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Science Fiction/Fantasy, TV

[June 12, 1969] Heavy on the Bitters (Star Trek: Turnabout Intruder)

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by Janice L. Newman

The mood was bittersweet as we gathered to watch the final episode of Star Trek. It also held a hint of trepidation: would we get another instant classic, like All Our Yesterdays, or another disappointment, like the string of episodes before it?

As it turned out, the final episode of Star Trek, probably the last new one that will ever be aired, was compelling, well-acted, well-paced, well-directed…and disappointing for an entirely different reason.

The episode opens with Kirk encountering a former lover, a woman by the name of Janice Lester (not to be confused with Janice Rand, his former yeoman). Lester is ill, having received a dose of unknown radiation, and Kirk stays at her bedside to discuss their shared past, which was rife with emotional upheaval. Then Lester utters a sentence that gave every one of the watchers pause: “Your world of starship captains doesn't admit women. It isn't fair.”

This, on the face of it, makes no sense. I will discuss why later in this piece.

Kirk agrees with her that, “No, it isn’t.” When he turns away from Lester for a moment, she sits up and remotely triggers an alien machine which causes their “souls” to be switched. Kirk’s mind is now in Lester’s body, and vice-versa.

The plot that then unfolds is simple: Kirk must try to convince his crew that he is himself, despite being in Lester’s body, while Lester must convince them that “Janice Lester” is dangerously insane and that she is Captain Kirk. Lester is hampered by the fact that she is emotionally unstable, to put it mildly, and clearly unfit to be a starship captain. Spock uses Vulcan telepathy early on and believes Kirk, and the rest of the crew slowly come to support him as well, despite no medical tests showing anything off about Kirk (this is another implausible point—surely brain scans, psychological tests, or gauges of emotional stability should have shown that something was different.)

I have to give both Shatner and Sandra Smith, who played Janice Lester, credit here. Shatner does a good job playing someone not himself, particularly with body language (small touches like primly sitting with his knees together in the captain’s chair, for example). Smith also does an excellent Kirk impression. It's clear she studied his mannerisms before the role, and the tight, narrow-eyed, watchful look she has throughout definitely evokes him.

Eventually, apparently with the help of Spock’s telepathy, Kirk is able to force a reverse mind-transfer. Lester breaks down, and Kirk ends the episode with a mournful, “Her life could have been as rich as any woman's, if only. If only.”

There are a couple of ways to interpret this story. You could, as we tried to do, simply say that Lester sees sexism where it none exists, blaming an outdated concept for why she couldn’t get promoted rather than her own mental and emotional instability. Unfortunately, this is undercut by Kirk’s agreeing with her statement that, “It’s not fair,” and Kirk’s own final words that her life could have been as rich as “any woman’s”.

On the other hand, taking it at face value seems wildly counter both to previous episodes and to current (present-day) trends. “Number One” from The Menagerie was a woman, and even acting captain of the Enterprise back in Pike’s day, years before Kirk was put in charge. Perhaps there hasn’t been a female starship captain yet (there are only 13 Enterprise-class ships, per Tomorrow is Yesterday) but you don’t make someone First Officer if there’s no avenue for them to eventually become a captain. And in “our world”, two world leaders are women: Golda Meir became the Prime Minister of Israel just two months ago, while Indira Gandhi has been Prime Minister of India since 1966! In every other way, the “Federation” has been shown to be an organization freer of prejudice than our own time. Race hatred is a thing of the past, so much so that the very idea causes revulsion in Day of the Dove and helps Kirk realize that they are being controlled. Yet we are to believe that this same future somehow bars women from holding certain positions of power?

Perhaps…yes. The ugly truth is, no matter how we spin it, those lines on the face of them say to female viewers, “Stay in your role. You are allowed to do certain things, but not everything a man can do. To want more is madness.” This, from a show that made so many women into science fiction fans, and for which female fans have fought so hard and created so much support, is doubly insulting.

In summing up, I can’t put it better than a friend who goes by Greenygal, who has had thoughtful and interesting commentary on a previous episode as well:

Do I prefer to think that all the dialogue of women's limitations and hating womanhood and "as rich as any woman's if only" is just about Janice Lester's own issues and not institutional and societal sexism in the Star Trek universe? Sure, of course. Are those lines perfectly innocent? No. Do they hurt? Yes.

Bittersweet indeed. Four stars, despite the script, because the production and acting were just that good.

Despite Itself

by Lorelei Marcus

While it's true that the episode sets out to send an egregious message about female incompetence in the realm of leadership, I think the result is quite the opposite. In the world of literature there is an emphasis on showing rather than telling the audience any information that needs to be conveyed. Not only is presenting a concept visually rather than verbally more engaging and complex, but also more impactful because of our dependence on sight as our number one sense of reality. We may not believe everything we hear, but we almost always believe what we see. Perhaps that is why I was so moved to see a woman unquestionably in the captain's role, with no epithets to belittle her importance.

The person on screen may be the soul of a man trapped inside a woman's body, but what we hear and see is a woman's voice and a woman's face speaking with the same determined spirit of Captain Kirk, receiving the same respect from the male first officers as any leader of the Enterprise. She is not a "beautiful" Captain, or an "ice cold" Captain, or even a "woman" Captain. She is simply, The Captain, a person with a role beyond her appearance.

Before this episode I had not realized the extent of the limited portrayals of women in television. I had heard the first season of The Avengers was remarkable because the co-star role had been written for a man, but ended up being cast as a woman, and the characterizations were excellent because of it. I never saw this first season for myself though, and when I tuned in later several seasons in, it was to a new female co-star relegated only to being the seductress, beauty, and potential romantic interest for the lead.

Nearly everywhere, women characters are written differently than men, and severely restricted in the roles they can play in a story. Even in the lauded Is There in Truth No Beauty?, the female guest star is primarily interacted with on the basis of her beauty and her ultimate destiny is to fall in love, despite her being a talented ambassador and telepath. Female characters, no matter how intelligent, or complex, or interesting, will always be confined by the expectations of the characters around them and the audience. The first thing noticed about them will always be appearance, and unless they're meant to be the villain, they will always end up in some sort of romantic scenario, because that is the way it is. But Turnabout Intruder made me realize that it's not the way it has to be.

No one calls Janice's body “beautiful”. No one tries to court her. Once the first officers understand her authority, they never question her intent or her orders. And thanks to brilliant acting and slow pacing, there were moments when I forgot that she was meant to be Kirk at all, and simply believed a woman was the Captain of the Enterprise. In much the same way that seeing Uhura on the bridge for the first time was world changing, seeing Janice sit confidently in the captain's chair, or at least the witness chair, which is much like it, was inspiring. She is a symbol that makes me believe that even I could become a starship captain someday.

I can only hope that this is one of many examples to come. Television is a reflection of our larger society. If women of the silver screen can break free from the bonds of limited expectation, then so can those of society. For the positive role model, and a good viewing experience, I give the episode four stars.

Painfully Familiar

by Jessica Dickinson Goodman

"Your world of starship captains does not admit women."

That one line hit like a phaser to the back. It was just one of the many times I had a strong, visceral reaction to lines and moments in this episode, vacillating wildly between recognition and revulsion.

It is a hard thing, to hear true words spoken by a villain. Dr. Lester has to be a villain, because she hurts Kirk, and then gloats about it. She killed her team, has never moved past her and Kirk's young connection at Starfleet Academy, and declares that she never loved him but instead loved "the life he led," his "power."

This poisons the powerful truth telling of her words.

Watching Dr. Lester-in-Kirk’s body back up when the officer in orange is menacing her-in-his-body, was so recognizable, so clear an experience known to many of the women and perhaps fewer of the men watching. Likewise, when Dr. Lester-in-Kirk stands over the young communications officer and hollers at her, that too, is painfully recognizable. That she-as-he treats Spock with the same overbearing arrogance is just another reminder how tenuous a protection gender is to anyone deviating even a blue eye shadow’s swipe away from the straight and narrow.

After that dominance-driven performance on the bridge, with all its uncomfortable complexity, we are back to the same sexist clichés that too many people explicitly and implicitly trot out to force women out of so many leadership roles: "hysteria" and "emotional instability" and "erratic mental attitudes." This too is a danger of science fiction, taking cruel characterizations that rarely if ever entirely encompass a real, living human being, but on screen can flow out to fill the edges of a full character, leaving no complex internality to explore or expose.

These characterizations perfectly match what we see on screen, and what we see other women believe about Dr. Lester on screen. I was particularly disappointed by Nurse Chapel's easy agreement that the woman in front of her was insane, with no one but a strange man's say-so. Chain of command means passing little to this crew when it suits the plot, but in this instance it turns Nurse Chapel into a tool as if she has no other purpose or will but to obey.

Setting aside the male chauvinism that made my skin crawl and neck itch throughout the entire episode, if we treat Dr. Lester as a whole person, desperate for a chance to engage in leadership, it is fascinating to see what an incredibly bright woman, kept outside of the power structures that she still chooses to serve, sees as the motions and emotions of power. Though Bones's recitation of Dr. Lester-in-Kirk's body's mental changes is one correct summary, there are other aspects to highlight.

Dr. Lester-in-Kirk thinks that leaders—or perhaps just Captain James T. Kirk—has power by virtue of his title and rank, his smirking glad-handing relationships with his staff, his willingness to bully and raise his voice, his knowledge of and position within the legal and hierarchical systems of Starfleet, and when in a moment of extreme danger to Dr. Lester-in-Kirk's masquerade, his willingness to use violence. Yes, Bones was horrified to see Dr. Lester-in-Kirk hit Kirk-in-Lester. And yes, and Spock brought it up chidingly later. But one slapped Dr. Lester-in-Kirk in irons, threw him in solitary, or drugged him with sedatives because he'd laid hands on a nearly-naked, nearly-dying ill colleague (I would have wished for the actor's sake that the director would have tried for one more take of that scene, perhaps one where her half her bottom wasn't visible when she was lifted by the crew).

This vision of brute-force leadership is both cruel and perhaps one most of us have seen in our own lives or that of our country.

But then I swing back to recognition during the interrogation by Spock and the trial, not from the actions of Dr. Lester or Captain Kirk, but by Spock. Spock's argument and method of discovery are both deeply, traditionally feminine: in a system designed by human men, his forms of evidence are not accepted, the reality of his perceptions are not honored as evidence in their systems of justice, and his entire position is mocked and undermined, from the smirking guards to the giggle of the young communications officer we saw Captain Kirk dominate over earlier.

And yet, in the best of feminine traditions, Commander Spock persists. He insists on hearing Kirk-in-Dr. Lester. He believes his own mind, his own way of knowing things, is valuable, and while he is disappointed not to have it confirmed by the methods and sources acceptable to Starfleet tribunals, he does not waver and does not drift from his convictions.

"Her intense hatred of her own womanhood," is Captain Kirk-in-Dr. Lester's summary of why he dumped her. And that is one way of viewing her. But a fuller version of her, one made less glassy and plastic by the world of our own viewers, has the potential to be more Beatrice than Cruella de Vil.

Beatrice cries out in Act IV, Scene I of Much Ado About Nothing, after the young rake Claudio has ruined the life of Beatrice's even younger cousin Hero:

Beatrice: You dare easier be friends with me than fight with mine enemy.

Benedick: Is Claudio thine enemy?

Beatrice: Is he not approved in the height a villain, that
hath slandered, scorned, dishonoured my kinswoman? O
that I were a man! What, bear her in hand until they
come to take hands; and then, with public
accusation, uncovered slander, unmitigated rancour,
—O God, that I were a man! I would eat his heart
in the market-place.

That fantasy of Beatrice's is so much more violent and explicit than anything Dr. Lester-in-Kirk ever says, ever does: eat his heart in the marketplace.

Wow.

While Dr. Lester first simply aims to have Kirk warehoused on a strange planet, a cruel and earthbound life for a starship captain that provides some deep irony, it is not as explicitly violent as it could have been.

It is nearly as cruel as having her colleague take ownership over Dr. Lester when she finally loses, her body and life given to him because he promised to "take care of her."

That was a final, deeply disturbing moment in an episode that gave me such a strong and impenetrable mix of feelings, I found myself wishing for a Vulcan mind-meld to sort them all out with me.

I was however heartened by the final lines. "Her life could have been as rich as any woman's, if only … if only."

One read is, "’if only’ she had surrendered earlier in her life to a gender role of vastly limited scope and ambition." But it just as likely could have been, "’if only’ she had lived in a more enlightened time, when her leadership yearnings were treated with respect, honed, corrected, and empowered so she could become the powerful, effective starship captain she so clearly wanted to become."

Three stars.

Love and Ambition


by Joe Reid

If the woman I loved were so jealous of her ex-boyfriend that she pretended to be him to take everything he had accomplished, could I still love her? My answer is a resounding NO! However, in this week’s episode of Star Trek, titled “The Turnabout Intruder,” we meet a man who would answer yes: Dr. Arthur Coleman. I have rarely seen anyone, woman or man, as committed as Dr. Coleman was to Dr. Janice Lester.

We meet both doctors on the planet Camus II. The Enterprise arrives in response to a distress call from the planet. There, we find an infirmed Dr. Lester under the care of Dr. Coleman, the last two surviving members of a research party. Kirk recognizes his former girlfriend and speaks kindly of her. Then, as signs of life appear elsewhere, the crew and Dr. Coleman leave to assist, hoping to find another survivor. Kirk is left alone with Dr. Lester. In the ensuing silence, Lester springs her trap, using an alien machine to swap bodies with Kirk. Lester now inhabits the healthy body of Captain Kirk, while Kirk lies struggling, trapped in Lester’s weakened body. What follows is a secretive cat and mouse game as Lester, in Kirk’s body, tries to eliminate the man trapped in hers, all while avoiding the suspicious gazes of the Enterprise crew and later matching wits against a fully recovered Kirk in female form. Through it all, Dr. Lester could fully rely on Dr. Coleman, who would do almost anything for her.

In this episode, Coleman proved his incredible loyalty to Lester. As someone who had not fared well in his career, Coleman and Lester appear to be kindred spirits, with her feeling held back herself due to her sex. Lester apparently concocted her plan upon discovering the alien mind transfer machine that lured Kirk, her former mate and the man who had achieved all the accolades she felt she deserved, to Camus II. In carrying out this scheme, Lester eliminated the other members of the research party. Through it all, Coleman stood by her side. He himself refused to kill anyone, allowing Lester to pursue her intent. Even when Lester, in Kirk’s body, gave Coleman senior medical authority on the Enterprise and asked him to murder the new Janice Lester. Bloodying his own hands was the only line he would not cross for her. Coleman’s devotion to Lester proved to be heartfelt. At the climax of the episode, the mind switch was reversed. Kirk and Lester being once again in their own bodies, left Lester insane with grief and devastated. It was here where Coleman professed his love for Lester and vowed to care for her going forward.

Coleman’s love for Lester was unquestionable, his loyalty steadfast. This raised the question in my mind of what Coleman would have done had Lester remained a man. Would his love for Lester find expression if she were in a man’s body? Perhaps he hadn’t thought things through, or perhaps it wouldn’t have been an issue for them. We saw, during one of their private moments, how Lester related to Coleman in a feminine manner as she touched his shoulder, attempting to coerce him into killing for her.

In the end, Coleman got exactly what he wanted. He was given permission to love and care for the woman he would go to almost any length for. Arthur Coleman proved more valuable to Lester than all she had hoped to gain in Kirk’s skin. Although her ambition for power failed her his love didn’t.

Overall, “Turnabout Intruder” was very well acted, with heavily nuanced performances by Mr. Shatner and Ms. Smith. Kirk delivered subtle femininity, softness, and female exacerbation convincingly. Lester grew more stoic and strategic as the story reached its climax. For its complex character dynamics and fine acting I’m willing to say this is among the better episodes of Star Trek.

Four stars

The End?

by Trini Stewart

After finishing "Turnabout Intruder", I’m inclined to reflect on Star Trek as a whole. I can’t help but acknowledge that my expectations for the episode are largely influenced by the loss of the beloved series. My first instinct is to be let down by the episode as a finale, since I hold the series so dear and the final episode had a fairly weak delivery as far as the intended message goes. What we got was an antagonist who, despite her compelling acting, I didn’t quite resonate with, even as a woman who regularly faces systematic sexism in a male-dominated work environment. While I found that Dr. Janice Lester’s challenges are inherently relatable and frustrating, her excessively drastic, vengeful means of getting her way made it more difficult to connect with her or understand her exact desires.

Nevertheless, instances of imperfect composition from Star Trek have never been enough for me to write off an episode or feel this kind of complete malaise about one as a result. There were enough ingredients for an enjoyable Trek episode in this one; there was convincing character work from everyone on the Enterprise, good teamwork from the close-knit crew to determine what was best for the well-being of the ship, plenty of Spock being the competent knock-out he ought to be, and an ending that avoids a high-stakes threat for a crew member. Regardless of whether I could relate to her, I was still intrigued by the consequences of Dr. Lester's futuristic and unconventional solution to systemic sexism, and I was curious about what exactly prevents women from being in leadership positions like being a starship Captain in the future.

Maybe what was more disappointing to me than the actual content was that there was a lot of lost hope for something more profound: a grand episode that needn't be perfect or anything, but at least answered some long-standing questions or gave hints of where the crew would be after we could no longer join them. There’s so much in this universe left to discover and explore, and many more discussions to be had with other fans. Not only that, but there is plenty of content I have yet to see from seasons one and two—I realize that my experience of the series is incomplete in more ways than one, and feeling robbed by the series’ cancellation doesn’t help.

Like thousands (millions?) of others, I fell in love with this show for its characters, its sense of adventure in uncharted territory, and the community that has grown around it, and I am simply not ready for all of that magic to end. "Turnabout Intruder" turned out to be a good episode overall, and a decent one to end the series on, all things considered. I’ll be looking forward to the reruns and continuing to celebrate Star Trek with so many others who treasure it, too.

3.5 stars.

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Science Fiction/Fantasy, TV

[January 2, 1969] Blood, Sweat, and Tears (Star Trek: "Elaan of Troyius")

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by Janice L. Newman

On December 23rd, 1968, exactly eleven months after they were captured by North Korea, the crew of the USS Pueblo was finally released, and the world breathed a collective sigh of relief. The USA would not be starting World War III over the incident, and our boys, though they’ve been starved and tortured, are coming home alive for Christmas.

It is thus appropriate that this week’s Star Trek episode revolved around choosing peace instead of war.


Bill Theiss, you've done it again!

In the episode opener, we learn that the Enterprise has been sent to support Petri, Ambassador of Troyius, in his mission to “train” the Dohlman of Elas to be a suitable wife for the Troyian leader. The Dohlman turns out to be a beautiful woman played by France Nuyen, made up to look like Cleopatra in a bathing suit. Her name is Elaan, and she is imperious and demanding, while Petri is servile but contemptuous. They are intractable in their dislike of each other. Kirk quickly becomes exasperated with both of them, telling Petri, “Stop trying to kill each other. Then worry about being friendly.”


"And maybe try wearing a bikini…"

In the meantime, the Enterprise is being followed by a “ghost” ship, which eventually materializes and proves to be a Klingon warship. This is a nice callback to Balance of Terror, where the Enterprise played the part of the “ghost ship”, and the recent Enterprise Incident, where we learned that the Klingons now have cloaking technology.


"Follow that starship!"

No sooner does the ship reveal itself than Kirk is called away from the bridge again. Elaan has stabbed Petri, who declares that he will have nothing more to do with her.  He also explains to Nurse Chapel that the mysterious “allure” of Elasian women is merely biochemical: “A man whose flesh is once touched by the tears of a woman of Elas has his heart enslaved forever.”

Back in Elaan’s quarters, Kirk is fed up and declares that he will be Elaan’s new teacher. He tells her she is, “an uncivilized savage, a vicious child in a woman's body, an arrogant monster!”


"I said, 'Gimme five'—you've got to learn modern courtesy."

I must admit, my sympathies were thoroughly with Elaan. Despite her imperious attitude in the beginning, it becomes increasingly clear that she has no choice in the political marriage and no desire to be married. At one point she says, “I will not go to Troyius, I will not be mated to a Troyian, and I will not be humiliated, and I will not be given to a green pig as a bribe to stop a war!” And yet, the Enterprise continues on its way to Troyius, regardless of her behavior, her orders, or her protests. It seems she has no true power, but is merely a pawn to be traded, and probably one the Elasians don’t actually care much about.

In fact, I had to wonder if the Elasians didn’t want peace at all, but sent their “Dohlman” to be married as a sop to the Federation. That way they could say they’d tried, and if the Troyians couldn’t handle the Dohlman, well that just proved that peace wasn’t possible between them.

This also nicely sets up the question of why the Federation cares so much about stopping the war between these two planets, to the point of bringing diplomatic pressure and sending one of their best starships to ensure that the wedding and negotiations go well. Scotty blatantly asks the same question in the episode opener, leaving it to rest in the back of our minds as we watch.

The next day, Kryton, one of the Elasian guards, sneaks into Engineering and sabotages the Enterprise. Kirk forces his way into Elaan’s quarters and again begins trying to “teach” her, which mostly consists of wrestling with her and threatening to spank her. She starts to weep, and he wipes away her tears. The effect is immediate, with Kirk’s ire evaporating and transforming into passion.


"Say, you didn't just hear a kind of snake rattle sound, did you?"

Kryton is caught, and kills himself rather than allow himself to be subjected to a Vulcan mind meld. Kirk orders Scotty to figure out what Kryton did, then returns to Elaan’s quarters. Elaan tries to convince Kirk to work with the Klingons, but he tells her there are more important things than love: “Elaan, two planets, an entire star system's stability depends on it. We have a duty to forget what happened.”

At this point, those of us who have been watching Star Trek since the beginning already know what’s going to happen: Kirk will always choose the Enterprise over everything else. And indeed, when Spock and McCoy come to roust the captain out of Elaan’s quarters, all it takes for him to leave Elaan behind is to hear that the Klingon ship has changed course and is approaching at warp speed.


"Don't mind me.  I always walk this stiffly when my friends are watching…"

Once Kirk gets to the bridge, we’re treated to one of the best combat sequences we’ve seen yet on Star Trek. Kryton’s sabotage, Kirk learns at the last possible moment, was rigging the matter-antimatter unit to blow if the ship went into warp. The Klingon ship therefore starts by trying to bait the Enterprise into going into warp, and that doesn’t work, just firing on them.

The captain sends Elaan to Sickbay because it’s the safest part of the ship. Petri speaks to her there, finally treating her with a modicum of graciousness and respect, and asks her to wear the necklace gifted her by the Troyians, “as a token of respect for the desperate wishes of your people and mine for peace”. She seems genuinely affected by the words and gesture, perhaps realizing that Kirk will truly never sacrifice duty for love.


"Please put these on.  The Emperor paid retail."

Back on the bridge, the crew struggles to keep the Klingon ship’s hits to its best shield (Kirk doing a bit of back seat driving as he leans over Sulu and gives him his orders). An impulse-power driven ship is no match for warp, though, and all seems lost.

Elaan appears on the bridge, wearing the Troyian wedding dress and necklace. Spock immediately notes that there are strange readings coming from the necklace. It turns out that the stones, which Elaan says are “common”, are dilithium crystals! (No wonder the Federation and the Klingons are both so interested in this system!) She gives them to the Captain, who has Spock hurry them down to Engineering, where he and Scotty start installing them. Kirk does his best to stall, but the Klingons are unwilling to discuss terms (I imagine that after “The Enterprise Incident” and The Deadly Years, the Klingons have been instructed not to listen to anything the Federation says—or at least nothing that Kirk says.)


This fellow is no Michael Ansara.  He's not even a William Campbell…

The crystals are ready in the nick of time. A photon torpedo at close range leaves the Klingon ship damaged and limping. The Enterprise leaves it behind to fulfill its original mission.


Pow!  Right in the kisser.

Kirk says farewell to Elaan, who asks him not to forget her. He tells her he has no choice. Nor does she, she replies, only duty and responsibility. It’s clear that she’s come to accept her role, though whether it’s because she realized that her last desperate play to manipulate the captain failed or because her near-death experience made her decide that peace was more important than her personal feelings, we do not know. It is also worth noting that while she goes on to marry into a culture she despises and where she will likely be surrounded by people who hate, fear, and ridicule her (if Petri’s behavior is any indication), Kirk will simply continue doing what he loves. Her choice of “duty” over all else is thus, in my estimation, a far more difficult and admirable one.


"Oh, this knife?  I was just going to pare my nails.  Not kill the Emperor or anything like that, why do you ask?"

McCoy, unsurprisingly (given his track record) discovers an antidote to the Elasian tears. Spock tells him the captain has no need of it, as he’s already found his antidote: the Enterprise.

There were many things to love in this episode, and many things that frustrated me. The “Taming of the Shrew” sequences early on were grating, but the combat was excellent, and to the scriptwriter’s credit, the story did not end with Elaan being “tamed”. In the end, she makes a choice to accept her fate, but she does so with dignity.

The things I liked and didn’t like balanced out pretty well, leaving this a three star episode for me.


by Gideon Marcus

The Sum of its Parts

What I found so gratifying about "Elaan of Troyius" was its continuity with the Trek history we've encountered thus far.  Once again, as in "Journey to Babel", the Enterprise is host to a diplomatic mission (though how the ship could house several dozen delegates to the Babel Conference, but Uhura had to give up her room for Elaan, is never explained).  Once again, Kirk shows irritation at having to play nursemaid to a bunch of civilians.  I would find his flip treatment of Elaan demeaning, but it's no worse than he displays to Commissioner Ferris or Commissioner Fox.

I particularly loved the galactopolitical situation depicted in the episode.  Here we have a fairly new Federation system with two hostile planets, abundant with dilithium crystals, perched right at the edge of the Klingon Empire.  What a fraught situation Kirk must navigate!

At first, it was difficult for me to glean the plot behind the plot, but by the end of the episode, the setup was pretty clear.  The Federation, upon learning of the rich deposits on Elaas (and Troyius?) placed a clamp on all dispatches coming out of the system.  Not good enough, though, as the Klingons clearly want the worlds badly, too.  The Feds then explained to the two worlds in the system that they must work things out.  Elaas grudgingly agrees—and then effects two simultaneous plans to queer the deal.

The first is Kryton's sabotage.  By handing the Enterprise over to the Klingons, they get in their good graces (if, indeed, the Klingons have good graces).  Obviously, the savage Klingons are a better fit for for the militaristic Elaasians anyway.


"Of course I want to be a Klingon—you think I want to keep wearing this outfit?"

The second is Elaan.  She clearly doesn't want to be there.  Indeed, she does everything she can to get out of it, despite orders from the Elaasian council.  Elaan goes so far as to try to murder the Troyian ambassador and seduce the captain of the Enterprise.  And yet, that scheme fails when Elaan takes a page from Kirk's book, and indeed the example of the whole crew, that duty and the preservation of life trumps all else.  It's a quick, undershown change, but it's there, and I appreciated it.

The episode reminds me a bit of the parable of the peasant woman who shelters a starving prince.  The royal promises to give a gold coin for every fat bubble in the soup she serves.  Greedily, she dumps a huge pat of butter in the soup, which results in one big bubble rather than a myriad of little ones.  Similarly, if the Elaasians had stuck to just one plan, they might have succeeded.  Instead, they double hedged and lost all.

And was the Klingon commander operating with Imperial sanction?  Or was he a rogue skipper with notions of glory?  After all, taking on a starship seems pretty bold given the ever-watchful Organians.

It's not a perfect episode, but it's certainly an engaging one, and I always enjoy seeing Mrs. Robert Culp on the small screen.  Plus, her appearance alongside Shatner is something of a reunion—they starred together in the Broadway version of The World of Suzie Wong.  Plus, I dug both the Klingon ship (which we saw a bit of in "The Enterprise Incident" and "Day of the Dove") and the score for the episode.

Four stars.

Twixt Scylla and Charybdis


by Trini Stewart

The beginning of this week's episode did not seem promising to start, mostly because of the guest characters' first impressions on me. Petri the ambassador seemed childish and reckless in his peacemaking, and Elaan was almost comically uncooperative for royalty sent as a hospitable offering. Looking back, Elaan was possibly playing to her strengths to some end with her antagonistic reactions, and her development with Kirk ultimately became a gripping trial for our captain.

Kirk was the shining star of this episode, which is not something I feel about him often. He was impressively quick-witted against biochemical and psychological manipulation, which really sold his captain qualities for me more than his usual speeches or fights. The way Kirk kept his priorities in check while thinking on his feet reminded me of how Spock left me feeling in "The Tholian Web" when he held the ship together without Kirk. In the short time I have known Kirk, he has struck me as the type to always know what to say and fight when there is no other choice. Kirk managed to unravel the layers of the princess's antics even with serious disadvantages, revealing what his problem solving is like when he is out of sorts. Tension was well-built in this episode on several levels, and the challenges Kirk faced were arguably more dynamic and interesting than Spock's in "The Tholian Web".


"What's a case of tight trousers when the Enterprise is at stake?"

Kirk transitioned from acting as a respectful host to a firm authority with Elaan, and his initial responses to her rude behavior were tastefully poised. Once Elaan had seduced Kirk, he still managed to expertly dismantle the Elaisians’ schemes without falling for the Dohlman or her subordinates’ clever tricks. Shatner did a great job conveying how difficult it was for Kirk to maintain his composure, so it was riveting to see just how he would escape the Klingons, prepare the guileful Elaan for her marriage, and get the Enterprise back in ship shape under that level of duress. His allegiance to the Enterprise evidently sobered Kirk; his articulate maneuvering reflected his symbiotic relationship with the ship and her crew. In the end, even Elaan was humbled by our captain, finally submitting to the responsibilities her title bore. I was quite pleasantly surprised by Kirk this week, and the adversities threatening the crew were positively captivating. 4 stars!

Be Our Guest, Do As You Please


by Joe Reid

“Elaan of Troyius” was this week’s episode of Star Trek.  “Taming of the Shrew” storyline aside, there is one thing that the writers of Star Trek keep doing to twist my britches, and this episode was another example of it.  The Enterprise, powerful symbol of human achievement, has the laziest security imaginable.  Episode after episode, people that wish to do harm to the ship and its crew need only to walk into what should be the most secure areas of a ship to do as they please practically unchallenged.  Areas that on large ships, not all members of the crew are even allowed to enter.  So, let’s delve into some of areas of a ship that guests should not enter.

Let’s begin with the command center of the ship.  The bridge.  The seat of command, where the captain steers the destiny of a ship to complete its missions.  Obviously, a perfect place for a teenage princess to casually enter whenever she chooses.  Elaan pierced the bridge and interrupted the ship’s captain, while he was in the middle of a combat situation.  Good on the writers for making the captain, thanks to Spock’s urging, send her away from the bridge, only to have her show up on the bridge again after a change of clothes.  For an area holding some of the most senior members of the crew, it seems unusual that it wasn’t better protected.  Past episodes showcased singing children, enemy androids, and furry tribbles having free access to the brain trust of the Enterprise.  I anticipate that 15% of Kirk’s problems could be solved by securing access to the bridge to “Bridge Crew Only”.

The next ludicrous pattern that we witnessed in this episode was the open and unguarded access that guests on the Enterprise had to Engineering, the area of the ship that provides all the power, without which the Enterprise couldn’t move, fight, or support human life.  Why did Elaan’s former suitor have a free ticket to stroll into this most vital part of the ship and sabotage systems?  Again, good on the writers for allowing him to be discovered, be it many minutes later, only to allow the discoverer to be summarily executed for his weak efforts to question someone he'd found messing with the thing that keeps the ship alive.  If only this random trespass in Engineering were rare.  Previous episodes sported children again, along with genetically advanced conquerors, self-aware talking space probes, and Klingons traipsing merrily into the bowels of Engineering. 

Where before I said that 15% of Kirk’s problems could be solved by securing the Bridge, 99% of problems could go away if Engineering had a couple guards working shifts to protect the very heart of this starship. 


If only Kevin Riley were on duty, none of this would have happened.  So long as he's sober…

Historically there have been some areas of the ship that have been kept secure week after week.  Areas that no one can casually walk into without permission (unless you are a floating cloud of space gas that is). Those would be crew quarters.  Even in this week’s episode, crew quarters were better guarded, and their doors are better respected, than what should have been the most sensitive areas of the ship.  Not even Spock and McCoy could casually walk into the room where the captain was passionately kissing Elaan. 

Perhaps future episodes will take the security of the most critical parts of the ship more seriously.  That, or have the crew consider moving the engines and bridge staff to crew quarters, where doors are respected.

For continuing to overlook this easily solvable problem, I offer only 2 stars for “Elaan of Troyius”.  Ignoring the fact that the episode did display some interesting makeup and costumes, and featured a few well-acted scenes, the continued stupidity of the security of the ship is as untenable as its “secure” areas.

Two stars

[Come join us tomorrow night (January 3rd) for the next thrilling episode of Star Trek!  KGJ is broadcasting the show live with commercials and accompanied by trekzine readings at 8pm Eastern and Pacific.  You won't want to miss it…]




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Science Fiction/Fantasy, TV

[December 20, 1968] A failure to communicate (Star Trek: "The Empath")

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by Trini Stewart

This week's episode, “The Empath”, gave Star Trek fans some wonderful interactions from our crew on a rescue mission, but also had them running on a vaguely-guided track throughout the episode.

At the start, the Enterprise is tasked with evacuating a research station before the star it was studying goes nova, but when Kirk, Spock and McCoy arrive at the station, there is no one left to rescue. An enormous solar flare threatens the Enterprise during the search, so the ship leaves to safety just before a record tape reveals where the former inhabitants went. Kirk, Spock, and McCoy watch as the station researchers suddenly disappear while a strange noise shrills on tape, and the three distressed crew members are almost immediately teleported away by the same noise.


Where Kirk was…a very effective effect!

They find themselves in a dark area with a mysteriously mute woman, whom they nickname Gem. While the crew attempts to ask Gem about how they got there, two large-headed figures, the Vians, bluntly introduce themselves and refuse to tell Kirk what is going on. The crew is easily overpowered, the Vians collect data from Gem, and they vanish with the crew’s weapons. A small cut on Kirk’s head is suddenly healed when he checks on Gem, and McCoy realizes that Gem communicates through her highly responsive nervous system; all of Kirk’s feelings and ailments can become hers from just a touch.


The healing power of interpretive dance

Spock then locates a sophisticated lab, where they discover the Vians preparing large perspex tubes for the crew members, and the missing inhabitants of the station dead in tubes of their own. The three officers learn that they are meant to be subjected to deadly tests for reasons unknown, and they flee with Gem through a cave mouth. The Vians trick the escapees with a mirage of a search party to test their wills, and capture Kirk once they observe the crew’s perseverance. Kirk sacrifices himself by insisting he be the one specimen the Vians want for their cruel torture, after which Gem reluctantly heals his potentially deadly wounds at McCoy’s behest.


Shatner is devastated that he's not in the spotlight…

While Spock works out how to attune the Vians’ instrument to allow their escape, the aliens come back to reveal that they plan to gravely injure either Spock or McCoy next, and that the trio must choose the victim when they return. This leads to one of the most endearing displays of the crew’s dynamic I have seen in the show: both officers insist they be the test subject without hesitation, and antics ensue. The two begin to argue that the other is more valuable to leave with the captain, but Kirk insists he will be the one to decide, only to be rendered unconscious by McCoy’s treatment. Spock then notes his approval of the treatment, as it relieved Kirk of a rough decision and put Spock in charge as second-in-command. McCoy punctuates that sentiment by ambush-sedating Spock, saving the critical Vulcan the only way he could. Gem sheds a single tear as McCoy is taken away, since she has now emotionally connected with both Kirk and Spock and feels the depth of their affinity for him.


A single tear—Gem's race has not had time to be acquainted with clichés

The two remaining officers eventually awaken and begin to configure the Vians’ device, acknowledging that the aliens likely wanted them to escape and leave McCoy behind. Instead, Spock transports Gem and them to the lab, where McCoy is found with multiple fatal injuries, and he tries to make light for everyone’s sake. The two realize their only hope for McCoy is for Gem to help him despite the risk, and the Vians restrict them in their force field to prevent their interference. The aliens begin to explain that they must see how Gem reacts on her own, because she is being judged of her worth on behalf of her whole species; Gem’s choice to save McCoy would determine whether the Vians use their limited resources to save Gem’s species. Spock and Kirk escape the force field, and Kirk indicates that the Vians do not know the value of the compassion they claim to idolize. The aliens, humbled all too quickly, mend McCoy and whisk Gem away with a short farewell. The episode ends with the crew appreciating Gem as an entity, and Spock delivering a fun riposte to Scotty in response to his joke at the Vulcan's expense.


"There.  All better.  No hard feelings?"

The episode did a great job at highlighting the main characters, but left the intentions of the new ones blurry in execution. It is unclear why the Vians specifically found compassion to be the only trait worth preserving, especially when they didn’t practice it. It is generally accepted that self sacrifice is the ultimate show of love, but the weight that carries as a theme is undermined by how dubious the whole experiment is.

The crew’s interactions give a good taste of what the impact should have been, but the incomplete understanding of the threat ultimately caused the intense stakes built up for the captives to fall flat. Moreover, the Vians were presented as an overwhelming force, yet they hardly understood why they were conducting experiments, to the extent that insults from Kirk immediately caused them to question their motives. Not to mention that they conveniently and inexplicably had the means to save one of the races in the solar system. The crew’s roles in this episode outshone the disappointing parts, so I still consider this a good episode as far as enjoyment goes.

3.5 stars.

Amateur work


by Gideon Marcus

Joyce Muskat's name is probably new to you.  It wasn't to me—she's a N3FFer (member of the National Fantasy Fan Federation.  Also, a few months ago, her name was mentioned in one of the Trekzines.  I can't remember which one it was, but the author was pleased that her fan friend, Joyce Muskat, had sold a script to Trek on the slush pile.  This was remarkable since Trek officially doesn't take unsolicited manuscripts.  So, good for her.  I love that Trek has opened the door to new talent, particularly women.

I'd really like to know if the inconsistencies in the episode were the result of a spotty understanding of the material or revisions after submission.  I suspect the latter.  No true fan (he said hopefully) would write the Federation as inhuman monsters who would let the sundry races of Minar die when the sun went nova.  No sf aficionado would make the boner mistake of having a planet's atmosphere protect the surface from cosmic rays, but not the Enterprise's shields, not to mention having cosmic rays cause earthquakes.

It's never even made clear whether or not Gem (Jem?) comes from a race of empaths or if she was unique among them.  The latter seems more likely; I find it hard to believe that a race of empaths could fail to feel compassion.  I could see telepaths walling themselves off to avoid a confusion of the psyches ("where do I stop and you begin?") but given that Gem cannot verbally communicate at all, an empathic race would have to rely on its mental powers to relate.  And as Heinlein pointed out, no beings have more compassion than those who "grok" each other.

There's much to like about the episode, from the performances of the leads to the creative use of set and costume (the Vians have excellent Outer Limits-style make-up, though it is strange seeing such in color).  On the other hand, the unremitting score, the odd pacing (Shatner slo-mo-ing to the ground for about a minute springs to mind), the nonsensical motivations for the Vians' experiment, and frankly, the directorial decision to keep focusing on Gem's facial expressions, which made her look somewhat clownish, all drag the episode down to average territory.


If only Harlan Ellison had written this episode of Outer Limits…

Three stars.

Substitutionary Theology


by Joe Reid

“The Empath” is this week’s episode of Star Trek.  In it the crew of the Enterprise explore another strange new world.  Yet again they face forces that are overwhelming.  Yet again they find a way to pull their fat out of the fire and yet again the writers of this show chose to lace in overt theology into their story.  Not only were these salutes to God and the Bible poorly executed, they sought to teach biblical morals without delivering the substance of the message through the narrative of the story, but through imagery and exposition only.  This practice proved to be utter folly. 

In one of the opening scenes we witnessed a recording of two missing scientists going about their work when a quake happened.  This prompted the scientist named Ozaba to quote the first part of Psalm 95, verse 4, “In his hand are the deep places of the earth;…” A verse that when looked at by itself means nothing, but surrounded by the other verses in Psalm 95 that speak of the grandeur and majesty of God.  Ozaba quoting this added nothing to the scene nor did it make his sudden disappearance meaningful.  It was as if the writers desired to open the episode with a random scripture and blindly opened a Bible and picked the first verse they saw. 

At the very end of the episode this time Scotty delivered the references to scripture, without quoting it this time.  It was Mathew 13:45-46, where Jesus speaks about the kingdom of heaven being like a pearl of great price—it being worth selling everything that one has in order to obtain it.  Although closer related to the something in the story, (Gem) this scripture like the previous one was a bad fit for the message that the story was attempting to deliver: sacrificing oneself for the benefit of another. 

Strange use of scripture aside, the troubling part for me was in the main story of the episode: the imagery of Kirk as he was tortured by the aliens.  His hands were bound and his arms were stretched wide as if he were on a cross.  A nearly impossible position to hold as his wrists were bound with two ropes.  It was done intentionally so as to place Kirk in a crucified posture.  Conversely when McCoy was bound in a similar way his hands were above him.


Shatner's double is dying for the episode's sins

The combination of the out of place scriptural references and imagery used for both Kirk and the girl (in particular, the Pietà at the end as she is draped in a Vian's arms) muddy the waters of what this episode is attempting to say.  A much more effective method would be to keep the moral message and the story only based in the environment of an alien world and deliver the message without the forced and uninspired asides to scripture.  I’m fine with teaching morality tales using other mediums. I’m not fine with the poor application of scripture. It has the potential to cause more harm than good if misused—as we’ve seen done throughout the centuries.

Lest I be misunderstood, it's not so much that I found the episode offensive; rather it was too shallow and ineffective to deliver its message faithfully and respectfully.

One star

Staging a Comeback


by Janice L. Newman

When movies and television became widespread, early directors and producers treated them much like stage plays. There’s a static quality to shows, noticeable all the way up through the fifties and early sixties.

Eventually creators began to innovate, finally realizing that they could do things that weren’t possible on a stage. We began to see more creativity in how things were filmed, and particularly in how things were staged. In Star Trek we’ve seen both styles. Some episodes have had more traditional, static staging with actors carefully lined up in staggered and visible rows, while other episodes have pushed the boundaries of what can be done with a camera (the moving shots from Nomad’s point-of-view in Changeling come to mind).

“The Empath” is an interesting hybrid. There are a few scenes on the surface of the planet, and a couple on the Enterprise, but most of it is shot in a dark, empty space with minimal props. This makes it feel like a stage play, but more like a modern production than a traditional play. Gem’s interpretive dance-style form of communication strengthens this impression as well. It’s interesting to see how we’ve come full circle, from techniques drawn from the stage, to more dynamic shots made possible by modern filmmaking techniques, and now returning to a stage play, this time deliberately, to get a particular tone and feeling.


Filming in limbo—next door to Tombstone

There was much I liked in this episode: the interactions between Spock, McCoy, and Kirk were excellent, and I loved the idea of Gem’s special ability. Unfortunately, rest of the story made no sense, with important or dramatic information revealed late and then ignored in ways that were entirely uncharacteristic. I found myself wondering, as Gideon did, how many of the inconsistencies were due to the original script and how much to modifications made by others (certainly Roddenberry never hesitated to cut up or re-write a script, as Harlan Ellison will bitterly tell you). The bright spots and dark spots canceled each other out, leaving me with a somewhat disappointing three star episode and a lot of questions.

A Familiar Song


by Mx. Blue Cathey-Thiele

The Talosians are back! Oh wait, these are different beings with bulbous skulls, silver robes, illusory abilities, and a penchant for experimenting on humanoids. Supposedly the Vians have the power to save an entire planet (but only one!) from the imminent nova, and are deciding the fate of said planet by coercing an empath to absorb injuries to the point of death. Are there representatives from other planets being tested elsewhere? If Gem “fails" will the Vians save their own planet? Why does an entire world need to reach a certain standard of “compassion” to deserve being rescued from annihilation? Pay too much attention and you will start to wonder if the Vians are making it up as they go along. Note the dead scientists stored in macabre tube displays! Nothing says good intentions like having three more tubes ready and labeled for when the landing party eventually dies!


"The Red Cross is getting overambitious with their blood drives…"

The Talosians- sorry, the Vians pay strangely little attention to Gem, for all their claims. It's hard to tell if Gem was left on the sidelines more from being a woman, or from what translated in human terms as a disability. Captain Pike is one of the few men who have been equally dismissed by an episode at large, and it's very clear that his role in The Menagerie was impacted by his limited means of communication. Despite clearly being able to comprehend what was happening, his binary Yes/No indicator left him largely out of the conversation. Even when he did express an opinion, it wasn't always respected. Gem had a more interpretive means of communication, but she too was often overlooked. In a future with translators that can talk to glowing clouds, and in the company of Spock, a touch telepath who has expressed a growing willingness to meld with aliens he encounters, it's beyond me how the crew ever opts not to try to communicate.

Upon first finding Gem, Kirk wants to know what is wrong, why she won't speak. Most aliens they've met have compatible languages, after all. McCoy's analysis: “She appears to be perfectly healthy. As for the other, her lack of vocal cords could be physiologically normal for her species, whatever that is,” provides a good reminder about human norms and poses the question, is a being “mute” if their species doesn't speak to start with? If her entire civilization uses empathy to connect, then the landing party likely seems just as restricted to Gem as she does to them. Being an alien, she doesn't nod or shake her head, but she does press McCoy's tricorder into Kirk's hands when the question of where to go arises. Given the option of escape, she votes to rescue the doctor.

Katheryn Hays brought a lot to her role as Gem, when the episode remembered she was there at all. Her performance, the set, and some choice scenes between the landing party couldn't make up for the surrounding episode, though.

3 stars

[Come join us tonight (December 20th) for the next thrilling episode of Star Trek!  KGJ is broadcasting the show live with commercials and accompanied by trekzine readings at 8pm Eastern and Pacific.  You won't want to miss it… Plus early coverage of the Apollo 8 launch!]

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Science Fiction/Fantasy, TV

[Nov. 22, 1968] Bound to thrill (Star Trek: "The Tholian Web")

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The Tholian Threads


by Amber Dubin

This is the episode that fully cemented season 3 in my mind as the highest quality season so far. The special effects were impressive, the costumes were simply spiffy and the pacing and audio were smooth and well-balanced. My only frustration is that it lacked one major connecting thread in the plot, which left it with inconsistencies great enough to turn this otherwise seamless Tholian web into a loose and fraying net.

In a masterful opener, we are dropped in the thick of the action from the very beginning, with the crew staring in concern at all the viewscreens, as they are informed that they have entered a region of space "that appears to be breaking apart." I would have loved an explanation as to what readings led Spock to that conclusion, but everyone else seems to take Spock’s assessment with no further elaboration. Their attention is swiftly caught by the appearance of a marooned Federation Starship, one that Captain Kirk identifies on sight as the U.S.S. Defiant. Wasting no time, he rushes to beam onto it with nearly all the highest ranking officers (you’d think he’d learn that effectively decapitating the chain of command before even assessing the nature of the fate that befell an adrift starship is something he should be a bit more cautious about doing, but it seems he prefers learning the hard way yet again). When Kirk, Spock, McCoy and Chekov beam over to the other starship, we see that they have at least learned to take the small precaution of contamination reduction suits this time.


But they don't decontaminate them when they come back to the Enterprise—well, perhaps that's part of the transporter beaming now.

In a sequence of events that should surprise no one at this point, the danger that annihilated the Defiant's crew begins to affect the away team right away. Just as we saw just two weeks ago in “Day of the Dove,” Chekov starts being influenced by a violent murderous madness, and just as the ensign did in “The Naked Time,” he tells no one of his symptoms before bringing a contagion back to the ship with him. Meanwhile in the Defiant’s sickbay, Dr. McCoy makes an immediate and even more disturbing observation when crewmen and objects on the ship phase out of existence as he tries to touch them. Thankfully, Kirk at least treats this threat with the appropriate level of alarm, and immediately orders a retreat to the Enterprise, but it appears to be too late, as whatever forces seem to be affecting the dissolution of the Defiant cause the ship to disappear while the captain is separated from the away team, mid beaming sequence.


The chicken-soup dispenser has become a tricorder device.

The focus now shifts to the delicate dance of keeping the ship in close enough proximity to the Defiant to make another attempt at retrieving the captain while managing to keep the ship in one piece as it withstands the conditions of this volatile section of space. Confusingly, Spock attempts to explain what's happening with vague multiphasic pseudo-science. He says the computer can calculate the pattern in which our universe and the Defiant's overlap with enough regularity that he speculates that the defunct ship will reappear in two hours. Here, he muddies the waters by throwing in noncommittal statements like “the dimensions are totally dissimilar and any use of power disturbs it,” that made me so frustrated with his vagueness that I agreed with Chekov's violent outburst that interrupted it.


"The science in this episode is too confusing!"

The writers decide here that the episode needs even more tension, choosing this moment for the Tholians to zoom into view. Seeking, too late, to guard this unstable portion of space, an alien ship containing beings calling themselves the Tholians hails the Enterprise demanding an explanation for their trespassing and requesting they leave the area immediately. Spock negotiates the calculated amount of time he requires to interact with the Defiant again. When Spock’s calculations prove erroneous, the Tholians swiftly open fire on the Enterprise, feeling as if they were maliciously deceived. Following a brief fire-fight, the Enterprise and the Tholians end up disabling each other, and the Tholians retreat and enact a new strategy to defeat the Enterprise, gathering reinforcements and using several ships to slowly build a web of energy beams.

As if there wasn't enough going on with this intergalactic battle, at the same time, McCoy is engaged in a battle of his own against the interphasic space madness affecting Chekov and the crew. He sets about the monumental task of medically creating an internal shield to barely comprehensible degradative forces, much as we've seen him do in “Miri” and “The Deadly Years.”


"Physician, heal thyself!"

Spock takes this lull in the immediate external danger to officially declare Captain Kirk dead, and he holds a brief, ship-wide funeral service for him. Dr. McCoy drags Spock very reluctantly to an audience with Kirk’s recorded Will and rather unnecessarily takes an opportunity to try to bully, insult, and squeeze an emotional reaction out of Spock. It seems as if this is another one of their typical disputes, but when Kirk’s voice rings out through his tapes, counseling them to stop bickering, it feels as if he’s reaching out from beyond the grave to bring home the gravity of the situation they are in. McCoy immediately apologizes, noting, "It hurts, doesn't it?" In the tense silence where Spock replies softly "What would you have me say, Doctor?" The scene is suddenly imbued with a surprisingly beautiful tenderness that only the shared grief that the loss of a captain and dear, true friend could elicit.


"I can't leave you two alone for five minutes!"

In yet another tonal shift, we find that it's Uhura who helps solve the mystery of their still interdimensionally traveling Captain, as she is first to see his “shadow” phasing in her mirror. One by one, the crew begins sharing in what Uhura had thought to be her own personal hallucination, and they realize Kirk is still alive on a plane of existence that is erratically phasing with ours. Here, the plot seems to completely unravel for me. Apparently a phaser beam punched a hole through the dimensional veil and Kirk got through and somehow also another hole is about to open in the Tholian Web that the Enterprise can slip through while also scooping up Captain Kirk in one fluid movement. Also McCoy discovers the cure for the rabid space sickness (which, truly, why does that matter if they are all about to leave this space in 20 minutes?) and Scotty takes it to his quarters to drink it down like it’s a cocktail mixer rather than an anti-interdimensional-radiation medicine.


"Subtle, yet bold!"

The rest of the episode rushes to a “just because” conclusion, only necessary because they had loaded the story up too much in the beginning. If the SFnal concepts had been more simplistic like “colliding space eddies,” and they hadn’t re-used the space madness subplot so soon, or even if they had taken another moment to acknowledge how emotionally compassionate it was of Spock to make time for a memorial service in the midst of a crisis out of deference to his human subordinates, the episode could have come to a more settled conclusion. Instead, the final scenes collide and coalesce into a sudden messy slop.


The Enterprise escapes the Tholian web 'with a mighty leap.'

In total, the quality of this episode's elements was excellent, but could have stood to benefit from a couple more minutes of editing. Maybe a few more threads woven into web of this plot would have been enough to ensnare my full endorsement of it

4 stars.

Tangled up in Interspace


by Trini Stewart

“The Tholian Web” completely enveloped me in its tense atmosphere this week, largely because I had to watch helplessly as my favorite character, our dearly beloved Spock, faced nearly insurmountable challenges as captain. Spock had to defuse so many high-pressure situations simultaneously that were overwhelming just to imagine, and each aspect of Kirk’s complicated rescue was painfully resolved on the thinnest of ice (to no fault of Spock’s careful guidance).

Other than the strain of having to hinge everyone’s lives on multiple close calls, perhaps the most problematic facet of Spock’s predicament was McCoy’s aggressive response to Spock’s leadership. Acting as a foil to Spock’s calm and focused responses, McCoy persistently questioned and blamed their dire straits on Spock, who had to spend precious time defending his decisions as he urged that they press on. I’ll be the first to admit that, if it were anyone else besides Spock in charge of weighing the risks of Kirk’s rescue, I too would insist that we save the crew while the ship could still leave.


Spock—the best man for the job.

Still, I couldn’t tell if McCoy was just completely distraught by Kirk’s being lost, or if he was influenced by the interspace deterioration to some degree, but I was hurt to see Spock at odds with a partner he can usually trust when he needed him most. My bias will ultimately lie with Spock’s reliability to make the best decision available in any given situation, and I wish that despite the intense circumstances, McCoy had at least conceded to work together with Spock once the ship was down. It was a pretty low blow to assume Spock meant to endanger everyone to secure his captain status, especially after Spock explained his reasoning perfectly.

Thankfully for everyone, Kirk had predicted exactly how the two officers would interact, and he gave them just the sobering insight they needed to cooperate peacefully. I loved that Spock was reminded that McCoy was there to help when matters couldn’t be resolved by his best judgment alone. It was equally sweet (and satisfying) to see Kirk remind McCoy that Spock could make human mistakes too, right after McCoy made a rude remark about Spock’s Vulcan half.

All in all, I loved this entire episode with its suspenseful atmosphere, satisfying characterization, and well-earned resolution. I can only imagine how long-time fans must have enjoyed this episode knowing the characters’ history with one another!

4.5 stars.

Our Little Vulcan’s Growing Up


by Andrea Castaneda

It has been a while since I've caught an episode of Star Trek. In fact, the last episode I watched was “Amok Time”, in which we saw a glimpse of Mr. Spock’s vulnerable side. So I'm glad the show I finally found time for was “The Tholian Web”, featuring our favorite Vulcan in a leadership role. I was happy to see another glimpse of this stoic character. And indeed, compared to how he was in season one (which I got to see fairly regularly), we’ve seen a lot of character growth in how he leads a mission and communicates with his crew.

We first saw Spock’s role as a leader in season one’s “Galileo Seven”. In it, he and other crew members were sent to scout a newly discovered planet. Through twists of fate, they are left stranded, alone, and facing a hostile native species.

When one crew member dies, Spock insists they spare no time to respect their fallen comrade, focusing on finding a way home. It’s logical to him, but it sparks ire amongst the crew members, thus sowing seeds of discontent. As they search for a way back, the crew continues to be uncooperative and critical of his orders, save for Scotty. Here, it’s Spock’s lack of understanding human emotion that jeopardizes their mission. Despite the “illogical” nature of the situation, his crew members want their grief respected. And while we, the audience, understand Spock does what he thinks is best, one can understand why the crew sees him as “cold”.

By season three, he seems to have learned from this experience. In “The Tholian Web”, while he remains calm and collected when faced with Kirk's death, he chooses to spend a moment to hold a brief but effective memorial service. It is done very much in Spock's way, but it shows how the Vulcan first officer is able to empathize with his crew. And the gesture pays off. Despite one crewmember going mad during the service, it seems to solidify Spock's position as new leader. The members of the Enterprise— save for McCoy– respect his orders, call him "Captain", and do not question him, showing how much he’s earned their trust.


Spock, having learned from experience, foregoes the traditional comedy monologue.

Another stark contrast is how his attitude shifts from “saving the village above all” to “no man left behind”. In “The Galileo Seven”, after scrimping together repairs to get their shuttle into orbit, Spock states that the crew should go on without him if he is compromised. And inevitably, Spock is incapacitated right as the shuttle lifts off. The surviving crew members rescue him despite his insistence to go on. It’s a heroic act, but one that costs them their window of opportunity to leave. Because of that, he scolds them for it and they respond with frustration. (But worry not; they make it to the Enterprise in the end.)

In “The Tholian Web”, Spock seems to take the opposite approach. When faced with the prospect of losing Kirk, he risks the Enterprise’s escape window for the chance to save Kirk. I should note that one can interpret this as Spock making a special exception for their captain. But I choose to believe Kirk’s ideals have rubbed off on him. Right on cue, he receives much criticism from McCoy, who is being particularly prickly even for him. Their banter serves as a good vocalization for what the audience might be thinking. But it was interesting seeing the logical Vulcan take the riskier approach. I will say, Spock’s choice does endanger the rest of the crew–the very thing he was trying to avoid in “Galileo Seven”. But once again, I think it shows how much Kirk has influenced him.

In the end, the gamble pays off. Kirk is rescued, the Enterprise escapes, and everyone goes on to explore another day.

Indeed, this episode can be interpreted as a better evolved version of the “Galileo Seven”. The stakes were higher, there were more plot elements in play, and the alien species they faced was more threatening. The story kept me guessing and didn’t have predictable moments (despite the ending being a tad bit convenient.) It was a delight to see how Spock not only survived but thrived as a leader. I very much look forward to seeing how Spock will continue to develop, both as a leader and as a true friend to the Enterprise.

Five stars

Behind the scenes


by Gideon Marcus

Back in the first season, the Enterprise was a living, breathing entity with 430 varied souls on board.  Over the course of the show, the focus has shifted sharply onto The Big Three (viz. last episode, in which the starship might as well have been the personal vehicle of Kirk, Spock, and McCoy a la Peter's woody in The Mod Squad).

This week, we saw a bit of the old Enterprise, the kind we haven't seen since "Balance of Terror", really.  There were some 30-40 people at Kirk's (premature) funeral, lots of people in engineering, McCoy's lab, on the bridge.  There were enough people that department heads could, rightly, not spend all of their moments doing hands-on work.  Uhura got to take a few minutes off, which we haven't seen since her impromptu concert with Spock in "The Conscience of the King" (the enforced hiatus in "The Changeling" doesn't count).

Interestingly, this actually turned Lorelei off a bit, so used is she to the more-than-one-braid-on-their-sleeves stars and co-stars doing all the work.  But I'll never criticize a show for getting things right.  Now if they can just get some trained Marines to beam ashore instead of the ship's senior complement…


A Tholian spins its web.  Note: not to scale (this is supposed to be "out of phaser range".)

Anyway, I loved this episode, from beginning to end.  It took a bunch of somewhat familiar elements, mixed them with some new ones, and tied them all together with the thread of Spock's first real command.  It reminded me a bit of a second-season Burke's Law episode where Captain Amos Burke goes on vacation, and the rest of his team have to solve a case without him.  Kirk's absence gives "The Tholian Web" room to breathe (even as he suffocates).  This enhances the poignancy of his taped final orders to Spock and Bones.

I loved getting to see Sulu cradle Chekov's head after the navigator goes mad (they do love to hear him scream).  I loved seeing Uhura mourn for the Captain, seeing her in her quarters!  And we see Spock's quarters again, too.  Scotty, McCoy, and Spock enjoy a drink together before the engineer takes the bottle of cure away to share it with someone else—probably Kevin Riley.

And I always love getting to see another starship, even if they are inevitably in distress.  Somehow, each has its own unique flavor, even though they always use the same sets.  Finally, I loved meeting the Tholians, an attempt at a true alien race.


In Communist Red, no less…

Never mind the brilliant special effects, the superlative acting, the real tension, even knowing Kirk was going to live (as he must, and as we saw in the preview; this was a negative point for Lorelei, too).

Thus, I can give this episode no less than five stars.  Frankly, Season 3 has been, so far, my favorite season yet.

[Come join us tonight (November 22nd) for the next thrilling episode of Star Trek!  KGJ is broadcasting the show live with commercials and accompanied by trekzine readings at 8pm Eastern and Pacific.  You won't want to miss it…]




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Science Fiction/Fantasy, TV

[November 14, 1968] "'S'cuse me while I touch the sky!" (Star Trek: "For the World is Hollow and I have Touched the Sky")

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by Gideon Marcus

After several weeks in science fiction's New Wave, Star Trek returned last week to its roots—specifically, the pages of Astounding Science Fiction.  Those who read Robert Heinlein's Universe when it was serialized in the 1940s or the novelized version, Orphans in the Sky in the early '50s, will be thoroughly familiar with the plot of the latest Trek episode.

We start in medias res: the Enterprise is under fire by a cluster of missiles.  After dispatching them with phasers, Captain Kirk orders the ship to investigate the source.  On the way, Dr. McCoy gives Kirk a bombshell announcement—McCoy is dying from a terminal disease and has one year to live.


"I'm (about to be) dead, Jim."

In short order, the Enterprise arrives at the missiles' point of origin, which turns out to be a large asteroid.  It looks just like the one "The Paradise Syndrome", and the parallels do not stop there.  For the asteroid is actually hollow and has engines.  It's a generation ship (a sort of slower-than-light space ark on which people will live and die for centuries) called Yonada, and the people onboard have lapsed to primitivism, unaware that they are even on a mobile vessel.  The ship is on a collision course with the highly inhabited world, Darin 5.  Impact date: about a year hence.


For the walnut is hollow, and I have eaten the pith.

Kirk, Mr. Spock, and McCoy beam down to investigate, because, of course, it's always those three these days.  They are taken prisoner by a bunch of mooks in parti-color sheets led by the beautiful Priestess/Queen Natira, and presented to The Oracle. This is a black monolith with a camera eye and a menacing voice (pretty sure it's the versatile Jimmy Doohan, once again) who zaps the Federation trio to let them know what he's capable of.


The Yonadan handshake.

When the three awaken, McCoy is the most affected thanks to his illness.  Upon learning about McCoy's condition Spock grips Bones' shoulder with an intensity that belies his stoic demeanor.  They are clearly very close friends, bickering aside.



"Put your hand on my shoooouldeeer…."

Queen Natira is quite taken with Bones and candidly asks if he'll be her mate.  It's all very sudden, but if you reverse the sexes, it's actually not unusual for the screen—after all, James Bond seduces even more quickly.  Anyway, since Bones digs Natira and he only has a year left, why not?  Meanwhile, Kirk and Spock monkey around in the Oracle's room and get sentenced to death for blasphemy.  They are saved by McCoy's intervention and beam back to the ship, leaving McCoy behind at his request.  As part of his citizenship rite, Bones is implanted with The Instrument of Obedience, a subcutaneous pain inducer installed in a person's left temple.

Kirk and co. are about to warp away from Yonada on the direct orders of an Admiral, when Bones calls the ship on his communicator.  In the Oracle room, McCoy has seen a book that contains all the knowledge of the folks who built Yonada, a super-advanced race called The Fabrini. He thinks it has the key to getting the ship back on course so it won't hit Darin 5. But as he relays this information, his Instrument begins to glow, and Bones collapses.


"Chicago Mobs of the 1920s?"


Excedrin headache #1701

Kirk and Spock beam back to Yonada, the latter extracting McCoy's Instrument, the former convincing Natira of the truth of her situation.  They all confront the Oracle, who is displeased, but as we've all guessed, he's just a computer and easily deactivated.  Kirk and Spock get the asteroid back on course (but the destination is still, apparently, Darin 5) and the day is saved.  Natira asserts that, much as she loves Bones after the 38 minutes they've spent together, she must stay behind with her people and guide them, now that she knows the truth.  But McCoy can catch up with her in a year when they reach their goal.

There's not too much to say here.  I enjoyed the return to classic SFnal fare, and I particularly liked Natira, who is bold but reasonable, and there's no "a woman?" reaction to her leading her people.  I guess Kirk learned his lesson from "Spock's Brain."  It's a pretty episode, particularly this great through-the-stairs shot as our heroes descent into the ark proper (which, as a watcher pointed out, also saved a lot of money since the rest of the set didn't have to be shown).

But the episode sort of plods.  There is a bit of padding, which the show can ill afford given how much it tries to do in 60 minutes.  My biggest issue is Kirk deducing that Yonada is somehow broken.  How can he tell the Oracle doesn't plan to decelerate once the ship gets to Darin 5?  And, of course, the Fabrini data tapes coincidentally having the cure to McCoy's illness, cheapening the whole "Bones is dying" plot.

Three stars.

Eve's Bitten Apple is a Hollow Fruit


by Amber Dubin

With a title including the words “I have touched the sky,” I expected the the writing quality in this episode to reach a bit higher in metaphorical heights. Unfortunately, the intellectual peak of this episode is the lofty language of the title. I say this because the plot appears to be a sex-reversed version of Adam and Eve.

At first blush, Natira seems to be an original character. A strong-willed priestess/queen who is a decisive and effective leader and emissary for the authoritative voice of the Ancients. However, this illusion of originality quickly fades when she is viewed through a biblical lens as Adam, the founder of humanity and the only one entrusted with hearing the Voice of God. While it is a slightly interesting spin to cast McCoy as Eve offering her the apple of knowledge, it’s a frustratingly over-done concept. I may be biased, as I also take issue with the biblical moral being that seeking knowledge is worthy of punishment, but I don’t see why this story needs to keep being told ad nauseum. And, more importantly, how is it that even though the woman is playing Adam this time, she’s still being punished?

Adam famously pointed the finger at Eve to avoid being branded with the title of ‘original sinner,’ and yet when Natira doesn’t pluck the apple herself, she is still painted with the same brush as McCoy. Also, I am not a fan of the fact that the Ancient Ones are once again an all-powerful race with the forethought to sustain their people for 10,000 years (a la the Eye-Morgs in “Spock’s Brain” or the Creators of “The Paradise Syndrome”) and yet their grand plan to support their people is an authoritarian, theocratic government with shock collars to keep their subjects in line? Again? Can all these ancient, powerful, alien races truly be that intellectually evolved when not one so far has established a system whose fabric doesn’t completely unravel at the slightest pull on a thread tugged by a single dynamic thinker? Did they truly expect to be able to exterminate every single person who ever suggested climbing the incredibly accessible fence posts on their containment unit? Did that actually work for 10,000 years? Is a species so devoid of curiosity even worth saving at that point? I’d argue no, but that’s speaking as someone who would have been eliminated from the gene pool immediately under those parameters.


For the world's a set, and I have touched the walls.

I did like that McCoy got his moment in this episode. I’m always refreshed when Kirk isn’t seducing every woman on screen with the power of being the main character. I also enjoyed seeing a woman maintaining strong leadership when she chooses duty and responsibility to her people over love of a stranger. The love at first sight concept was slightly more tolerable being presented from the perspective of a female pursuer, and it may only have raised my hackles since I'm a bitter old maid myself.

Overall I didn’t love this episode but it wasn’t horrible. I may be harping on it so because of the motif fatigue I’m experiencing after it followed such other innovative and unique episodes in this season. Though I do think that the poetic title earned it an extra half star above average.

3.5 Stars

Why to Try Touching the Sky


by Trini Stewart

Hello, my name is Trini Stewart, and I showed up to the Star Trek party in a similar fashion to how I arrive at most parties- unreasonably late, and with no idea what’s going on at the moment. My journey with Star Trek began recently with “Is There in Truth No Beauty?,” and now I am happy to be strapped in for the ride.

As the title of this week’s episode implies, “For the World is Hollow and I have Touched the Sky” tells a story of questioning and exploring one’s reality, and does so effectively through the frame of a conflicted leader’s pursuit of objective truth.

The Priestess and Queen of the hollow world Yonada, Natira, is introduced with no clue that Yonada was actually a vessel. Natira clearly has no intention of questioning the stern punishments and vague promises of the Oracle, that is, until the Enterprise officers challenge the queen’s understanding of her world and its fate. The initial cracks in Natira’s worldview can be attributed to lowering her guard around Bones, as she is earnestly smitten with him the moment she sees him captured, and she dares to hope that “men of…other worlds hold truth as dear as (Yonadans) do.” Subsequently, Natira seems to be more receptive to questions about the Oracle from the foreigners, and, in a show of trusting McCoy’s testimony for Kirk and Spock, she openly defies the will of the Oracle to pardon them from a death sentence.

These subtle changes within the queen are suddenly imperative when she later faces Kirk, who insists he has a warning regarding the fate of her world. For Natira to acknowledge that her world is in peril is to reject that the Oracle knows what is best, let alone how merely listening to a truth that is not “Yonada’s truth” is precarious heresy in itself. In contrast to the Oracle’s mysterious promises, Kirk’s transparency and willingness to reason appeals to Natira, and though it is incredibly difficult for the queen to withstand the Oracle’s threats, she is convinced to confront her authority for the sake of her home. Natira pleads that she listened to the outsiders because they spoke the truth, and remarks her new understanding of truth, exclaiming, “Is truth not truth for all?” Even willing to die for the safety of her people, the queen exhibits her newfound reverence for objective truth in one last, defiant plea, “I must know the truth of the world!” before collapsing at the behest of the Oracle.


The truth will set your teeth on edge…

Ultimately, Natira’s new understanding of what is true shifts her relationship with McCoy; formerly enamored by McCoy to the point of locking him into a hefty vow of obedience, she opts to honor the intended course of the Generation ship and to hope for a fulfilling life for the doctor, even when he resists. It is Natira’s receptiveness to new ideas that reveals the state of her world and saves billions of people, thus revealing the importance of both appreciating different perspectives and reforming one’s own comprehension of the world around them.

On that note, I as a viewer can truly appreciate this episode’s call to challenge ourselves, to challenge authority, and to even challenge "truth". Now, more than ever, that "Law and Order" Nixon is about to be our next President.

At the very least, I can hope that between this week’s message and the pacifist musings of “Day of the Dove,” Star Trek watchers will reflect on how we react to political discontent in our personal lives. 3.5 stars.

Short Shrift


by Janice L. Newman

The scriptwriter crammed a lot into this week’s episode, and unfortunately the episode suffered for it. While the ideas introduced were intriguing and potentially poignant, the rate at which the story had to be told to fit within the time slot left me frustrated and unsatisfied. The pacing of the episode itself was fine, that is, it didn't hit the story beats too fast. But by its very nature, the story had too much to do and not enough space to do it in, which left the beats themselves feeling shallow or curtailed.

McCoy’s illness could have been a wonderfully dramatic plot point if it had been introduced in a prior episode or at the beginning of a two or three-part story. Instead, it falls flat. The illness feels like a contrivance and the solution feels horribly pat.

The romance between Natira and McCoy feels similarly forced. The scriptwriter did their best to make it plausible. One can say that McCoy’s knowledge of the limited time he has left to live drives his choices, or that he’s mostly manipulating Natira to save his friends’ lives, just as Kirk has done on many occasions. Yet the whirlwind ‘romance’ between Spock and the Romulan Commander in The Enterprise Incident had far more emotional impact, even when we knew or guessed that Spock was ‘faking’. McCoy’s and Natira’s romance just feels weird, almost a developing relationship shown in quick cuts.


"Goodbye, sweet what's-your-name…"

The background of Natira’s race could have been fascinating, if the author had been able to do more with it than the barest sketch. A ten thousand year-old race that sent a generation ship to the stars when its sun went nova is a compelling concept deserving of some screen time. The fact that they had medical advancements sufficient to cure Dr. McCoy’s illness but that their weapons weren’t advanced enough to hurt the Enterprise is suggestive and interesting.

I imagine multi-part stories are not what a network or syndicator wants. Being forced to show certain episodes in a certain order, all the while risking pre-emption or cancellation if a sports game runs long or a political speech comes on, must be anathema to broadcasters. They must want neat, tidy stories that fit within their time slot and don’t have any connection or major changes from episode to episode; in other words, interchangeable, truly episodic pieces that they can fit into whichever slot they want without worrying about audience retaliation. (Batman and soap operas seem to be the exception to this.)

Unfortunately, limiting the story to a tidy 50-something minute block means that no matter how good the acting and direction, no matter how hard the scriptwriter tries, some kinds of stories are going to get short shrift.

This was one of those stories. Or to put it another way, great ideas, mediocre execution.

Three stars.

Spring of Hope


by Joe Reid

“For the World is Hollow and I have Touched the Sky” was the title of this week’s episode of Star Trek.  The title is a mouthful but does a decent job of giving us a feel for what we saw in this entry.  The title is one that evokes hope out of despair.  This episode was a tale filled with many hopeful outcomes springing out of situations heading towards tragedy.  In fact, despair and hope were so perfectly bookended by this airing that it would make your local librarian proud.  Let’s examine a few ways that this was accomplished.

The opening shot was that of missiles flying through space heading for the Enterprise.  Granted these missiles barely caused a concern for the crew of the powerful starship as they were dispatched with a quick command from Captain Kirk.  No, the real despair inducing news came in the following scene where we learned that our beloved Doctor McCoy was inflicted with an illness that would kill him within a year.  That he would die a lonely bachelor.  This caused a tonal shift in every scene we saw McCoy in, giving a gravity to this scene, it perhaps being the last time that we might see our favorite TV doctor. 

If that wasn’t bad enough, Bones, Kirk, and Spock were soon violently attacked by a mob, electrocuted and imprisoned.  After that they were scheduled for execution due to committing crimes against the creators. Shortly after that they were forced off the alien world one crewmember short as greater than 2 billion lives hung in the balance.  With so many worry inducing elements coming forth in an episode, it’s a wonder that any one of these tragedies didn’t become the focus of the entire episode.  No, the beauty of this episode was that no desperate situation was left without hope for very long.

After being attacked and mistreated on the alien world the inhabitants quickly changed to welcoming them as friends, granting them free access to the entirety of their world. The lonely doctor found love on the alien world, meeting and marrying the priestess and leader of the people.  He was then able to save Kirk and Spock from execution, getting their lives as a gift from his new wife.  The ultimate hope-filled outcome is that not only do the billions of people find salvation, but also our favorite doctor is cured from the illness plaguing him at the start of the episode.

Sadly as the episode drew to a close we witnessed the parting of McCoy and his wife as she chose to stay with her people as they were finally heading to a new homeworld for themselves.  Even this scene was given a happy ending as we soon learned that the Enterprise would be present as the people found their new world and that he would be reunited with his wife.

“For the World is Hollow and I have Touched the Sky” was a well-acted episode, with great wardrobe, and a plot that felt original.  It was refreshing to see McCoy be the object of feminine attention and DeForest Kelly's performance was the standout of the show.


Next year, Natira will get to wake up to this handsome face every morning!

Four stars.

[Come join us tomorrow (November 15th) for the next thrilling episode of Star Trek!  KGJ is broadcasting the show live with commercials and accompanied by trekzine readings at 8pm Eastern and Pacific.  You won't want to miss it…]





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