![[October 31, 1968] How the Western was won (<i>Star Trek</i>: "Spectre of the Gun")](https://i0.wp.com/galacticjourney.org/wordpress/wp-content/uploads/2023/10/681031title.jpg?resize=672%2C372&ssl=1)
by Janice L. Newman
This is Not a Test
Star Trek continues to surf the New Wave in this week’s episode, Spectre of the Gun. While the plot incorporated many things we’ve seen before (both in and outside of Star Trek) it combined and presented these elements in new and innovative ways.
The story opens with the ship encountering a strange object floating in space. All of the crew receive a message, ‘hearing’ it in the language they are most familiar with: Vulcan for Spock, Russian for Chekov, and in a nice call back to earlier episodes, Swahili for Uhura. The message warns them to stay away from the area. The crew, under orders to make contact with the Melkotians (the race who left the warning) choose to disregard it and beam down to the planet. Kirk, Spock, McCoy, Scotty, and Chekov make up the team.
The Melkotian buoy—to Trek's credit, they didn't simply reuse the music from The Corbomite Maneuver
Shortly after they arrive on the planet, a threatening figure appears. It’s one of the aliens, a Melkot. It tells them that they will be punished for disregarding their warning. Since Captain Kirk is in charge, their deaths will be ‘patterned’ on him.
Aliens can be difficult to render convincingly on television, but I was impressed at how effective the Melkot is. The image is of two glowing eyes piercing through a surrounding haze and the suggestion of a bulbous, hairless head on a stalk-like, armless body. Since it’s surrounded by mist and weird lighting, we don’t get a close look at it, which adds to the menacing quality and keeps it from feeling fake or cheesy.
No sooner does the Melkot pronounce judgment, than the five men find themselves in the middle of a western town. Except, it’s not a fully-realized town. It’s made up of pieces of scenery, just enough to suggest a town in broad strokes. It puts one in mind of a theatrical production, where a facade is used to represent a building and one can see inside a shop or house. It’s unsettling in this context: signs and clocks hang on empty air, and unlike the actors in a musical, the crew are well-aware that the buildings are unfinished.
Open air bar
It takes a few minutes and an interaction with one of the ‘locals’ to jog his memory, but Captain Kirk puts the pieces together to deduce that the setup represents the shootout at the O.K. Corral. He and his men are the Clanton brothers, destined to die to bullets shot by the Earps and Doc Holiday. Bullets that will kill them, as they discover when Chekov is shot down in the street.
Our heroes try to avoid their fate through diplomacy, trickery, and ‘the better part of valor’. Nothing works, not even the sleeping gas bomb that McCoy and Spock build together. But the fact that it doesn’t work when it should have worked convinces Spock that none of what they are experiencing is real. The bullets cannot hurt them, he tells the others, unless they believe they will.
In order to make sure the humans are all as convinced that the bullets are harmless as Spock is, he mind melds with each of them in turn. Then they stand, unworried, as they’re shot at. The fence behind them is filled with holes, but they, as Spock promised, are unharmed. Afterward Kirk has the opportunity to kill the Earps and Holiday, but chooses not to, even though he badly wants revenge for Chekov. The Melkotians, surprised at Kirk’s choice, agree to open diplomatic relations with the Federation.
A touching moment
We’ve seen a lot of these bits and pieces before. Westerns are ubiquitous, and the story of the shootout at Tombstone is an oft-visited well for modern-day storytellers. But how many of them cast the Clantons as the good guys? We’ve seen the Vulcan mind meld before, but never on multiple people in turn, and never to convince them of the unreality of their senses. We’ve seen powerful, telepathic aliens before. But unlike many of the others, the Melkotians aren’t messing around with the humans for their own amusement, or to protect us from ourselves, or to ‘test’ us. It’s clear that they don’t expect the humans to survive the punishment, and that they’re shocked that Kirk chooses not to kill the aggressors in the end. Whether the form of punishment was meant to be humane, giving the humans a familiar setting to die in, or whether it was supposed to remove the weight of responsibility from the Melkotians by forcing the humans into a ‘kill or be killed’ situation, or whether it was for some other reason entirely, we cannot know.
What we do know is that these familiar pieces fit together to make an entirely new kind of story, one that’s clever, compelling, and up there with the best of the Star Trek episodes we’ve seen.
Five stars.
Best Western
by Amber Dubin
I was pleasantly surprised that this episode marked another in the inspiring trend of season 3 episodes that absolutely knocked my socks off. The overarching premise is nothing special on its face: a shadowy, menacing entity issues an ominous warning a-la-Dante's-Inferno "abandon all hope, ye who enter here." Kirk promptly ignores the warning buoy, charging head-first into danger like the reckless adventurer we know him to be, and at first we appear to be treated to another "Catspaw"-like simulation with a western twist. This is where the similarities end between the season 2 and season 3 Halloween episodes, because this time around, the simulated world is much more intricate, meaningful and all around well-crafted.
Starting with the aliens' motivation for submerging the crew in this simulation, they explain that "you bring violence like a disease." This is a very valid threat and makes a lot of sense that the Melkotians would want to have this simulation in place to protect their planet from approaching unknown cultural contaminants.The crewmen have already refused to heed the initial warning, so it could hardly be called an escalation to issue this execution edict as judgment for their trespass. They prove themselves to be much more fair judges than some of the other alien species we've encountered, because they essentially allow a loophole in their trial, wherein the participants have one final chance to prove themselves worthy of access to their planet. It is fair too, that they design the interactive tribunal from details found within Kirk's mind, as it was Kirk that chose to disobey their warning and therefore Kirk should bear the bulk of the responsibility for their punishment.
Here come the Judge(s)
This is the first time, in my opinion, that they have found a valid reason to recreate ancient American history, as Captain Kirk has always been a stand-in for the audience's 1960's perspective, and one of the points in our history that Americans enjoy recreating most in film and fiction at this time is the Wild West. This time, incorporating our perspective is neatly explained by saying that Kirk has both the genetic memories of ancient North Americans from this era, and memories from his fan-crazed obsession with all things historical and fictional from American History. I even found it radically creative that the director manages to elegantly justify the half-finished western set pieces, as it was not only necessary that the crew know that the simulation was false, but also it was encouraged that they use that to their advantage to beat the system.
I also love that the trial that the crew endures this time is branded not as a trial but as an execution, further setting up the crew to fail as they would be inclined to see it as an inescapable punishment rather than an simulation whose outcome they could influence. The Melkotians may well have hoped the humans would fail. Certainly, they were surprised when they didn't.
I'm particularly impressed that this episode got me to do something I previously thought unthinkable: enjoy western-themed television.
5 stars
Unexpected Diplomacy
by Lorelei Marcus
Captain Kirk took an unexpectedly persistent talk-before-phasers approach to interacting with the Melkotians and their executioner puppets. At the beginning of the episode, he mentions the importance of contacting the Melkotians and implies the goal of peacefully adding them to the Federation. Given the importance of the mission, and our Enterprise captain's previous track record handling aliens, I can only imagine the training exercise Star Fleet put Kirk through to prepare him for his task:
"Alright, Captain. On the table, you will see a phaser and a communicator. The scenario is you are attempting to make contact with a peaceful alien species. Please choose the object you feel is best suited for this situation."
(Kirk reaches for the phaser and is shocked with an electric buzzer.)
"Ouch!"
"Please choose again."
(Rubbing at his wrist, Kirk reaches for the communicator this time. A green light turns on and a pleasant song starts playing.)
"Very good, Captain. Onto the next task…"
"I can't just kill them! I won't get any candy!"
In any case, I found this episode to be quite fun, particularly our new, diplomatic captain. Four stars.
We Come in Peace
by Erica Frank
"We come in peace," said Kirk… as he raised his phaser. No wonder the Melkot didn't believe him.
The Melkotians were clear that they wanted no part of the Federation. When the Enterprise decided to visit anyway –"establish contact at all costs"–the Melkotians were ready for them. (Kirk, you did establish contact; you met and conversed, and their response was No. If you meant "establish regular communications and diplomatic negotiations," well, that dance takes two willing partners.)
Kirk and his team wound up somewhere that looked more like a movie set or a stage play than an actual town. They thought this was "the Melkotians' idea of a town" rather than "a construct taking place in our own minds," despite having substantial experience with powerful telepaths who can make them experience entire landscapes that don't actually exist.
Why did it take them half the episode to attempt to leave town and discover the force field blocking their exit?
They spent most of their time trying to figure out how to get out of the impending gunfight, instead of looking for loopholes in the "reality" that they should recognize as false. However, even as they accepted the storyline they're stuck in, Kirk looked for ways to avoid the ending.
I don't know if he insisted on not fighting the Earps because he honestly believes it's wrong, or because he recognized that, in this story, once the shooting starts, his entire team will be killed.
They passed the Melkotians' test by refusing to shoot. (…Spock's getting awfully free with the mind-melds, recently.) I'm not sure I'd accept the results: Kirk knew that there was no way to win a shoot-out. Perhaps that was the point–not, "prove you are a non-violent species" (obviously not true), but "prove to us that you can find other ways to solve problems."
I like the Melkotians. They're only the third near-omnipotent aliens we've met that aren't petty tyrants. The Metron had a similar test, making Kirk fight the Gorn–they, too, were pleasantly surprised that Kirk found a way around killing. And we never learned the name of the race that built the Shore Leave planet.
Four stars.
I suppose he is the "Spectre of the Guns."
A Near-Shakespearean Paen for Nonviolence
by Jessica Dickinson Goodman
With death served up on the doorstep with the morning paper, I needed this episode this week. Bracketed by political campaign ads crowing about violence in various cities and jungles, I found Kirk's passionate nonviolence struck a powerful chord. The episode's overall contrast with the morning death toll was satisfying but somehow it was Commander Spock's cool lines that I loved the most.
"A radical alteration of our thought patterns must be in order."
In that moment, the episode twists reality to reach the profound fantasies of those of us whose loved ones are – or tomorrow will – lay in the grave, or in the mud, waiting for a G.I. sniper or Viet Cong fighter to take what life they have lived and in all their future lives. To restate it, Spock's idea is that in the constructed world of this week's impossibly powerful alien, if you know you cannot be killed by bullets, you cannot. "Know" because "believe" requires the acknowledgment of the potential for doubt, but knowing requires a perfect certainty. In Spock's psychic certainty there is physical safety and real, true resurrection for the marooned crew.
This is what I love about science fiction, the fantasies that science fiction allows us, fantasies that give us enough breathing room to imagine a better world. Sometimes that world has to be far simpler for the conceit to play out. The world of this episode is much simpler than our own, which is why this trick of Commander Spock's is so intuitively effective. It felt in many moments like a stage play, and made me wonder how the Bard would have set the prologue:
Two families, both alike in indignity,
in fair Tombstone Arizona is where we lay our scene,
from lukewarm grudge break to new mutiny,
where uncivil blood makes uncivil hands unclean.
There is a little bit of a sweet Romeo and Juliet going on with Chekov in this episode, though it doesn’t entirely play out, ending up more of a joke than driving the narrative.
It really is our dynamic trio who make the episode, in their debates as to how to avoid furthering the cycle of violence the alien of the week has thrown them into. Kirk's attempt to explain was so satisfying to watch as he shouted and fought not to fight. His framing of his own family's history added a depth of character for me, as many of the passing references in this season do.
While we can understand that his ancestors were part of the genocide against the Native Americans of the American West, I like to think if Kirk was alive right now and his draft number came due, he would hike over the border to Canada. Draft dodging in this way would be a key way to keep his hands and mind and blood from being complicit in killing, whether of one man or entire families, entire communities. If no one fought, there would be no wars, and we see how that can start with someone like Kirk refusing to fight. In this case, there are no deadly consequences for the draft dodgers, as Spock's science fictional defense is perfectly effective.
In our more complicated reality, it is not so easy. There is no curtain call on the battlefield, and no alien to blame for the violence that engulfs us. So many occupied graves may make draftees feel obligated to fill in a few more before they punch their final ticket. But I do fervently hope that those who are conscripts or reservists or draftees called to slaughter can watch this episode before they board their planes and tanks, before they load up their all-too-lethal guns with human-killing bullets. I hope it inspires them as only science fiction can to consider another path, the all-too-human journey of nonviolence.
5 stars.
The Greatest Show off Earth!
by Gideon Marcus
Most of my colleagues were impressed by the story, the message, and so forth. Those are all laudable topics, and I'm glad they've covered them more eloquently than I would have. However, I just want to comment on how much I've been enjoying the third season of Star Trek, how far this show has come.
1968 is an interesting moment. Laugh-In has infected all other media. Psychedelia is de rigeur It's a time of experimentation and irreverence. As I noted in my last review, the New Wave has made it to Trek. Indeed, my friend, part-time Journeyer Brian Collins said that, if he didn't know better, he'd have thought Phillip K. Dick wrote this episode!
So it's no surprise we get all sorts of neat stuff, visually, aurally, literarily. According to my friend Maurice, the partial "limbo" that comprises the setting actually borrows a lot from the 1953 musical comedy Red Garters. However, "Spectre" uses the setting to unsettle, to connote things unfinished, and also because it's just cool and weird!
The score is once again brand new. That makes it the fourth or fifth new score we've had this season, and as usual, it is excellent and fitting. Trek has the best music this side of Hollywood Palace.
Vince McEevety's direction is, once again, excellent. I don't think it's a coincidence that his episodes ("Balance of Terror", "Miri", to some degree "Patterns of Force") have not only been innovative in their execution, but have also wrung out good performances from its actors. Shatner, in particular, has had a tendency to ham things up (very unkosher!) since the end of the 1st season. There's none of that in this episode. His encounter with Sheriff Behan, when he plaintively yells that he can't kill the Earps, his mourning over Chekov's death, his subtle reactions to his crew, particularly in the gas testing scene…all terrific. Chekov finally gets a role he can chew on, and he's great. Scotty as well. The Big Three are thoroughly in character, up to and including McCoy arguing both sides of the fence—"Cheer up, Jim!" followed by "Shut up, Spock! We're grieving!")
"I am not someone you can marry, although marriage was inwented in Russia."
And the guest stars, particularly the Earps/Doc Holliday, turn in performances that are nearly robotic, but highly emotive nevertheless. It's a hard needle to thread, but they manage it.
I find my esteem for this episode rising in the glow of the morning after, and in the conversations it has sparked with my comrades. I was going to give it 4 stars, but I think it moves up to 4.5 now.
