlein and other masters like him. In the pages of a good sci-fi book you have fantastical worlds and brave people that are navigating those worlds for the adventure, to save those they care for, and to just plain do what is right and honest. Good sci-fi is so unlike our present world, where the strong, by hook or by crook, take what doesn't belong to them for the benefit of some high and mighty master who already got more scratch than a dog with fleas. Scratch stands for money, for those of you unfamiliar with street lingo.

So this episode comes along and reminds me a little too much of the world we live in. It starts off underground on a planet with the cleanest looking miners I ever laid my eyes on. They have a problem. Something is stopping the means of production of whatever it is that these miners in their all too clean jumpsuits need to mine. That problem is these workers are dying for some reason. Notice that it takes 50 of these men dying before the corporate bosses do something about it.


"You'll be just fine… Bob, was it? Ah, who cares?"

What do their bosses do about it? They do what all big money types do. They send in a fixer to make the problem go away. In comes the crew of the spaceship Enterprise. Their leader Captain “Jim” Kirk shows up and it is pretty obvious early on that all he cares about is making sure that the miners get back to producing. It doesn't matter that there’s 50 men fewer to do the work they were doing before. Money is money!

For almost all of the episode, Kirk is single-mindedly focused. Getting those space rocks moving is more important than anything else. So much so that when we learn that the creature that is killing the miners is a new form of life never seen before, Kirk would rather eliminate it than try to communicate with it. Dr., or Mr. Spock (I get confused about which is right) tries to stop him from killing the creature, but it is to no avail, as the call of space dollars drowns out any call to “seek out new life and new civilizations”. Kirk cruelly dismisses the concerns of his friend and pulls rank on him to force compliance out of the creature. So much for friendship huh, Jim?


"I'm right behind you, Spock."

In the end, it appeared to the viewer that Kirk had a change of heart and started to care about something other than money. He then uses Mr. Spock to talk to the creature, putting Spock at personal risk. For what? So that Kirk can save the creature? Bring back the dead miners? Nope! Having discovered that the creature was smart and didn’t want its species to be killed off, Kirk understood that he could use that fear to make even more money for the corporate interests that he works for. Thinking just like the greedy men of our world, and crushing any hope that the future will be a better place for any of us.

[I'll also note a striking thing Joe said after the episode: "Everyone's happy. The natives work for free, and in return, they get to keep their lives." One wonders if the Horta would have been preserved had they not been such good miners… (ed.)]

Before ya’ll get too upset with me, I know, this is just a TV show. It isn’t real. I'll tell you what though. Things we see on TV and read in paperbacks might very well be real. Only, not just yet. It is the kind of real that we hope to see someday. The kind that we will make happen in time.

And that's why I didn’t care much for this episode of Star Trek. Instead of providing a hopeful vision of the future, I just got to see the same kind of motivations that leap up at me from the pages of newspapers. I hope that the creators of this show can offer me something more hopeful in other episodes. If Star Trek keeps looking like downtown Detroit, where big corporate bosses only care about profits and send their stooges to enforce their desires, I fear that there may not be much future for this picture of the future.


Friendly interaction in Kercheval, Detroit, last summer.

3 stars


A Vulcanian’s Best Friend


by Abigail Beaman

If you were to ask my opinion about Gene Roddenberry's Star Trek, I would of course start gushing over how much I love the cast and concept of the show. It has to be one of my favorite programs that I sit down and watch regularly. Each character has a unique personality that sets him and her apart from each other, so much so that I can remember their names.

While Captain James T Kirk is charismatic and headstrong, Doctor Leonard “Bones” McCoy is cantankerous and hot-headed; but no one stands out as much as Mister Lieutenant Commander Spock. The reason is simple: he is half-Vulcan(ian?), an alien race whose members either lack emotions or repress said emotions. Due to his half-Vulcan side, Mister Spock is best described as a logical, calm, and stoic computerized man. And while it seems he gets along with most of the crew, despite his emotionless stature, there seems to be just one person that Spock truly cares about on the Enterprise. That man of course is Captain Kirk.

How do I reach this conclusion? Well, simply the only time Spock seems to break his stoic behavior and disregard any morals he has (without the aid of a certain flower’s spores) is when Kirk is in trouble. This episode shows just how deep the relationship runs between the half-Vulcan scientist and the charismatic human captain.

At the start of the episode, Spock makes it clear that he doesn’t want to kill the Horta, as he believes it to be the last of the species, a reservation he expressed in "The Man Trap", too. Spock in other episodes also has demonstrated that he values life above all else. It seems that preserving life is a moral of his and to break it would be like him breaking his stoic, Vulcan behavior. Even when Kirk tells the security team that they are to kill the Horta on sight, Spock disregards this direct order and tells the team to try to keep it alive if possible.


"Spock, what did I just say? Kill, not capture."

That is, until Kirk is at the Horta’s mercy. Spock’s opinion of the situation changes entirely: he tells Kirk to shoot it, to kill it before it kills him. The fear that Spock displays not only in his voice but also his movements clearly paints a picture, that Kirk is someone Spock cherishes greatly. Spock runs down the cave to save his friend only to find out Kirk has had a change in heart. Spock was not only ready to kill the Horta, but to sacrifice his own morals for Kirk. I don’t know about you, but the only time I would consider betraying my morals is for someone I consider a true friend, not someone who I work with.


"I'm quickening my pace, Jim!"

Clearly, the relationship between Spock and Kirk goes beyond that of just co-workers. It's a revelation that has been a long time coming, and a welcome one. Which is why I felt compelled to discuss it over any other aspect of the episode. That Spock sees Kirk as someone he cares about, enough to break his “Vulcanian cool” and morals to save, leaves me reassured. Maybe Spock can't be "happy", as he stated last episode. Nevertheless, even if Spock is an emotionless alien, he still can find a kind of companionship in his best friend, Jim Kirk.

Four stars.


Fighting Fire with Empathy


by Jessica Dickinson Goodman

I loved the twistiness of this episode. First Kirk wants to kill the Horta, then he defends it with not only his own life, but his crew's bodies. First it's a monster, then a mother. First Spock is his usual cool, emotionless self, and then he is screaming in pain as he connects himself mentally to the Horta. First the silicon nodules have "no commercial value" and then they become the hope of a new golden age of mining on Janus 6.


"Oooo, that smarts!"

Just like in "Arena," in "The Devil in the Dark" we are confronted with the colonial shortsightedness of Starfleet. Janus 6 is a "long-established colony" whose longtime colonists have somehow managed to miss an entire species of rock-dwelling creatures. Now, their 50,000 year breeding cycle might explain this, but stepping away from the specifics, it does remind me of modern failures of imagination, particularly in cases of colonial governments failing to understand the places they seek to control.

For example, the refusal of the U.S. Forest Service to use the wildfire management strategies that the Tongva Nation, Chumash Bands, and other peoples have used since time immemorial in what is now called California. Last November, this led to the tragic death of 10 hotshot firefighters in the Loop Fire near Los Angeles. Like the Horta, that wildfire burned hot and seemingly without reason; but wildfires, like Hortas, often have a logic of their own. The canyons that burned in the Angeles National Forest had been left uncleared for decades of misguided fire-suppression policies. When all of that mass had built up, of course it burned too hot and too fast to stop. The failure of the Janus 6 geologic survey team to find local life built up another kind of conflagration, one that killed 50. One hopes they won't make that mistake again.


The Loop Fire

Though we can't use Spock's Vulcanian skills to read the minds of wildfires, one of the beauties of science fiction is the hope that we might one day communicate with someone as different from us as blood and stone, or fire and water. The tension between what is and what could be, the twistiness as we get from here to there, is the fun of the genre, and this episode did a great job of letting us enjoy the ride.

4 stars.



In the next episode, Kirk and Spock go to the California Renaissance Faire. Come join us tomorrow at 8:30 PM (Eastern and Pacific)!.

Here's the invitation!

 



[February 8, 1967] Hung Jury (Star Trek: "Court Martial")

Better Than Perry Mason


by Jessica Dickinson Goodman

In Court Martial, we see Star Trek trying on a new genre: courtroom drama. Like a good Perry Mason episode, we have twists, turns, dramatic monologues on the subject of rights, stodgy courtroom pedantry, and a wicked villain who gets his comeuppance before the hour is up.

But it being Star Trek, it added some important layers to the genre. Our Perry Mason – a stolid Luddite named Samuel T. Cogley (Elisha Cook Jr.) – is less dapper and more dogged in his defense of Captain Kirk. Unlike any Perry Mason I can remember, the prosecutor is a woman (Joan Marshall as Areel Shaw), and the four judge panel is played by actors who can trace their family trees to nearly every continent on Earth, including Commodore Stone (played by the excellent Percy Rodriguez), Starship Captain Chandra (Reginald Lal Singh), Starship Captain Krasnovsky (Bart Conrad), and Space Command Representative Lindstrom (William Meader).


A nice cross-section of ethnicity, if not gender

Percy Rodriguez was born in Montreal and is of Afro-Portuguese descent (that gets us three continents right there). Reginald Lal Singh was born to Indian parents in what was then the mainland of the British West Indies and is, as of May 26, 1966 the independent state of Guyana (which gets us two more continents, plus a second count in Europe’s column for the British passport). Then add in the unnamed Ensign who appeared to be of East Asian descent, and we don’t even need to count real-life U.S. Army Colonel Bart Conrad, who as it happens, also worked in several episodes of Perry Mason.

I don’t list these actor’s family histories to distract from their professional credits, but to note that Star Trek manages to reflect our world in ways that many theoretically more realistic shows do not. Afterall, we are a country which first elected Dalip Singh Saund to the U.S. Congress in 1955, and seven years later, appointed Thurgood Marshall to the Second Circuit Federal Court of Appeals, the brave lawyer who argued Brown v. Board of Education before the still all white, all male U.S. Supreme Court. (Perhaps 1967 will be the year at least one of those descriptors changes).


The Supreme Court, in 1962

Today, there are dozens of Black judges serving on the federal, state, and municipal bench – including Vince Townsend, a municipal judge in Los Angeles County who played a judge in the 1963 Perry Mason episode “The Case of the Skeleton's Closet” (and, because the world is tiny, I have heard that Judge Vince Townsend used to be roommates with Judge Thurgood Marshall). So why do we need to look hundreds of years into the future to see judges and captains and prosecutors who reflect our real world?


Perry Mason, in the courtroom

As interesting as the casting was for this episode, the plot itself also held my attention. First, we think we’re about to follow a routine investigation into the tragic death of a crewman. Then his daughter appears, wild with grief and accusatory in speech. Things begin to shift for Captain Kirk, his colleagues turning their shoulders at him, an old flame warning him of impending disgrace, and a trial which forces his nearest and dearest officers to testify fairly damningly against him.

But then in hops our very own Perry Mason, with clever words about rights and the flaws of technology. Cogley convinces the judges to return to the Enterprise where my very favorite moment of the episode happens: a luscious soundscape of heartbeats that is slowly narrowed down to a single, unknown body, stowed away belowdecks.

Well, second favorite; as I am sure Erica will concur, watching Captain Kirk roll around on the floor and tear his shirt on the carpet isn’t a bad use of screen time either (another common Star Trek cliché that Perry Mason never included).


Two absolutely convincing stunt doubles fighting in Engineering

The episode lost most of its tension at this point, as we waited for an increasingly barechested Captain Kirk to corral the previously-thought-dead Lieutenant Commander Finney and stop him from crashing the Enterprise into the planet’s surface.

The little twist at the end, where we discover Cogley has now agreed to represent Lieutenant Commander Finney, was a nice touch.

This episode gave meaty, well-developed roles to Areel Shaw and Percy Rodriguez, giving them space to explore courtroom theatrics and protocols in roles many drama’s casting directors would have given only to white men. Though parts of this episode flagged, that delightful choice carried it through for me.

Rating: 4 Stars.


Wrong Way Street


by Abigail Beaman

While I know a majority of my peers rated this episode highly, I was let down by the ending of the episode. I feel that Trek has worked best when it left me with some warning or moral, and to have it just devolve to fisticuffs and Kirk half naked at the end just seemed to disappoint. And believe me, I like when the cast gets half naked.

Perhaps I was just expecting a different story. "Court Martial" opens up with what we believe will be a man versus machine parable, with Kirk versus the computer of the Enterprise. Instead we end up with man versus man: Kirk versus Finney. I feel like if Marc Daniels had followed through with the theme "don’t trust machines on everything", I would have happily rated this episode above a four.


Computers–who needs 'em?

My biggest issue is with Finney being alive. It raises many unanswered questions. What was Finney’s plan after Kirk got indicted? How did Finney manage to change the computer without being spotted? How did Finney even get out of the pod before it was sent off? How did messing with the data stored in the computer also mess up Spock’s chess programming?

In the end, I was just disappointed and annoyed. While the story started off strong, it ended up crashing in the climax, leaving a sour taste in my mouth. That’s why I rate it 2.5 stars.


Our Perception: what can and can’t we trust?


by Andrea Castaneda

I agree with my colleague, Abby, though perhaps the premise saves this episode a little more for me. “Court Martial” was, to me, one of the more intriguing episodes in the show of the series. We’re presented with high emotional stakes, see a more vulnerable side to Captain Kirk, and take a deeper look into how StarFleet operates. But what I liked most about this episode was how it analyzes man’s perception in contrast to the cold hard evidence of the machine.

The courtroom scene reminded me a lot of Sidney Lumet’s “Twelve Angry Men”. In that film, eleven men of a jury believe a man guilty of murder, but one juror still wants to discuss how there can be doubt. The film goes on to dissect how one’s perception can be warped by emotion, physical limitations, personal beliefs, etc. In the end, they conclude the provided evidence is insufficient, and the defendant is spared from the electric chair.


Twelve Angry Men, perhaps the seminal courtroom drama of the last decade.

This episode shared similar themes. Kirk starts out unwavering in his confidence. But when presented with seemingly damning evidence, he’s shaken. With a defeated tone, he says to himself “but that’s not the way it happened.”

But unlike “Twelve Angry Men”, Spock subverts the idea that man’s memory is inherently flawed. When the prosecution asks him how he could know Kirk did the right thing if he didn’t see him, he states that one doesn’t need to observe him at all times to know he did. Just as one doesn’t need to see a dropped hammer fall to know it has in fact fallen. And while he does concede that this is– at the end of the day– his opinion, his confidence in Kirk is what prompts him to prove the computer is wrong. And of course, he tests the system via chess.

Where the episode missed an opportunity, however, was how they chose to end it. I was hoping that once Spock proved the computer was faulty, it would lead the court to reevaluate the evidence and/or rule that the man’s death was due to a programming glitch. But instead, it’s revealed that the dead man was alive the whole time, and that this was all part of a half-baked revenge plot. He and Kirk wrestle while the Enterprise is set to crash, but Kirk once again saves the day. And with that, what started out as a sober courtroom drama winds up as a James Bond movie.

Ridiculous as that ending was, I still thoroughly enjoyed the mental analysis of the strengths and weaknesses of one’s perception. It gives me as a viewer something to think about once the episode ends. Unfortunately, the conclusion of events– including Kirk’s unprofessional kiss with the prosecution lawyer– compels me to declare “Court Martial” a mistrial.

Three stars.


Lies, Damned Lies, and Statistics


by Lorelei Marcus

"Court Martial" is the second trial-centered episode we've seen on Star Trek, though unlike "The Menagerie" (and many other episodes) there are no God-like aliens or other fantastical features. Which is why "Court Martial" is one of my favorite episodes: because of its focus on technology and its ability to straddle the line between implausibility and familiarity.

The source of conflict in this episode is the malfunction of the ship's "computer". The show portrays this computer as a piece of machinery so complex it can recognize verbal commands, act as an archive of all human knowledge, and even play chess! Yet it's so small that it can fit into a panel console [I think those are just the teletype terminals. Cogley's law computer seems self-contained, though. (Ed.)] This is far more advanced than anything we have today, or anything that could conceivably be developed in the next 50 years.


"Computers. I know all about them."

However, the audience is not totally disconnected from this incomprehensible device because the computer represents more than itself. When Kirk first meets his defense lawyer, he is startled by the lawyer's reliance on paper books over computer banks. In the Star Trek future, physical books are an antiquated and nearly extinct form of information storage. While this is a rather extreme (and grim) prediction, the situation does reflect a trend toward a reliance on technology over physical media happening in our society today.

Rather than read the paper or a novel, we increasingly watch the news or a Western on television. We've long since switched computation work at NASA from "computers" (actual human beings doing calculations) to IBM's metal monsters. It isn't a stretch to see a future where the development of computers alters the very way society operates and exists, eschewing personal bonds of trust and the evidence of the human eye. Someday, we may even leave justice to the computers themselves – after all, they cannot lie, can they?

Except, of course, they can. Because people can, and computers are still, even in the far future, servants of people. That, I think, was the point of the episode, and a good one.

Four stars.


The measure of a man


by Tam Phan (Secret Asian Man)

It doesn’t always feel good to do the right thing, but there’s something to be said about having complete confidence in your integrity when it’s under scrutiny. Kirk walks confidently into most situations as if he always has the right answers. Ben Finney is not Jim Kirk. Without even getting to know him that well, it’s still abundantly clear that the infraction that he received wasn’t the real reason he wasn’t a senior officer.

As the records officer, Finney seemed to be doing just fine. After all, he was an officer aboard the Starship Enterprise. It’s not clear if there are many other starships, but as far as we know, the Enterprise is a very important one. [Last episode, it was revealed "there are only twelve like it in the fleet" (ed.)] If Spock’s and McCoy’s commendations aren't enough to tell us how much prestige is represented in the ship's crew, Kirk’s commendations practically flaunt it. I assume that Finney’s service record must be relatively strong to serve on such a ship, but his actions in “Court Martial” tell us everything we need to know about why he’s not captain of his own starship.


Captain material?

Finney’s ability to sabotage the ship shows us that he’s clearly competent, but his plan lacked any forethought; a trait that is expected in leadership. What did he think was going to happen once Kirk was court martialed? Life couldn’t go back to normal for Benjamin Finney. He was on record as being jettisoned and presumed to be dead. It’s not as if he could return to being Enterprise’s records officer. At the very least, he’d have to escape the Enterprise and go into Richard Kimble-style exile. He didn't even manage to do that!

In short, he didn’t have the fortitude to move on from a decade-old perceived personal slight, instead developing a grudge. He didn’t have the integrity to own his mistakes, and so he blamed Kirk. He failed to weigh the possible consequences of his actions, either in the past or of his current half-baked scheme. But I don't condemn Finney for this. For all of his flaws, Finney is a perfectly understandable character, a human character. I get him, even if I don't grok him, and his relationship with Kirk was poignant and interesting.

In the end, no one is perfect: not the records officer nor the computer he works on.

4 Stars


The Little Black Box


by Janice L. Newman

As a fan of mysteries, I really enjoyed Court Martial. The episode did a good job of building tension throughout, even making the audience second-guess ourselves. One thing that I thought was an interesting touch was the recordings made of the events on the bridge and played back later for the purposes of the trial. We saw something similar in "The Menagerie", but in that case the playback was facilitated by the aliens. In Court Martial the implication is that the recordings are done automatically, presumably for circumstances like those in the episode.

This year (1967) regulations are going into effect that state that all planes must have a ‘black box’ installed—that is, a flight recorder that can help explain the cause of a crash after the fact. Having cameras on the bridge that record everything is a natural extrapolation of this new technology and makes perfect sense. And when the audience ‘sees’ Captain Kirk push the wrong button at the wrong time, even many of us are fooled for a moment, wondering, ‘Maybe he just made a mistake?’


A Soviet flight recorder – a "red box"?

It’s not a perfect episode. The denouement, where Captain Kirk is permitted to face the man who has a personal vendetta against him and engage in fisticuffs, didn’t make much sense. Nor did Finney’s plan: did he plan to hide out for the rest of his life? Was he going to get Harry Mudd to make him a false identity? What about his daughter?

Despite these caveats, I liked the mystery and the story overall, and particularly found the dramatic scene where each person’s heartbeat was screened out to be nail-bitingly effective. It was also refreshing not to be dealing with godlike aliens. I give this episode four stars.


The Return of Shirtless Kirk


by Erica Frank

Other viewers have covered the plot, the characters, and the nuances of the legal system. I'm going to focus on something more fun: The clothing, and occasional lack thereof.

We never meet the people who design Starfleet's uniforms, but they must be very influential. There's so much variety! You'd think people living on a spaceship would have limited resources, but no: everyone has uniforms in several colors and styles.

A trial is a formal event, which calls for formal apparel. Naturally, Starfleet's fashion designers rise to the occasion. First, we get Kirk in his side-wrap shirt, while he meets with Commodore Stone to discuss the accusations against him. This seems to be more formal than the normal pullover uniform.


Kirk's wraparound green uniform


The Commodore's outfit is similar to the Enterprise crew's standard ones, but his insignia is a sparkling flower brooch. Very nice.

Kirk changes back to his gold pullover to meet with an old friend; she's in a wild pink-and-green paisley gown. Later, in the courtroom, she wears a red minidress, very similar to Uhura's outfit, only with another flower brooch. I might have mistaken it for mere jewelry if I hadn't seen the same on the Commodore earlier.


This is what lawyers in Starfleet wear when they're not in court.

Dress uniforms—which is what I assume the officers are wearing in court—are satin, with gold trim, and the insignia is an array of triangular gemstones. They seem to open down the front; I approve of Starfleet's apparent policy that the more formal the outfit, the easier it should be to remove. (I'm glad someone in Starfleet is focused on practical issues.) As one would expect, the Commodore has more sparkles than a mere captain, even considering Kirk's impressive record.


Which of Kirk's triangles is the Grankite Order of Tactics? Is the thing on the side the Prantares Ribbon of Commendation? (Do enlisted personnel just have one or two little triangles?)


He can fight a Gorn on a planet full of gemstone rocks and not lose a thread, but when he's up against anyone he knew at the Academy, he loses clothing. He must have been terrible at strip poker.

This episode raised some questions, like: Why must Spock win at chess to prove that computer records can be altered? But I am willing to look past quite a few loopholes to see Kirk half-undressed and on his knees.

I'm not quite as shallow as that sounds. I'm just aware that we viewers often put more thought into the worlds and societies than TV writers have time to develop. I watch this show to have fun; I enjoy the science fiction elements as best I can, but when they're a bit weak, I am happy to be distracted by petty pleasures.

Three and a half stars. I know too much about the law to give it four.



Week before last, it was I Dream of Jeannie.  Now, it looks like the Enterprise crew will be on Wild, Wild West!  Come join us tomorrow at 8:30 PM (Eastern and Pacific).

Here's the invitation!



[February 2, 1967] It's About Time (Star Trek: "Tomorrow is Yesterday")


by Elijah Sauder

A time to laugh, a time to weep

Before I discuss the latest episode of Star Trek, I feel it would be remiss of me to not acknowledge the loss that we experienced on the 27th with the deaths of Gus Grissom, Ed White, and Roger B. Chaffee in the mishap during the Apollo 1 rehearsal test. It is in times like these, times when our dreams of reaching the stars seem to be shaken, that we are reminded of the danger involved in such dreams. However, though the stark reality and harshness of the danger can make the dream seem unattainable, we should stand and support the astronauts that choose to risk their lives, and follow the footsteps of those who have gone on without us, follow their dream and see it to fruition.  This mighty loss deserves remembering, let us remember these brave three and carry their dreams with us.

It feels weird to transition to summarizing an episode of a fictional TV show about space after remembering the events of the 27th, but “Tomorrow is Yesterday”, one of my favorite episodes so far, provides an eerily appropriate counterpoint to the Apollo 1 disaster.

We find the crew of the Enterprise in the late 1960s, stranded in the past after a brush with a "dark star", which renders the ship largely inoperable. While they are trying to figure out how to get the ship operational and get back to their own time, the Air Force detects them and sends fighters to investigate. This results in one of the pilots, Captain John Christopher, being beamed aboard. All well and good, Captain Kirk thinks. But the pilot had taken and transmitted recordings of the sighting. The crew beams down to try and destroy the recordings and set history to rights.


"You're coming with me to see Colonel Bellows!"

During all sorts of amusing antics, another non-crew member gets beamed aboard and Kirk gets captured. Spock, Sulu, and the pilot, go down to rescue Kirk and despite some duplicity, manage to retrieve him and beam back to the ship with everything they went to acquire. The episode ends with Scotty and his crew getting the ship running again (though still in need of more thorough repairs) and then using Spock’s idea to try and repeat the maneuver that got them to the past but in reverse by using the sun to 'slingshot' the ship forward in time. Through this process they go back in time a bit, which allows them to return the pilot to the past before the Enterprise beamed him up. They then continue forward, making it back to their own time and communicate to Starfleet that they have returned.


It's a sharp right past Mercury.

I absolutely loved this episode. It felt lighthearted and didn’t take itself too seriously. And whether it was meant or not, the fights in the show were quite humorous. But those things alone do not make a good episode. All the actors did a wonderful job this episode really selling the characters. I also appreciated the more science fictional premise. The previous couple of episodes have involved highly advanced species that border on gods and while I feel those stories have their place in science fiction, I much prefer premises like this episode’s.


Flying Kirk Attack!

Of course, "Tomorrow is Yesterday" was not without its flaws. The most glaring ones were at the end where the Enterprise beamed the pilot down to a location his past self already was, and that the timeline seemed to be rewritten after doing that; no trace of the Enterprise or its Earth-based gamboling. I personally didn’t mind these too much as I felt the fun of the rest of the show made up for them, but they may turn some people off.


"UFO? What UFO?"

Overall, for me this episode was a solid 4.5/5.


Get me to the Church on Time


by Abigail Beaman

Since this is my first time contributing to The Galactic Journey, I thought I would introduce myself. My name is Abigail Beaman or Abby for short. I started watching Star Trek during its 11th episode, "The Menagerie (Part One)", and to date, my favorite episode is "The Galileo Seven". I may or may not have created a wedding certificate for me and Mr. Spock–a girl's got to prepare for the future.


Mr. Abigail Beaman

Star Trek as a whole is a very interesting and wild concept that I support, but I feel that most episodes suffer from slow plots or the crew feeling out of place. That’s how I originally thought "Tomorrow is Yesterday" would have played out. While I normally dislike time-traveling episodes for their bad writing and forced narratives, this episode has helped change my opinion. With that being said I wholeheartedly believe that this episode wasn’t interesting because of the time travel, but rather how the characters interacted with said travel.


"And this is how you make a warp engine!" "That's enough, Lieutenant…"

In past episodes, there have been moments where I thought a character acted strangely or dumb just to continue the story. However I feel proud to say, not once did I question any of the characters' actions in this episode. Mr. Lieutenant Commander Spock was probably my favorite example of this episode. While yes, he was already my most beloved and favorite character, the sheer number of witty, very logical, and utterly Spockish retorts made the episode even better. I found the scene when Captain Christopher pulls a gun on Sulu and Kirk to be my favorite. Spock is already expecting this, so he beams up to the ship and then beams back down to knock out Captain Christopher. A nice application of logic and technology.


Funny. That's now how I look when he does that to me…

At the end of the line, I am going to rate "Tomorrow is Yesterday" very highly, as it was altogether a silly episode that made my day. However, I understand not everyone likes silly time travel episodes and their usually unaddressed ramifications. It’s all up to personal opinion, and with that said I rate this episode 4.5/5.



by Lorelei Marcus

Tragic Predictions

I had originally intended to write about my thoughts on the episode's predictions of when we will be launching our first manned moonshot. With ten Gemini missions rapidly successfully flown, and the Apollo program just around the corner, I felt "the late '60s" was a perfectly reasonable estimate. The Moon was practically in our grasp. Or so I thought.

On January 27, at 6:31 PM, three astronauts were killed in a freak accident fire on the Apollo One spacecraft. Experts think it was caused by faulty wiring which sparked with the 100% oxygen atmosphere of the cockpit.

I was numb when I first heard Mike Wallace report on the disaster. The dread and realization mounted over the course of the CBS Special Report, but the reality of what had occurred didn't really hit me until Walter Cronkite, a face I associate strongly with another world-shifting tragedy, came on the screen.  To paraphrase his words, "This may shift our plans back from 1967 to 1968, from '68 to '69, from '69 to even 1970.  But we must have courage…no, the guts to continue forward with this space program."

I'm glad "Tomorrow is Yesterday" writer D.C. Fontana never explicitly named the three men who will be on the Apollo flight to the Moon.  While an author could never have predicted something like the Apollo 1 fire, not hearing Grissom or White's names mentioned in the episode allows it to remain plausibly our future and the Enterprise's past.

Maybe "the late 60s" won't be a far off guess after all.

Four stars.



by Andrea Castaneda

A dimension too far

Star Trek already has a grandiose premise, which I love and appreciate. It leads to many possible scenarios for adventure, conflict, and character development. But when time travel gets added, it takes it a dimension too far and exponentially expands the potential for plot holes and inconsistencies.

The episode started out strong. I liked seeing how our 1967 perspective would process seeing a starship suddenly appear. I also liked the high stakes of a small event altering the future irrevocably.


The Enterprise as seen from Captain Christopher's F-104. This is one of the more effective shots in the show.

However, the setting of outer space has fixed rules, whereas the logic of time travel seems too flimsy to be consistent. We're given a brief explanation of Trekian physics. One needs massive amounts of energy and velocity to propel oneself through space and time. Therefore it makes sense that stars with their immense gravities are necessary to do so, and that the crew would repeat this process to go home. But then the logic starts to bend to fit the narrative. They conveniently go back a day in time before they arrived, returning their 20th century guests.

Yet despite how inexperienced they are with time travel, they manage to know the precise moment they were beamed up and can seamlessly beam them back to that exact moment. Which somehow removes their memories of everything ensuing. And because the Enterprise has gone back in time, it now could never exist in our time, making the entire second act pointless. Everyone goes home, the crew of the Enterprise cheer, and they continue to go boldly where no man's gone before.


Time travel fixes everything!

This end frustrates me not only because of the paradox it creates (how is the Enterprise no longer in the past? Shouldn't it exist twice?) but because the character development in Captain Christopher is now rendered moot. He was, to me, the strongest aspect about this episode. Through him and Kirk, we see what past and future can learn about each other and how despite the centuries between them, they're both still human.

I think a scenario where things ended in a time loop would have been far more interesting. Christopher could have returned home, had his son destined to explore Saturn, and raised him to keep looking to the stars– all inspired from his day-long romp in space, making the end of this episode feel less hollow. Certainly, it would have been a less problematic presentation of the time travel cliché.

Still, this "Tomorrow is Yesterday" was overall enjoyable to watch. It allowed much of the ensemble to shine, offered up hilarious gags and an interesting perspective about humanity's advancement. I just hope that going forward, the writers keep this time travel plot device to a minimum.

Three stars.


Well, at least it's unlikely this week's episode will involve time travel.  Join us tonight at 8:30 PM (Eastern and Pacific)!


"Captain Kirk, This is Your Life!"

Come join us!



[January 26, 1967] Cold-blooded murder (Star Trek: "Arena")

Before we dive in, here's a couple of photos we just got back from the Fotomat, taken right before we watched the episode!


Captain Kirk and the Myth of Empty Land


by Jessica Dickinson Goodman

This week’s episode opens with Captain Kirk and Dr. McCoy happily discussing the promise of a lush dinner for the crew of the Enterprise on the Cestus 3 colony, “out of the edge of nowhere,” after they were invited to a sumptuous visit by the local human Commodore.

When the team beams down they find destruction, death, scorched earth, and a lone and bloodied survivor. The crew takes fire from unseen enemies who Mr. Spock determines are sophisticated, cold-blooded, humanoid creatures.

Captain Kirk brings the survivor aboard the Enterprise before ordering the delightfully competent Lieutenant Sulu to follow the “alien” ship they believe is responsible for the massacre. Then follows a chase, like we saw in The Balance of Terror, during which the survivor explains to Captain Kirk that the the colony was suddenly attacked several days before, unable to defend itself.

Again and again, he asks Captain Kirk, voice rising in panic and distress: “Why did they do it? Why?”

Kirk decides the unnamed, unidentified enemy’s motivation was “invasion” and convinces Spock that the only option they have is to destroy the “alien” ship.

Eventually, a godlike species ("The Metron", yet another in a long series on this show) intervenes in the hunt, identifying the “alien” enemy ship as the "Gorn" and forcing Captain Kirk into a mano a mano fight with the alien captain on a planet where they must make their weapons off the land. Captain Kirk finds heaps of diamonds, sulfur, potassium nitrate, coal, and sturdy wood. As he freely takes of them to build a hand cannon to kill the Gorn captain, the formerly voiceless alien speaks. He explains to Captain Kirk that his ship attacked Cestus 3 because:

Gorn Captain: “You were intruding! You established an outpost in our space!”
Captain Kirk: “You butchered helpless humans –”
Gorn Captain: “We destroyed invaders!”

Observing this exchange through the magic of Metron, Spock and McCoy realize perhaps “[w]e were in the wrong” and “[t]he Gorn simply might have been trying to protect themselves.”

The makeshift gun works. Crouching over the Gorn with the alien's own chipped obsidian blade, Kirk decides to spare his life, thus surprising and delighting this week’s all powerful watcher species. Back on his ship, Captain Kirk feels proud of himself for declining to kill the Gorn captain, ending the episode with a warm smile.

The plot of "Arena" hinges on the myth of empty land, the 19th and 20th century colonialist theory that whole sections of our human world were uninhabited before Europeans arrived. Many of us descended from Europeans learned this myth in our homes and schools. Many people who lived in those lands since time immemorial learned of this myth at the muzzle of European guns.

To give a specific example, let’s consider a childhood book of my mother’s: American First: One Hundred Stories from Our Own History by Lawton B. Evans (1920). The first chapter (“Leif, The Lucky”) tells the story of Leif Erickson arriving and finding a land full of bounty, the kind of place a sensualist like Dr McCoy would enjoy: it is full of grapes and food and sturdy wood. It continues to tell the story of his brother, Thorwald, who arrives expecting a lush and welcoming land but instead, “Indians attacked his party one night, and killed Thorwald with a poisoned arrow.”

I can almost imagine Thorwald asking his crew: “Why did they do it? Why?”

Because, as the Gorn captain said, Leif and his Norsemen were the invaders. The land they came to was not empty, just as Cestus 3 was not empty. And just as Captain Kirk explained to (if he did not quite convince) his first officer, sometimes people protect themselves by cutting invaders off at the pass; in both this week’s episode and America First's first chapter, that tactic worked. At least for a time.

The stories in America First continue, from “Daniel Boone” and his handmade weapons to “Dewey At Manila Bay” and his hoards of coal. They share elements of this week’s episode: an initial erasure of indigenous people; coveting of resources; exploitation of those resources; horror at violence done to invaders (while remaining silent on violence done to those invaded); and finally, a pat ending that makes the reader feel good about his and her ancestors’ role in the story.

I read and watch science fiction to be given more than patness and comfort. I want us not only to reach for the stars, but reach into our own hearts, to give us tools to understand our complex histories, and sit with the realities of the violence that underpins many of our histories. I want to see our heroes do more than fight their way out of problems.

I am glad the episode takes a stab at addressing the "empty land" myth, and at the same time disappointed that its hero does not. In the end, Captain Kirk seems to have some realization of the Gorn captain’s perspective, but the episode ended before we saw any true change of heart. I want to see real attempts at understanding the “alien” perspective for longer than the time it takes to put down a knife.

Three stars.


A Weak Echo


by Erica Frank

This episode was obviously inspired by Frederick Brown’s 1944 story, “Arena.” In both stories, aliens have attacked human settlements and space battles follow. In both, a near-omnipotent being interferes, reducing the conflicts to a single contest: One representative of each, placed on a barren world, instructed to fight. The godlike entity will then remove the loser’s contingent.

The two stories have some crucial differences, however.

Most importantly: In the original, the human is naked. (The alien probably is, but it looks like a giant red beach ball.) In the Star Trek episode, Kirk is not only not naked, his shirt doesn’t even get torn. (Despite fighting an alien with fangs and claws! Did the budget department object to constantly replacing his uniforms?)

In the original, the stakes were much larger: The nameless cosmic entity will eliminate the loser’s entire species; in Trek, “the Metron” only says he will destroy the loser’s ship. (He seems annoyed that they’ve brought their petty squabble to his region of space.) Brown’s “Arena” mentioned prior battles, skirmishes leading toward a full-scale war. In Trek, this is the first time they’ve met, which makes Kirk’s instant hostility seem arbitrary and contrived.

Just last week, Kirk insisted they were peaceful explorers, not warriors. Now he’s jumped to “alien invaders seeking conquest—kill them all” without considering any other options. He chases the alien ship, ignoring Spock’s requests for diplomacy, pushing the Enterprise nearly to breaking… until the Metron stops both ships and places both captains in their arena.

Brown’s human protagonist—Carson—and his alien are separated by an invisible force field, unable to attack each other directly. Their battle involves wits and endurance, not brute strength. Kirk throws rocks.

Unlike Kirk, Carson attempts to negotiate peace with his enemy; it “replies” with a mental wave of hatred and bloodlust. Unlike the Gorn, there will be no diplomatic relations in the future. Instead, Carson must find a way to kill his enemy—with the entire human race as the stakes of the battle.

I won’t ruin the story for you, but the result is predictable. The question is not “who wins,” but “how?” In this, it is again much like the Star Trek episode: We do not wonder whether Kirk (and his ship) will be destroyed, but how they will prevail.

The original is much more satisfying than the Trek episode. Carson’s explorations and growing understanding of his situation make sense; Kirk has more resources but ignores technological options (including fire) until his rocks fail to kill.

However, this episode of Trek was not without points of interest: the Gorn was an intriguing alien, and the Metrons use their immense powers to enforce peace in their area; they don’t treat “less advanced” species like toys for their amusement. I hope to see both of them again.

Three stars, even though Kirk remained fully clothed throughout.


Will the real civilization please stand up.


by Andrea Castaneda

This episode exemplifies what happens when a good idea isn’t executed well. I appreciated how this "Arena" explored the idea of barbarism vs civilization. But the way the storyline unfolded left me with some conflicting messages.

Throughout the episode, we’re presented with three different tiers of civilized society: the allegedly barbaric Gorns, the more rational Humans, and highly advanced Metrons.

When the Gorns are introduced, they're framed as violent aliens who attacked Cestus III unprovoked and showed no mercy. Then we have the humans of the Starship Enterprise, who we can identify as the more rational species. But as Captain Kirk's desire for vengeance shows, we can be prone to our own bloodthirsty tendencies. Then we have the Metrons, a species so advanced, they command the laws of physics at will. And while they claim to be the epitome of what a truly civilized world looks like, they still deemed a trial by combat the best course of action rather than, say, a civil trial (even Trelane offered a trial!) But then again, had they chosen that option, we'd have been robbed the spectacle of Bill Shatner fighting a man in a rubber lizard suit.

I was particularly struck when, after much rock throwing, a brief chemistry lesson, and lots of underwhelming stunt choreography, Kirk finally defeats his opponent. The impressed Metron suddenly shows up (dressed as if a cherub from a renaissance painting appeared on the cover of Vogue) to commend Kirk on his display of mercy, yet in the same breath offers to destroy the Gorns anyway!

At this point, I wondered whether the Metrons were really as advanced as they claimed. After all, by declaring the crews of both ships guilty by association, they could have potentially killed many innocent lives. At least with Captain Kirk, who had much more emotional investment in the outcome, he realized when to hold back.

I suppose the moral this episode left me with is that no society, no matter how advanced, is immune to the perils of barbarism.

Three stars.


Fight or Flight


by Tam Phan (Secret Asian Man)

I have to say that I’m really enjoying Star Trek so far. “Arena” isn’t the best episode for reasons that others have already expressed, but the last few episodes of Star Trek have left me with questions of what the Enterprise’s goals are in seeking out new life and civilizations.

We’ve seen that Kirk takes exploration seriously in “The Galileo Seven”. He stops to explore a quasar while transporting lifesaving medicine to a waypoint for a colony in need. He’s battled and bluffed his way through confrontations in space and has also shown prowess in hand-to-hand combat, but are humans exploring the galaxy just to get into fights? It’s understandable that conflicts are sometimes unavoidable, but at times, it seems as though Kirk is just looking for a reason to arm his photon torpedoes. I’m not saying that it’s unheard of for explorers to be capable of defending themselves, but it does seem a bit odd that Kirk’s approach to alien life tends to be confrontational and aggressive.

Kirk goes boldly where no man has gone before, but when does bold become brash? Seeking out new life seems dishonest when it often results in unnecessary conflict. He’s almost immediately opposed to General Trelane’s behavior in “The Squire of Gothos” and now, without asking any questions, he immediately chases after a fleeing ship with the intent to destroy it. To be fair, they did destroy a colony full of seemingly innocent people, but if Enterprise’s role is mainly to explore the galaxy, it’s not clear based on Kirk’s actions. At no point did the Enterprise's captain even try to communicate with the Gorn. Initiative was left to the other party, who reached out to him, explained his viewpoint, even offered his version of mercy.

I think Kirk just got lucky in the end. It made no sense for him to spare the Gorn and there was little indication that he should. What bothers me is that it’s yet another arbitrary standard enforced by a supposedly morally superior alien. Kirk’s mettle was subjectively assessed to be passable using a lousy test that was barely passable in its own right. This would have been a more interesting episode if Kirk’s mercy was rewarded with peace between humans and Gorn rather than a heavy-handed pat on the head by an almighty alien. Good boy, Kirk. You’ve shown mercy. If only there was another way a superior alien could coax a human into showing mercy than a gladiatorial contest.

3 Stars


Ineffective effects


by Janice L. Newman

Thus far, Star Trek has proven itself a cut above just about all other science fiction shows currently playing in the USA. The stories are often sophisticated, the alien menaces sympathetic, there are questions of morality and nuanced plotlines that you simply do not get in, say, Voyage to the Bottom of the Sea. The special effects, too, are often innovative and surprisingly convincing. The ship made of lights in "The Corbomite Maneuver" stands out, but even effects used across multiple episodes like the glitter of the transporter or the beam of a phaser just work, never jarring the viewer out of the story with how fake they seem. The salt monster in "The Man Trap", despite being the quintessential ‘man in a suit’, managed to be scary rather than ridiculous, and the bulbous-headed alien in "The Corbomite Maneuver" looked fake because, in a brilliant twist, it was.

"Arena" proved to be a disappointment in this, well, arena.

The first half of the episode is interesting. The ‘warzone’ that Captain Kirk and several of his crew find themselves in works well enough, using explosions combined with clever light effects similar to those used for the phasers. However, when Kirk is sent to confront the ‘Gorn’, we encounter one of the first special effects that threw me out of the story entirely.

The Gorn is a man in a suit. It’s a very good suit: well-designed and detailed. It’s clearly meant to be intimidating, with lots of teeth, faceted eyes, and big muscles. Unfortunately, it’s painfully obvious that the poor person inside the suit can barely move. The Gorn is slow, lumbering, and stiff. I can handwave some of this away. Maybe the Gorn’s planet has different gravity, or properties that give its particular bodily development an evolutionary advantage. Yet when Kirk fights the Gorn almost in slow-motion, giving time for the Gorn to swing back, I couldn’t help but immediately be reminded of every cheesy children’s sci-fi show and every low-budget sci-fi movie where a man in a suit tries to be convincingly scary.

They did their best. Kirk uses his speed to his advantage, darting around the rocks while the Gorn plods after him, convinced its superior strength will win in the end. It should be compelling, but as much as I wanted to, I couldn’t engage with it. I just couldn’t see the Gorn as anything but a man-in-a-suit.

There’s also the point that a supposedly advanced race that ostensibly values mercy and peace set up this “Arena” with the components of gunpowder and other tools available such that the two leaders can brutally kill each other, with the lives of their respective crews hanging in the balance. But others have already made that point.

Three stars.


Nothing if not consistent


by Gideon Marcus

I'm going to be the contrary one today.  Everyone else, for various reasons, has given "Arena" some flavor of three stars.  I'm going to give it a lot more.

Jessica makes a valid point.  The episode neatly brings up the "empty land" myth.  But unlike Jessica, I feel the showrunners did their job.  Indeed, they did it twice.  For it is not just Gorn land that was trespassed, but that of the Metrons.  If the Gorns (and by extension, the Skraelings of Vinland) are justified, then surely the Metrons are also justified in whatever actions they want to take to rid their space of the noisome invaders.  That their morals don't necessarily match ours is not surprising; "advanced" is a loaded term.  Kirk and the Gorn were the equivalent of two roly-polies unwanted in a garden.  The Metrons simply put the two of them in a little dish to see what would happen.

Personally, I don't believe the Metrons ever intended to kill anyone (or let anyone die), similar to Balok in "The Corbomite Maneuver".  They were just having fun and teaching us a lesson at the same time: Don't barge into unknown space without knocking.

As for Kirk being a lousy diplomat, point conceded.  But his actions are nothing if not consistent.  In "Balance of Terror", he dithered over engaging the Romulans despite a crystal clear course of action.  In "Arena" he is determined not to make that same mistake again even though, as Mr. Spock points out, the circumstances are not necessarily the same. 

And Mr. Spock, what a gem you are.  In "The Galileo Seven", he consistently finds solutions that result in the least loss of intelligent life, regardless of species.  Here he tries repeatedly to do so again, to the point that he is curtly silenced on the bridge by the captain.

We are frequently given to believe that Kirk is a brilliant commanding officer, someone to be admired.  But more and more, Star Trek is showing us who we really should root for.  Not the headstrong captain who is starting to favor his guns to his communicator, certainly not the overemotional McCoy, who seems to exist only to tease Spock about being an alien.  No, it is the cool, rational (if not always "logical" in the way Jessica would define the term!) Mr. Spock.  And maybe Mr. Sulu.  He was pretty nifty this episode, too. 

And Uhura.  That officer's got some good pipes on her.

Four and a half stars.



It looks like the Enterprise is going to meet Major Nelson this week!

Come join us tonight at 8:30 PM (Eastern and Pacific).  Here's the invitation!



[January 12, 1967] Most illogical (Star Trek: "The Galileo Seven")

Zero sum game


by Janice L. Newman

Ever since his masterful performance in “The Naked Time”, I’ve been eager to see more episodes featuring Leonard Nimoy’s half-Vulcanian, half-human character, “Spock”. This episode revolves around Spock, but it unfortunately does a poor job of what it sets out to do.

The Enterprise is on a mission to bring much-needed medical supplies to a planet suffering from plague. En route, they encounter a quasar, and since they have a couple of extra days before their rendezvous, they follow another directive: to investigate all quasars and quasar-like phenomena.

A shuttle is sent out crewed by seven people. Three are familiar to us: Spock, Scotty, and Doctor McCoy (why the ship’s engineer and ship’s doctor were sent on this scientific mission is never explained). The rest of the shuttle crew are unknowns which, given the episodes we’ve already seen, likely means that one or more of them will die.

The quasar interferes with the instruments of both the shuttlecraft and the Enterprise, causing the shuttle to crash land on a planet in the center of the quasar and the Enterprise crew to be unable to find them and pick them up. They’re racing against time, as Galactic High Commissioner Ferris, who is overseeing the delivery of the critical medical supplies, constantly and obnoxiously reminds them. If they can’t find the missing crew members within two days, they will have to leave them stranded, and probably to their deaths.


Commissioner Smarmiface

On the planet Spock takes command, only to find his orders questioned and challenged at every turn. McCoy’s needling is typical, though it feels inappropriate in the midst of the crisis. In fact, he starts the whole thing off by prodding Spock and saying that “you've always thought that logic was the best basis on which to build command”. This assertion is already suspect, given that Spock has reacted to Kirk’s more inspired gambles (see: “The Corbomite Maneuver” and “The Menagerie”) with respect and acknowledgement that they were clever, even if they were unorthodox or unexpected.

Perhaps following McCoy’s lead, several of the other crew members react with increasing disbelief, anger, frustration and disgust every time Spock tells them to do something, or even speaks. The conflict is meant to have at its heart the idea of pitting reason against emotion, but frankly, it’s poorly done. The crew mostly come across as insubordinate bullies, irrational to an outrageous degree. When Spock is helping Scotty attempt to repair the shuttle and Boma insists that Spock stop what he’s doing and ‘say a few words’ for one of the crewmembers who has, as expected, been killed by the planet’s native lifeforms, Spock’s refusal seems like the only reasonable course given the time constraints they are working under. The only really questionable choice he makes is ordering one of the crewmembers to stay outside as a scout in a dangerous area, which leads to the crewmember’s death—though as a fellow watcher noted, if the scout had been better at his job he may well have survived.


"If only I had some way to call for help!"

When they finally manage to get the shuttlecraft into orbit, Spock jettisons the fuel in a last-ditch attempt at a distress signal. It works, but only because Captain Kirk has disobeyed his own orders and started towards his rendezvous at ‘space normal’ speed instead of ‘warp speed’, and is therefore still in the vicinity. The episode ends with the entire bridge crew laughing mockingly at Spock when he denies that his final choice was an impulsive, “purely human, emotional act”.

Thus ends a story that was by turns exciting, even riveting, and enormously frustrating. The introduction of a ship’s shuttlecraft, the crew’s attempts to get the shuttlecraft into orbit, the Enterprise’s increasing desperation as they hunt for the lost crew were great. I got goosebumps when Spock chose to jettison the fuel. But the way the people under Spock undermined and questioned his authority was irritating and felt contrived. I couldn’t help but think that even if Kirk were giving the same orders, he would never have been challenged the way Spock was. Commissioner Ferris’ continual reminders that there wasn’t much time left were also annoying, although more understandable, as his mission was to prevent unnecessary loss of life in a planetwide plague—a mission which Kirk seems to treat very cavalierly at the end.

With all the good and bad, I can’t give this episode more—or less—than three stars.



by Gideon Marcus

Keep cool, man

In a crisis situation, the most valuable asset is a leader who keeps a level head.  While everyone else is flailing about, the boss makes calm, rational decisions.  With the exception of the laughable babbling scene two thirds through the episode (which single-handedly dropped the Young Traveler's appraisal of the episode from four to three stars), Mr. Spock was completely unflappable, and his decisions, for the most part, excellent.  In an episode not filled with straw men composed of irrationality, Spock's demeanor would have shored up flagging morale, not stoked anger and resentment.

"But two men died!" some might cry, girding an argument against Spock's ability to command.  I submit that, in fact, Spock's actions preserved the most people overall—you just have to see the beings on the planet as people.  While Mssrs. Boma and Gaetano were urging for a demonstration of murder, Spock argued restraint, insisting on terrorizing the aborigines rather than killing them.  He knew that a demonstration of power was likely to be useless, having deduced that their culture was too primitive to sustain the tribal social structure that would respect such a display.  But knowing his men were keen on violence, he channeled it into a less destructive option.


Spock trying to keep everyone alive.

When the indigenous sophont began whacking on the shuttlecraft with a rock, Spock didn't suggest blasting it with a phaser (fuel concerns may have been tight, but they probably could have afforded that shot based on prior consumption).  He gave it a painful shock instead.  Effective and non-lethal. 

In the end, Spock's actions were far more respectful of intelligent life, regardless of the form, than the path advocated by Doctor McCoy, a man whose profession is centered on the preservation of life.

Quasi-scientific

There were several points in the episode where a little bit of explanatory dialogue could have made things much more plausible.  Why does the Enterprise spend so much time searching the class M planet?  There's no indication that's where the shuttle went.  I would have liked there to have been some intimation that Latimer deliberately aimed the Galileo toward the habitable world so they'd have some chance.

Also, for those who don't know what a quasar is, they really are quite interesting, and probably nothing like the phenomenon depicted in the show (which is more like some kind of nebula).  Quasars are actually cutting-edge astronomical science.  When humanity first started turning their radio telescopes to the stars, they discovered sources of radiation that had hitherto been invisible.  But they blazed like beacons in low frequency radio waves. 

They seemed no bigger than stars, but they clearly were not stars.  So they were called "quasi-stellar radio sources" – quasars for short.  No one knew if they were extremely small, close-by entities, or extremely powerful far away ones.  A few years back, it was noted that every quasar had an immensely red-shifted spectrum.  That is to say that all of the light coming from any quasar, every single wavelength of color, was stretched, as if the body were receding from us at great speed.  You've probably heard of this phenomenon before: the Doppler effect you hear when a train whistle is heading away from you.

This red-shift indicated that the quasars were actually very far away, billions of light years.  They also offered proof that the early universe (since if the quasars are far away, they must be quite old – the light took billions of years to reach our eyes, after all) was different from the current universe since there are no nearby quasars.  Thus, final conclusive proof that the universe arose from some kind of Big Bang, as opposed to always existing, as Fred Hoyle and many other prominent cosmologists suggested.

What this all means is that Kirk and co. could not have investigated a quasar, for there are none close enough to Earth for his starship to reach!  He did cover up with the possibility of it being a "quasar-like" object, whatever that means (a quasi-quasi-stellar source?!)


A quasasar?

I can usually squint my ears and forgive this scientificish wishiwash, but it drives the Young Traveler crazy.

Anyway, I guess I give the episode three stars.  I can't decide if it's a terrible episode with great bits or a great episode with terrible bits…


What’s the Folsom Point


by Tam Phan (Secret Asian Man)

We’ve seen a handful of leaders throughout the series, but this is the first time that we get to experience an alien leading a team that is not of their species. Leaders have a critical role to play in every organization, and few would contest that, but what happens when we are led by someone that’s different from us?

The Enterprise’s resident alien, Spock, is no stranger to leadership. He wouldn’t be First Officer if he was. He has proven to be level headed and capable in stressful situations, and in my opinion, he conducts himself no differently in “The Galileo Seven”. He’s a sound decision maker. Yet, Gaetano and Boma seemed intent on defying Spock’s every decision no matter how reasonable. None of Spock’s orders were followed without some comment about his logic as if emotions and irrationality were the greater tools for the situation. The overt hostility toward him at every turn seemed out of place for a crew that should be trained and fully capable of following orders. It’s hard to imagine their actions were motivated by anything other than an irrational hatred or fear of the other. Would the crew have treated Kirk the same way if he had made the same decisions?

Spock’s experience reflects my own. As an Asian, an obviously "different" person (no matter how much people say America is a melting pot) it’s not out of the ordinary for my opinion to be dismissed in favor of the same opinion expressed by someone less different.

I don’t know exactly what the message was in this episode. In the end, Spock made the correct decision and saved the investigation team. Spock received no commendations for actions that not only prevented the death of several crew members, but, as Gideon mentioned, also a number of natives. Yet his decision was credited to human emotionality rather than Vulcanian rationality. It's a haha moment. The good part of Spock is the human one, not the alien one.

I’ll give the episode credit for demonstrating how a seemingly capable crew might turn on someone because he’s different, but I already know what that looks like. And in the end, if the episode was trying to show the foolishness of bigotry, it undercut its own message with the insulting ending.


Nothing better for morale and discipline than laughing at the Exec for being an alien.

One Star


The needs of the many


by Andrea Castaneda

Andi Castaneda here, photojournalist extraordinaire.

I had a lot of mixed feelings watching this episode. On one hand, I liked the setup for the conflict and seeing Spock in a leadership role. But I was ultimately left frustrated by McCoy’s and Boma’s behavior, who seemed too selfish and immature to be crewmembers of the Starship Enterprise.

This episode focuses a lot on “emotion vs logic”. But I think this conflict goes deeper than that. I think this can also be framed as “the individual vs the collective”. Now, I’m still getting to know the characters of Star Trek. But I’m told the Vulcanian culture places much more value in the community over the individual–the latter being too emotional. Spock is consistent with that philosophy, focusing more on saving the majority even at the expense of the few. He includes himself in these calculations.

However, the other crew members–specifically Boma and McCoy–seem to resent this. Perhaps this can be explained as simply as a culture clash. But one would think that after working with Spock for so long, they can understand why he has different customs and world views. Instead, they insult him, calling him a machine and implying he has no heart.


Perhaps these expressions can be entered into the log for use at their disciplinary hearing.

When other crew members are killed by the planet’s native species, they insist on giving the deceased proper burials despite the mounting danger. Granted, I say this from the comfort of my own home far removed from their situation, but it seems to me that their insistence on having their emotional needs met–despite how it jeopardizes the crew’s safety–shows a much more selfish side to them. Yes, I can understand their grief and rage, something that Spock perhaps should have taken into account. But they seemed to lack the foresight to see how it would affect others. Gaetano and Latimer were dead, yet they insisted on putting the rescue attempt in jeopardy to prioritize their own feelings.

At last, they make it off the surface of the planet, but not before they’re attacked again by the native species. The two rescue Spock from the attack–despite his protests- but it costs precious time and fuel. He confronts them on this, but what’s done is done. Their chance of survival is now even slimmer. Luckily, the show runners need another episode next week, and they are saved thanks to Spock’s quick thinking.

Overall, I enjoyed watching Spock taking on a leadership role and how he resolved conflicts. However, I wish the show had acknowledged how McCoy’s and Boma’s actions nearly cost them all their lives. It seems odd that people this erratic managed to be part of such a prestigious fleet. I'll give the show the benefit of the doubt and chalk this up to mediocre writing rather than a fundamental flaw.

For now.

Three stars.


An Illogical Logic


by Jessica Dickinson Goodman

Mr. Spock uses the word "logical" to describe his command decisions, but what he seems to mean is "passionless." It's a subtle difference, but since it was one central to the conflict of this story, I think it is worth diving into.

Here on Earth, in 350 B.C.E. Aristotle famously defined the rhetorical device of logos in his Rhetoric: “αἱ δὲ ἐν αὐτῷ τῷ λόγῳ διὰ τοῦ δεικνύναι ἢ φαίνεσθαι δεικνύναι,” that is, as the third of three methods of persuasion, one which relies “upon the speech itself, in so far as it proves or seems to prove.” (Aristotle in 23 Volumes, translated by J. H. Freese, 1926).

Aristotle meant to inform his students about how to balance three methods of convincing people to change their minds. As anyone with a Classics background will remember, Aristotle breaks all argument down into pathos (arguments designed to stir emotions), ethos (arguments which rely on the speaker’s character), and logos (arguments which rely on the proof they contain). Like a single crewman or crewwoman stranded on a hostile planet, these forms of address are not designed to be used in isolation. Nearly any given speech by Captain Kirk to his crew employs all three of these, often to stirring effect.

Yet the central tension of "The Galileo Seven" lies around Mr. Spock’s stubborn insistence on ignoring the reality of emotions and social standing to focus solely on what he calls “logic,” but which often seems to be his own good ideas, framed in declarative sentences (do any readers have loved ones who “argue” like this?) Sometimes, yes, as Gideon says, Mr. Spock’s “logic” does seem to be the actions most likely to result in the survival of the most sentient beings possible.

But in the over two-dozen times the word “logic” was uttered in this past episode, very few of them refer to moments where the speaker has provided clear proof about the rightness of a course of action. For example, when Dr. McCoy notes that Spock must be pleased to be in command, he replies:

“I neither enjoy the idea of command, nor am I frightened of it. It simply exists. And I will do whatever logically needs to be done. Excuse me.”

Claiming an action is logical, at least as Aristotle taught it and as most of us use it today, is not a short-cut to declaring a perfect, top-down, universally-understood course of correct action. It is instead a way to try to convince people your idea is best; one of several ways, all of which are stronger when braided together. It seems like whatever Mr. Spock is terming “logic” is really more about self-discipline than persuasion, which is all well-and-good, but as a commander, part of his job is to motivate people to carry out his orders. Over and over again throughout this episode, Mr. Spock fails to do so, in part because he insists on misusing both logic and rhetoric.


Logic fails Mr. Spock, or perhaps he fails logic?

There is hope for him yet, however. When all seems lost for the shuttle crew, Mr. Spock vents their fuel, sending up a flare big enough for the Enterprise to see it. It is a decision he could have verbalized, arrived at and proved logically, using either inductive or deductive reasoning, and brought the crew along with him. Though he did not, it is a decision which required him to not only analyze what he thinks the correct actions of Enterprise should have been, but to take into account who was serving as her Captain at the time: his friend, Captain Kirk. I think Mr. Spock knew that Captain Kirk would blend his own moral authority with his crew, his emotional connection to the stranded shuttlecraft, and his own keen grasp of reasoning to extend his search as long as he could. I think Mr. Spock risked all of the surviving shuttle crew’s lives on it – and he was right.

Three stars.


Come join us watching the next episode tonight at 8:30 PM (Eastern and Pacific), apparently starring Liberace!

Here's the invitation!



[December 24, 1966] Unquiet on the Romulan Front (Star Trek: "Balance of Terror")

Déjà vu


by Gideon Marcus

Under a blanket of unwinking stars, a lone vessel patrols on the trackless expanse between civilizations.  A distress call is heard: one, two, now three voices stilled in the night by an unknown raider.  Not long ago, the enemy had been defeated but not broken in war, and it seems the old adversary has returned.  Now, the navy ship probes out an unseen predator, cloaked in darkness, wielding torpedoes of death.

"The Enemy Below" (1957) Gregory Peck, Kurt Jurgens, 4:30 Channel 4

Er…strike that.

"Balance of Terror" (1966) William Shatner, Mark Lenard, 8:30 Channel 9

It has always been hinted that the Enterprise, the featured ship on Star Trek, is a military vessel.  Indeed, its role seems not unlike the frigates of the 19th Century, showing the flag at ports of call, projecting power at critical junctures, providing relief when requested.  But in this latest episode, we see Kirk and crew in a full-blown military situation, fighting a tactical battle with huge strategic ramifications.

"Balance of Terror" succeeds best at the big-picture stuff.  All at once, the burgeoning Earth civilization has at least one border.  Prior to this outing, there had been just one contact with a spacefaring race, and that ("The Corbomite Manuever") a particularly asymmetrical one. 

With the introductions of the Romulans, Earth now has an adversary of roughly comparable strength and abilities.  And what an intriguing adversary!  Mark Lenard, who I've seen on various other TV shows, gives a fine turn as the Romulan commander, war-weary but canny We also learn a bit more about the Vulcanians, and that their peaceful, logical ways are a comparatively recent development.  I would love to see the Romulans return as a regular foil for the Enterprise crew, though that may prove logistically impractical.  After all, the two nations are separated by a large Neutral Zone, and communication between them is explicitly limited.

The brooding cinematography of "The Man Trap" is back on display, and it is attractive ("Miri" director, Vince McEevety is also back).  Shatner is once again compelling in his role as commander, though there are not too many contributions from the ensemble this outing (though Kelley is awarded a few good scenes).  I appreciated that men and women are not only shown serving side-by-side effectively on a warship, but that they are also allowed to have human relationships, even to the point of getting married.  A far better future than the one envisioned by Dr. Richardson a decade ago, when he opined that spacefaring would be an all-stag operation, one which women would partake in only as prostitutes to satisfy the inevitable male urges.

Where "Balance of Terror" falls down, although not too often, is the tactical end of things.  Uncomfortable gymnastics are required to stuff Trek into a destroyer vs. sub plot.  Do the crews really have to stay silent to avoid being heard across thousands of kilometers of vacuum?  Why do the Enterprise's phasers shut down after their first salvo?  What, exactly, was the purpose of the two ships lying dead silent next to each other for half a day if Spock was just going to accidentally push the ping button on his console anyway?  Better if that had been a deliberate action.

Also, while I appreciated the anti-bigotry message that pervades the episode, it seemed odd that Stiles and Sulu would immediately suspect the presence of Romulan spies aboard the Enterprise—before we even saw that Romulans looked like Spock.  Given that it had been a century since humans and Romulans had had contact, and that neither side had ever seen each other or spoken directly to each other, how would the Romulans have a chance to infiltrate themselves into Earth space, and aboard a military vessel, at that?

Finally, why the hand-wringing over whether to engage the enemy or not?  The Romulans were the clear aggressors, they were on our side of the Neutral Zone, and the Enterprise specifically dispatched to investigate.  I can see Kirk worried about losing his vessel and his crew, but I'm not sure why he, and Sulu and McCoy, were advocating holding back for fear of starting a war.  After Pearl Harbor, were we (America) really concerned about making the Japanese mad by fighting back?

On the other hand, we've learned over the past half season that McCoy will always advocate the opposite of whatever Spock endorses.  If Spock had turned around and suggested retreat, McCoy would have urged for the attack.  Those two…

Anyway, it's a good episode, a promising one, but pacing issues and a derivative plot keep it at four stars.


A Dangerous Game of Peekaboo


by Tam Phan (Secret Asian Man)

It was about time that we finally got to see some bigger conflicts in the final frontier. Until now, all we’ve seen is petty squabbles between humans and the occasional alien. This episode marked the first time we find Kirk in a position where making even a single poor decision could have catastrophic repercussions that land him on the wrong side of history. Will Kirk be a hero, or will he allow the Romulans to start a war?

We’ve seen some of the ship's combat capabilities and some interesting tactics in past episodes, but not until “Balance of Terror” have we seen Kirk use the Enterprise in combat. In truth, I was interested in seeing how Kirk fared in battle. It was a thrill to see both captains make mistakes that the other capitalized on. They learned and adapted, and there’s just something beautiful about that dance between experts.

This was one of the more exciting episodes of Star Trek, but “Balance of Terror” fell short for me by turning Stiles into a revenge driven maniac and Kirk into a timid commander. Stiles was right: the Romulans had crossed over the neutral zone, destroyed several science stations, and were sneaking back across to report to their home planet, yet Kirk hesitated. It is lazy writing to have a leader who has every reason to act, but chooses not to because it creates more drama. 

But Stiles was right the way a stopped clock can be right. The way that he conducted himself was out of line. Stiles' bigotry is a deep-seated family affair. He didn’t even know what the Romulans looked like before he suspected Spock, the only alien aboard. Subtle hatred turned into fully-realized racism as soon as the Romulan captain was revealed. Kirk’s attempt to rein in his navigator with “their war, Mr. Stiles” did little to dispel his hatred.

Stiles’ mindset is unfortunately not uncommon. It’s all too familiar to me as a Vietnamese man. There are very few of my race in the United States, and I often get mistaken for a Japanese or Chinese man. There’s no doubt that I share some common ancestry with those nationalities, but it would be like mistaking an Dutchman for a German…or a Vulcanian for a Romulan. We are not the same, even if we look the same (to less discerning eyes). I appreciate Kirk’s repeated expressed opposition to bigotry. I am also glad that, in the end, Stiles learned the error of his ways. There is no place for bigotry on the Enterprise, especially when one considers that the fellow who plays Sulu (the best crewman) likely was imprisoned just for his race just twenty years ago.

I enjoyed the sniping interaction between Spock and McCoy in the last episode ( "Conscience of the King"), but it was just out of place here. McCoy’s objections to battling the invading Romulan seemed contrarian for no reason other than to continue the Spock vs. McCoy theme. I know the writers are capable of writing more complexity into this relationship, and I hope they do so. Still, I'm glad that Spock and McCoy's bickering has no racial basis; sometimes family just has to argue over everything.

Quibbles aside, I enjoyed the show. I hope to see the Romulans again and to see Kirk return to form.

4 Stars


Mirror images


by Andrea Castaneda

Andrea Castaneda here, news photographer extraordinaire.

Truth be told, I don't consider myself a huge Star Trek fan. I appreciate the show, yes, but it’s not something I've specifically sought out. But with “Balance of Terror”, I can now see why Star Trek is already beloved, even groundbreaking. 

There are two things I love in a show: well established emotional stakes and sympathetic antagonists. And this episode did a great job at showcasing both.

I appreciate how the show opens with a wedding ceremony. It’s a simple one, with the couple in uniform with only a white fascinator in the bride‘s hair. Captain Kirk seems genuinely moved by the young couple’s love. It's a nice moment of calm before the storm, and it sets emotional stakes for the episode that parallel the larger, political ones.

I also liked the organic way in which Kirk explained the Neutral Zone to his crew. It feels believable that there may be many on board who don’t understand the specifics, and the show explains it succinctly enough to clue the audience in without boring them.

Then we encounter the Romulans. We learn about their military philosophy, how they descended from the Vulcanians, and how their technology is a force to be reckoned with.  We meet the commander of the Romulan ship, coiffed with a haircut reminiscent of Julius Caesar. He comes across as a shrewd man, but not a cruel one. And after learning more about the Romulan philosophy, one can understand why he thinks he’s doing the right thing.

And this is where I enjoyed the show the most.

The commander is a savvy military man, meaning Kirk must step up. Kirk shows his military prowess, observing the enemy, consulting with his crew, and anticipating the Romulans’ next move. Yet Kirk does not revel in his victories. Instead, he expresses concern for his crew, self doubt over what happens “if he’s wrong”.

Meanwhile on the Romulan ship, their commander is simultaneously impressed and frustrated by Kirk’s outmaneuvering. After gaining the upper hand, he becomes torn between his duty and his desire to go home; duty wins out and compels him to move forward.

In the end, the Enterprise’s crew prevails, and the audience celebrates with them, yet I felt for the defeated commander. Yes, he initiated the attacks on Earth’s outposts. But the way he yearned for home was relatable, inspiring sympathy.

It’s what made the final exchange between him and Captain Kirk so memorable: “You and I are of a kind. In a different reality, I could have called you friend.”

It’s a fitting end for the antagonist, though I did wish we could see more of him.

Something that wasn’t made clear was why the Romulans were attacking in the first place other than a vague national desire for military conquest. I hope we see some diplomatic fallout over this incursion in a future episode. Also, I was disappointed in the resolution of Stiles' bigotry. Spock had to risk his life to prove that he's "a good person", relieving Stiles of actually examining his own prejudices.

Nevertheless, the episode created a great sense of vulnerability and concern for the characters and the intergalactic relations in general. And thanks to the earlier wedding scene, the one death of a lesser crewmember had a much more emotional impact.

Four stars.


A First True Trekian Tragedy


by Jessica Dickinson Goodman

I think this episode was the first true tragedy in Star Trek and I deeply appreciated the depth it added to both the characters and the worlds they live in. In the episode, we see both sides of a conflict, shown through two commanders contesting their wills, driven by their cultures, their own personalities, and each holding within them their own tragic flaws. We already know one of Kirk’s major flaws, laid bare in The Enemy Within: he can be indecisive in the face of conflict. As Tam notes, the Romulan commander does not share this flaw. But he tends towards aggression, to the point of self-destruction. He seems to imply this is a cultural characteristic, in addition to a personal one:

Romulan Commander: When he attacks, we will destroy him. Our gift to the homeland, another war.

He continues critically, describing what he thinks his and his crew’s lots are:

”Obedience. Duty. Death and more death. Soon even enough for the Praetor's taste. Centurion, I find myself wishing for destruction before we can return.”

He certainly gets it.

The question rises for me, whether this episode could be a Greek or a Shakesperian tragedy. It would be interesting to contemplate the extent to which Dr McCoy is serving as Greek Chorus, commenting on the main action, speaking for the Gods who desire more peace and less death; but, to me and asking Tam’s forgiveness for bringing up the Bard again, it feels more Shakesperian. We see “two households, both alike in dignity,” fighting and hiding along a functional demilitarized zone. The Romulan Commander has Othello’s battle smarts and there is something of Prince Hal’s early relationship with Falstaff in his conversations with his Centurion. The Commander’s death – drawn out, with a monologue, intrinsically tied to his tragic flaw–feels ready-made for the wooden stage of the Globe.

But Kirk and the Romulan Commander’s tragedy is not the only one in Balance of Terror. The story begins with a wedding and ends with a funeral. We see no tragic flaw in Angela Martine or Robert Tomlinson, unless it was his obedience. To me, that makes his senseless death and her bereavement feel like a modern tragedy: one with no purpose, no pat lesson, just the reality that after death and destruction, we need to get up and keep going. Angela’s expression as she gives the last line of the episode, telling Kirk “I’m all right,” reminded me of the expressions of thousands of widows of the soldiers, airmen, marines, and sailors killed in Vietnam this year on all sides.

Five stars.