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There's blunt and then there's really blunt. "Let That Be Your Last Battlefield" is certainly the latter, a thick fable about the absurdity of intolerance, a story so obvious it becomes energized by its own, sheer audacity. Frank Gorshin, a 1960s television icon for his recurring role as the Riddler on Batman, plays Bele, an extraterrestrial cop pursuing a fugitive named Lokai (Lou Antonio). The latter is chalk-white on the right side of his body, and ebony-black on the left, an arrangement despised as inferior by Bele and his race, whose own color scheme simply reverses the two. While Captain Kirk (William Shatner) decides what to do about Lokai's request for asylum, the old race hatred between both sides looks increasingly ridiculous. Interestingly, the episode originated as an idea from producer Gene L. Coon, who envisioned an endless chase between a devil and an angel. Eventually it was decided that the sheer stupidity of prejudice would be underscored more clearly in the final arrangement and, indeed, several decades after the fact, the show does have a surrealist punch to it. Incidentally, the Enterprise self-destruct sequence seen here was reprised in the feature film Star Trek III: The Search for Spock. --Tom Keogh ... Read more

Reviews (12)

I Liked It!
It's not my favorite Classic Star Trek episode but it's a good episode with a very good message and I like Frank Gorshin who played The Riddler on Batman. I recommend this video for any Star Trek Fan!

A solid episode
This episode, employing actors done up in half-black, half-white face makeup, is a none-too subtle statement about race relations. While Star Trek is to be commended for not ignoring controversial issues, the show's forays could be grossly oversimplistic; this episode is a case in point. Most viewers will have gleaned the difference between Lokai and Bele long before the crew becomes aware. This is also another talky episode, and while the actors do a good job expressing their choler through some truly acrimonious exchanges, the viewer gets the idea pretty fast.
The second half of the episode is not without its plusses though. The auto-destruct sequence was a nice touch, as were the montages of burning cities (which must have struck a cord in early 1969, as today). The conclusion leaves the viewer with much to ponder, both specifically about Bele and Lokai's fate, and more generally about hatred's powerful momentum. One other welcome aspect was the fact that the Enterprise and her crew were basically powerless here. This thankfully (in my opinion) spares us the need for a pat conclusion to such a complex problem. On the other hand, it is interesting to ask whether a first season episode would have been so pessimistic. The answer is almost certainly no. But a lot had changed in two years, and not just in the Star Trek universe.

Classic Trek at it's best
I am very surprised Frank Gorshin was never asked to return as a baddie in another Trek episode. It was a real treat to see him argue with Shatner about the plight of their planet. You couldn't tell who was on the right side. Both of them had a convincing argument. There was no way to tell. Anyway, the episode did have another great action sequence where both of them wrestled with 60's style cosmic powers.

The importance of being black on the right side
There is certainly nothing subtle about the social message at the heart of "Let That Be Your Last Battlefield." The Enterprise stops a stolen shuttle and arrests its pilot, a bichromatic being (white on the right side, black on the left) named Lokai. Then another bichromatic being named Bele (black on the right side and white on the left) beams aboard the Enterprise just as his vessel explodes. Bele (Groshin) explains that he is an officer of the Commission on Political Traitors from the planet Cheron who has come to arrest Lokai for murder. For his part, Lokai insists that his people are enslaved by Bele's race. Bucking this particular headache up the chain of command, Kirk is told by Starfleet not to extradite Lokai. However, Bele will not take "no" for an answer. It was always easy to remember how each side of Bele was colored, because of course the dominant race in this little allegory would be black on the "right" side. At first Kirk does not see the difference, since both Bele and Lokai are half black and half white. But Bele points out the difference and insists how it matters, which sounds just as stupid as any other claim of racial superiority based on skin color you have ever heard. Because the point of this episode is not exactly subtle, "Let This Be Your Last Battlefield" is less than satisfactory, although I do appreciate the attempt to maintain ambiguity as to which one of the two bichromatic beings (you have to love that adjective) is telling the truth.

Will this be their last battlefield?
"Let That Be Your Last Battlefield" is about two humanoids that appear on the Enterprise. One (Loki) is supposedly a criminal who is begging for help from Captain Kirk and the crew, and the other one is out to capture Loki. The only difference between them is that their black and white colors are on opposite sides of their faces. They mainly just fuss between each other, but when they start changing the course of the Enterprise, Captain Kirk decides something has to be done.

"Let That Be Your Last Battlefield" is interesting and it isn't a bad episode if you're a Star Trek fan. I recommend anybody who likes Star Trek to watch or buy this episode. ... Read more

Reviews (6)

That's no malfunction
This episode, involving an accelerated species, has always been a favorite of mine. It is a very dreamlike episode; the scene depicting Kirk's acceleration must be one of the show's most bizarre segments. Tilting the camera and returning to music used in 'The Cage' were nice ways of embellishing acceleration. The idea also struck me as quite original (although I must confess I've read very little science fiction). Others have noted that when you sit down and work out the times involved, there are a lot of inconsistencies and implausible outcomes, but I do not look to Star Trek for that kind of realism.
Kathy Browne does a nice job as Deela. While clearly serious about the business of reproduction, she has a light, flirtatious quality which, along with her power, forces Kirk out of his usual domineering role. Of course, the two of them generated a scene for the sensors to miss nonetheless!
One final note: Even after several viewings I'm still not sure I understand the final scene, when Kirk utters the cryptic line, "That's..no malfunction." Did the production team just run out of steam at the end of the episode? Or did Deela intentionally leave the tape nearby (for Uhura to mistakenly pick up) as a momento to Kirk? Not clear. What is clear is that things were starting to get sloppy by the middle of the 3rd season; it would only get worse.
Nevertheless, I feel this episode, number 13 of 24) sits solidly on the winning side of what would be a turning point for the show. The remaining shows as a rule wouldn't feel as stylized as those from the first half of the third season, and were somehow less quirky and more formulaic. Given that they also tended to have thin plots, this would be a formula for disaster.

boring
most people who watch star-trek think Spocks Brain is the worst episode of the original series. Wink of an eye IS truly the worst, it's boring it makes no sense and just drags and drags and drags

The Scalosians try to pull a fast one on Captain Kirk...
Another race of people with strange powers is encountered after the Enterprise responds to a fake distress call in "Wink Of An Eye." Five Scalosians, who move at super speed, slip aboard the Enterprise and take over. It seems a terrible war destroyed most of their planet and not only caused them to speed up but rendered all their males sterile. Consequently they need to trap spaceships from time to time so their women can mate. However, after drinking the Scalosian water the men who are selected also speed up, but so quickly that they die. Most of the Enterprise crew will be put into suspended animation so they can be thawed as necessary. Having been chosen by Deela, the queen of the Scalosians, as her first mate, Kirk finds a way of letting Spock know what is going on and it is not long before the First Officer speeds up to rescue the captain and save the ship. "Wink Of An Eye" actually ends up being an above average episode of "Star Trek," although I would not want to work out the math to find out whether Spock really had enough time in "normal" speed to hatch his plan before the hyperfast Scalosians have finished with their own nefarious designs. There is also Kirk's discomfort with the prospect of being just a sex object, a rather nice little bit of irony, which I always tend to appreciate.

A good and compelling episode
In "Wink Of An Eye," Kirk must face some invisible beings who are struggling to continue their species. The queen of the species wants to use Captain Kirk to mate so her species will have more members. Kirk must find a way to escape these beings who sound like flies before they capture him in the wink of an eye.

"Wink Of An Eye" is a good episode of the original series. I recommend any Star Trek fan to give it a try.

A Pretty Forgetable story...
Star Trek had an almost complete change of film crew in it's thrid season. Mostly in so far as the production and plotting of the stories went. Many leading figures who guided Star Trek through it's first two seasons were gone, as a result, many stories were rushed into production, and only a small handful were any good. This was not one of them. It basically delt with humanoid aliens who exist at an acelerated rate of time who board the Enterprise and try and save their race from dying. It takes the combined efforts of the Captain and Mr. Spock to save the ship and return the aliens to their planet where they will eventually become extinct. This is not Star Trek as so many have come to know it. Not at all. ... Read more

Reviews (15)

Signs of trouble ahead, if you take Trek seriously
Many have asked whether airing 'Spock's Brain' first sealed Star Trek's fate. More to the point, any brain trust that thought 'Spock's Brain' the strongest of the early episodes was almost bound to produce more lemons the rest of the way. Particularly destructive is the fact that while the episode is high camp, unlike 'I, Mudd', here the cast attempts to play it straight (presumably Frieberger and Daniels were holding up weapons offstage). This must have contributed to the gradual loss of conviction about the product-always a pernicious thing.
Anyway, about the episode, in which Spock's brain is stolen. The basic premise is silly, and most of the plot far fetched. Just a few examples: 1) Carting Spock's brainless body about, 2) Brain and body surviving independently, 3) the reconnective surgery. There is also seemingly little thought behind the separation of the sexes, although we can thank that premise for the description of women as 'the givers of pain and delight." The S & M theme would make a few appearances before season 3 concluded.
As a third season fan, I can't resist pointing out a couple things I like about the episode. First, there is a pervasive mysterious and surreal feel about the episode. The score introduces several dramatic vignettes that would be repeated (and repeated, and repeated..) throughout the 3rd season. There are also some cool shots of the bridge during an interesting scene in which the officers are invited to participate in some decision-making. Finally, the teaser is pretty strong.

Makes more sense if you've been to graduate school...
Don't be too hard on this episode. It's definitely a throwback to an earlier type of Sci-Fi -- Forbidden Planet and its ilk, with beautiful, brainless babes who must be rescued from themselves -- not the ground-breaking fiction of the best Star Trek. But it's still a lot of fun.

And if you've ever had a really dumb day, where you can't seem to think straight or get anything done and stuff that was clear as water the day before is now opaque as mud, well, all I can say is "Brain and brain, what is brain?"

If you laugh at Spock's Brain, check out "Amazon Women on the Moon."

One of the worst plot lines of all time
This episode has only two things going, dialog that is somewhat funny (most likely unintentionally), and beautiful women clad only in the absolute minimum required by the censors. The rest of the story is so preposterous that I rank it in my list of the five worst episodes of the original series. A society has somehow been split where the females live underground with the technology, but understand none of it. In essence the ultimate bimbos. The males live above ground and appear to have retained some intelligence, but are considered brutes by the females. Since this society has survived for a long time, one wonders how they manage to procreate.
Fortunately for the society, there is a fancy hair dryer hat that connects them directly to the computer database containing vast amounts of knowledge, including how to remove and reattach a human brain. Unfortunately, the knowledge fades from human memory after a short period of time.
Females from the society obtain the knowledge that allows them to extract a brain and then beam aboard the Enterprise and remove Spock's brain, leaving the body. They apparently need it to run their machinery, since theirs are so devoid of knowledge. The quick thinking Dr. McCoy attaches a device to Spock's head that keeps his body alive and allows them to control it. The usual party beam to the planet with Spock's animated body in an attempt to recover the brain. Absurdity is piled on absurdity, as Nimoy looks like an actor trying to keep a straight Vulcan face while knowing it is ridiculous, a point he makes in his book, "I Am Spock." McCoy eventually puts on the hair dryer hat, gains the knowledge and is able to reattach the brain in the nick of time.
The "high" point, other than the babes, is when Dr. McCoy says, "I never should have connected his mouth." With no underlying significant message to hold this pointless episode together, it fails in all respects. It is one of the few that I turn off when I see that it is the episode currently being shown.

Brain, Brain, What is Brain?
This is a great Star Trek episode. If you don't think so then you either analyze star trek too deeply or have no sense of humor, possibly both. It was obviously done tongue in cheek and with a nod to 50's sci fi.
Some highlights:
1. Cool wrist bands which render the star trek crew unconsious. A writer of the Wonder Years had been impressed with this part of the episode and did an homage to it in a Wonder Years episode.
2. The facial expressions of McCoy, when he wears the helmet which temporarily emparts advanced surgical knowledge to him are priceless!
3. The fact that the crew members can converse with Spock's brain which had been previously disembodied is hilarious. In addition, the fact that Spock can move about without his brain is very amusing. Does the gadget which makes this possible look similar to the device used on Checkov to revive him in The Voyage Home?

Mini-Skirted Alien Pseudo-Intellectual NeuroSurgeons?
Cost of a Star Trek script in 1968? $4,500

Cost to produce an episode of Star Trek in 1968? $185,000

Cost to film an episode of Star Trek in 1968? $200 a minute

Cost to see McCoy wearing The Salad Bowl Of Knowledge? Priceless

Nearly every fan who has watched Spock's Brain has been unable to sit through it without giggling a little, sustain genuine belly laughs or shake their heads in disbelief. I have a love-hate relationship with this episode. I love it for the simple reason that it contains some scenes that induce great laughter - or at least it does for me. Surely, the creators of Star Trek mean us not to take this episode seriously. Let's examine some of the elements:
1. On this alien planet men have lived on the surface as unintelligible savages while women have lived below for thousands of years. How exactly are each of them procreating? Specifically the males living alone on the surface!
2. Why are the men exiled to the surface and the women kept separately below?
3. Why is it that the women's ability to learn or retain knowledge atrophied?
4. Keeping in mind the relationship between men and women on the alien planet why would such a culture of women choose to take a man's brain to be their leader and instruct them in what to do? Wouldn't they naturally have taken a woman's brain for this purpose?
5. Finally, why would the women choose mini-skirts and go-go boots for daily wear?

I also hate this episode for the same previously stated reasons. The whole sequence of events as presented is illogical and absurd. It may have seemed like a good idea in it's conception but even in 1968, when this episode first aired, the plotting used here was implausible and ludicrous. Still, because I am a completist I find it necessary to include it as part of my collection. ... Read more

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This is one of the more entertainingly sadomasochistic Star Trek episodes. Kirk, Uhura, and Chekov are kidnapped from the Enterprise and taken to Triskelion, where they are forced to participate in gladiator-style fights for the amusement of the mysterious "Providers." In addition to the borderline kink of training harnesses and punishment collars, there's plenty of hand-to-hand combat and odes to the human spirit to enjoy. There is also, of course, plenty of romance as Kirk tries to find the soft side of his beautiful trainer Shahna (played by the slender '60s sexpot Angelique Pettyjohn). Back aboard the Enterprise, we get to see more of Spock and Bones's prickly relationship as they try to find the others. This is a terrific episode, with just the right balance of fighting, kissing, and speechifying. --Ali Davis ... Read more

Reviews (9)

The 2nd season had a few stinkers as well
This episode, in which the enslaved crew are forced by giant brains to engage in arena combat, was a big step down from prior episodes. In fact, I would argue that the drop in quality attributed to the 3rd season really started here; only one of ten remaining second season shows was truly strong (A Piece of the Action). I for one would take the first ten shows of the 3rd season over the remaining ten from the second season.

But that's another story. The Gamesters of Triskelion is a very nasty episode. In addition to violence for it's own sake, there is the strong suggestion that Uhura is violated as the show fades to commercial. It's really unforgivable that the subject is never adressed in the rest of the episode. We also have one of the true bimbos of Trek in the nubile Shana, who is made to utter some truly stupid lines. There isn't much going for this episode; with a bit less action, it would belong in the latter part of season three.

Tidbit: Angelique Pettijohn, who played Shana, went on to adult film fame.

Not Bad
This episode has good action, but some of the plot and dialogue is pretty cheesy. You can probably afford to skip this one unless you are a Kirk fan.

The crew beams to the wrong planet and finds trouble
Kirk, Uhura, and Chekov are supposed to beam to Gamma II, but they accidentally get beamed to a place called Triskelion instead. Triskelion is inhabited by strange looking people who love to fight.

The leader of this unheard of place tells Kirk, "This is planet Triskelion; you are to be trained and spend the rest of your lives here."

With the fact that the Enterprise trio has an item around their neck that can provide them a good bit of pain, and with the fact that Spock and the others are still onboard Kirk's ship with no way of contacting the lost trio, is there any way that Kirk can get himself and his other two mates back onboard the Enterprise?

"The Gamesters of Triskelion" isn't in the batch with the absolute best episodes of The Original Series, but unlike most of the other reviewers, I actually like it. It contains some exciting fighting sequences, great voice acting, good lines, good enough acting, Kirk womanizing a beautiful woman, and best of all, it's entertaining without being boring.

If you're an avid collector of episodes from Star Trek - The Original Series, I recommend getting "The Gamesters of Triskelion." However, if you're looking for only the very best episodes, you'll probably want to look past this one.

Avoid at all costs
Triskelion is quite possibly the worst episode from Star Trek, TOS. Nothing wrong with that -- they couldn't all be gems, and they weren't. The later ST-TOS episodes began to get trapped in a rut in which the characters were trapped on planet surfaces and tortured by cruel captors; whereas, in the earlier episodes, the villains were not all one-dimensional.

If you enjoy sadomasochistic themes, I suggest you try the much more interesting 3rd-season episode, "The Empath." And if you're a newcomer to ST-TOS, try "The Cage," "City on the Edge of Forever," "Other Side of Paradise," "Conscience of the King." Personally I am very fond of the unjustly-maligned "Man Trap."

The Enterprise crew faces lives as barbarian warriors
"The Gamesters of Triskelion" is yet another one of those Star Trek episodes where superior beings play with the crew of the Enterprise for their own amusement. Kirk, Uhura and Chekov suddenly disappear from the Enterprise to find themselves being held captive by a being named Galt who informs them they are now thralls, who will fight others for the amusement of the Providers, who are just a bunch of disembodied brains who like brutal spectator sports to keep themselves entertained. When the Enterprise shows up to rescue the trio and the Providers decide the humans should be destroyed, Kirk offers them a wager they cannot refuse: if he can beat three thralls then the Enterprise goes free; but if he loses the Enterprise crew will beam down and be the Providers play things. I guess sometimes the needs of the one (or the three) outweighs the needs of the many. But, seriously, I guess in the future living as a slave and dying in a barbaric arena is better than dying free. But I would like to debate the point a bit, I think. "The Gamesters of Triskelion" is a below average episode; even without Kirk's stupid wager we have seen this type of thing done before and done much better (e.g., "The Squire of Gothos"), although I must admit the chessboard fighting area is kind of cool. But set design is hardly a big redeeming value. ... Read more

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Best known as the episode featuring the first interracial kiss on television, "Plato's Stepchildren" remains a disconcerting story in which our Star Trek heroes are reduced to playthings for psycho-telekinetic fiends. The Enterprise proceeds to the planet Platonius in response to a distress signal, and find that a race of people with special powers live there, having created a society loosely based on that of ancient Greece. These Platonians can force outsiders to act against their wills, and when Captain Kirk (William Shatner) attempts to prevent the Platonian king from holding Dr. McCoy (DeForest Kelley) indefinitely, he and Spock (Leonard Nimoy), Uhura (Nichelle Nichols), and Nurse Chapel (Majel Barrett) are made to perform for their captors. Much discussed by the show's producers before shooting commenced, a kiss exchanged between Shatner and Nichols crossed a certain threshold in network television, where such a thing had been previously unimaginable. Still, Shatner's own recollection (from his memoir, Where No Man Has Gone Before) is accurate when he states that the scene is so compelling dramatically that the color of the actors is almost beyond notice. What does not go unnoticed, however, is the sensitive performance of Michael Dunn, the dwarf actor best known as Dr. Loveless from The Wild Wild West.--Tom Keogh ... Read more

Reviews (8)

A bit below average, if groundbreaking, episode
Another menacing and sadistic 3rd season episode, this time involving an Ancient Greek-like people
with telekenetic powers. This is one of those episodes-there would be many more ahead--that doesn't have a lot to say. It is most noteworthy for the kiss between Kirk and Uhura (too bad it had to be forced upon them), the absurdly camp antics performed by Kirk and Spock in particular, and the icy malevolence of Parmen and his cohorts. Whatever moral the episode conveys could probably best be summarized as "absolute power corrupts absolutely." There's nothing very deep about the crew's 'escape' either, although they are able to teach Alexander some valuable lessons before they go.

Wonderful episode!!!!!
"Remember, Cupid's Arrow kills Vulcans."

The line above was spoken by Parmen, leader of Platonias. I like this episode because it is a very good episode. I highly recommend this to future Star Trek fans.

Watch this one for Michael Dunn, not the interracial kiss
Having always enjoyed Michael Dunn's performance as the evil genius Dr. Loveless on "The Wild Wild West" it is his appearance as Alexander that makes "Plato's Stepchildren" a memorable Star Trek episode for me, and not the infamous first interracial kiss on television between Kirk and Uhura (I think he missed her lips). The Enterprise responds to a distress call from Platonius and discovers the people have telekinetic powers. Finding McCoy's medical knowledge useful, the Platonians refuse to let him or the crew leave. After being forced to perform like fools, Kirk and Spock figure out that the source of the Platonians' power is a substance called kironide and figure out a way of turning the tables. I have read Plato and these people sure seem more like decadent Romans that heirs to the political philosophy outlined in "The Republic." Then again, you do get to see Spock trying to control his anger after being humiliated by the Platonians. But in the end this is Dunn's episode, achieving great pathos as the court jester of the Platonians because he is the only one with the power. Dunn and Shatner have a couple of very strong scenes together, no matter what you think of the rest of the episode.

A few good laughs keeps this episode from being a dud
There's an evil man named Plato who wants to use the crew from the Enterprise as entertainment once Dr. McCoy and the others refuse to stay on the planet with Plato and the Platonians. The only defense that Captain Kirk, Dr. McCoy, and even Spock have is to try and not pay attention to the powers that Plato and his servants possess. But their powers are stronger than expected. Plato and his sidekicks have the power to make people do things they don't want to do by controlling their minds.

"Plato's Stepchildren" isn't that good of an episode, it's basically just an average episode at its best. However, there are a few hilarious parts that keep it from being a complete dud, such as when Plato makes Kirk and Spock dance around foolishly, and when Spock just can't quit laughing.

I recommend any fan of Star Trek to at least watch "Plato's Stepchildren."

Exploitation is wrong, and so is Shatner's acting
I've got to give the show and its fine crew of writers credit where credit is due, not just for the impact of Kirk and Uhura's kiss (the first interracial kiss in television history) but for their overall message in this episode.

With the help of the unimaginally indulgent, remorseless Platonians, they sent across a substantial message in a flash of sparkling outfits, thick makeup (particularly in poor Chris Chapel's case) and Will Shatner's staccato and over-the-top acting:

Exploitation is wrong.

True, this is a lesson we all learned years ago in Kindergarten with the Golden Rule, but, not surprisingly, in the midst of the guilty excitement of gossip and the build-'em-up, tear-'em-down philosophy of the media, we all tend to wander from that message.

The Platonians used Kirk, Spock, Uhura and Chapel, putting them into humiliating, and what would have inevitably become fatal, situations purely for their own amusement. One can find similar parallels in the mass media market today. Indeed we do seem to receive some sort of pleasure in seeing some of our favorite actors, writers, personalities, etc. put into embarrasing situations.

Kirk and the gang, as always, represent the new world of equality, virtue and harmony throughout, even when consumed with hatred for their capturs.

One has to wonder just who the Platonians represent.

One Schlocky Note: Shatner slapping himself silly, cracking the whip, and...well just *being* in the episode seemed to be one big campfest for him this time. Congratrulations Bill, you should be proud. ... Read more

Reviews (1)

A Must See Superb Andy Griffith Collection of Barney Fife!!
In this classic 3 show Andy Griffith Collection starring 5 time Emmy winner Don Knotts as Barney Fife is as follows,1.The first show has Barney fixing up Andy with the fun girls that ends with hilarious results,2.This show has Barney becoming jealous of Opies affections with his girlfriend Thelma Lou again with hilarious results3.This show has Barney jealous of Gomer courting Thelma Lou and ofcourse agin resulting with hilarious results which makes this video overall a must see,superb Andy Griffith Collection of Barney Fife!! ... Read more

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"The Conscience of the King" is a memorable drama about a traveling Shakespearean troupe led by one Anton Karidian (Arnold Moss), who may or may not be the same man as Kodos the Executioner, former governor of a Federation planet who oversaw the mass murder of thousands of people rather than watch them starve to death during a food shortage. (Shortly after the deaths, Federation supply ships arrived and Kodos disappeared, right around the time that Karidian arrived as a classical actor touring the planets.) A nice twist: among victims of Kodos's wrongheaded mercy killings were relatives of Captain Kirk (William Shatner), adding a personal note to the mystery of Karidian/Kodos. Well-written (by Barry Trivers) and sensitively directed by a not-well-known but very interesting Hollywood filmmaker, Gerd Oswald. --Tom Keogh ... Read more

Reviews (8)

Great stuff
This Shakespearean episode, in which a father and daughter lead an acting troupe being transported by the Enterprise, is one of the most underrated. The episode has a very distinctive feel, from the opening shot of the bloody knife to the medieval-sounding musical score. The parallels between Macbeth (and other Bard works) and the episode are also quite intriguing. Themes explored in this thoughtful show include 1) the impossibility of escaping the past, and 2) the strength (for better or worse) of familial bonds. Add to this the fact that the episode is a murder mystery with three plot twists (one of them is admittedly revealed far too soon), and you have a winner.

Solid, superior 1st season episode with a few minor flaws...
Tightly written and expertly acted, 'The Conscience Of The King' foreshadows the recurring themes of Shakespeare used inventively in several episodes and incarnations of Star Trek. Here Kirk is a thinly veiled interpretation of Hamlet as he tries to determine the guilt or innocence of a suspected mass murderer and whether or not he can act on the scarce evidence at hand. Though the plot seems a bit farfetched - of 8,000 colonists on Tarsus IV only nine eyewitnesses can identify the planet's most prominent politician - the story is punched acrossed solidly with it's few obvious flaws sidestepped gracefully. As Anton Karidian/Kodos The Executioner Arnold Moss supplies one of the best character portrayals from the original series, and Barbara Anderson (of television's "Ironsides") is his equal as his daughter who comes unhinged in the finale.

A scientist who claims he has invented a food substance that will save the populace of another planet suffering a famine summons the Enterprise to Planet Q. Soon after they arrive though they discover the story is a ruse. The scientist, an old acquaintance of Kirk's, explains to him that he is certain that an actor in the traveling troupe visiting Planet Q is the infamous Kodos The Executioner. Kodos was responsible for the death of 4,000 colonists on Tarsus IV, a colony that both Kirk and his friend were part of when the massacre occurred; now some twenty years later only a few eyewitnesses who can identify Kodos remain alive. Kirk is skeptical at first but when his friend turns up dead and a consultation with the ship's computer reveals that seven of nine eyewitnesses have been murdered while the traveling troupe is in the vicinity, this coincidence persuades Kirk to arrange to transport the actors to their next destination. After attempts are made to kill Kirk and Lt. Riley - another eyewitness - the captain finally forces both the assassin and Kodos to reveal themselves.

While this episode is one of the series' better-acted and directed shows it painfully reveals the series 1960's origins. In attempting to proof that Karidian is actually Kodos Kirk uses information provided by the ship's computer and later a voiceprint analysis. DNA evidentiary findings weren't in vogue at the time of production, but certainly fingerprints were! And wouldn't a Federation appointed colony governor have been sufficiently processed by a clerical system to have some sort of records that could provide damning evidence too? Despite this glaring oversight the show succeeds in providing sufficient suspense and a terrific finale. Also contained within the story is another worthy round in the continuing Spock vs. McCoy ethical debates; eventually they confront the captain - both as friends and as staff officers - to determine his questionable motives, a scene that is handled brilliantly.

Note: William Shatner would later co-star with Barbara Anderson in an episode of Mission: Impossible (post Leonard Nimoy years); but the tables would be turned this time, as Ms. Anderson would set a trap for the villainous Shatner. By the way, does the figure seven of nine ring a bell to anyone?

Definitely one of the best episodes!
Conscience of the King is the 1st season Trek Original Series December 8th, 1966 episode. The story is that Anton Karidian a space touring Shakespearean actor may really be Kodos the Executioner who wiped out half of his colony (4000 people). Kirk is one of 9 witnesses, 7 of which have been killed, and Karidian and his beautiful daughter Lenore(Barbara Anderson of Ironside fame) end up onboard the Enterprise.

It's an interesting twist on the equivalent of a Nazi war criminal of the future, and a reference is made as such: "his own form of eugenics" "he wasn't the first".

And considering William Shatner's classical acting training, he must have loved the Shakespeare stuff in this episode. And it's hard to take your eyes off of Barbara Anderson, strikingly beautiful (oh I said that already) and great intensity in her acting. And the story offers a great twist at the end, not at all predictable. Watch also when Janice shoots Lenore a quick icy "get away from my man" stare.

Finally all acting here is first rate, and we even get to hear Uhura sing and play that guitarlike thing. And the final part is classic '60s Trek drama all the way: the "death scene" where Hamlet merges with reality, and the final thing with Bones "you really cared about her didn't you?...I have my answer."

A couple lines in the dialogue were definitely "Who's Afraid of Virginia Woolf" influenced as that film was out in 1966:
"later, latest, too late" and such. And even the sub-theme is a vague allusion being a woman who has lapsed into fantasy. This and the other best Star Trek Original Series episodes have that je ne sais quoi surrealism, intensity, intelligence, believability, creativity, and '60s style.

Kirk thinks he is on the trail of Kodos the Executioner
"The Conscience of the King" is surely one of the most dated Star Trek episodes. Just think: hundreds of years have gone by and Kirk has a difficult time trying to prove Anton Karidian, the head of a troop of actors, is really Kodos the Executioner. You think they would have known what forensic technology would be like before the end of the 20th century. The Enterprise can analyze planets from the far side of the galaxy, but cannot come up with a way of determining the identity of a human being. So there are only three people left in the universe who can identify Kodos. Actually, that's two after Kirk's old friend is murdered after the pair watch a performance by Karidian. Kirk then arranges things to get the troop on board, where he has to deal not only with the actor but his daughter, Lenore, who loves her father much more than she is attracted to the dashing Captain Kirk. The line "The Conscience of the King" is taken from "Hamlet," and certainly Kirk is placed in a similar position to the Danish prince in that he thinks he knows but he is not sure enough to take action. But since I have never really found the inability of the hero to act particularly enjoyable, this episode tends to drag a bit for me, despite the outstanding performances by the guest stars. Karidian is given a dignified presence by Anton Moss, while Lenore is played by Barbara Anderson, better known for playing Eve Whitfield on "Ironside." Anderson's performance in the shattering climax of this episode when her character goes over the edge is as memorable a piece of acting as any you see in any Star Trek episode. This is another one of those Star Trek episodes where the holes in the story are made up for by the performances of the actors. I know I have always enjoyed "The Conscience of the King" more than it deserved, which is why they call it the willing suspension of disbelief. However, it is depressing to think that in the future Shakespeare's plays will be performed by a half-dozen actors...

Slow Moving but Fascinating
The suspense isn't very engrossing and the mystery doesn't yield too much of a surprise, but the concepts in the episode are worth considering.

The actor that portray's Koridian does an excellent job and Bruce Hyde gets to ham it up again as the passionate, misunderstood, overeager Kevin Riley.

If you can sit through the slow moving story, this is actually a fairly good episode. ... Read more

Reviews (6)

Not that bad after all. Hey, at least its different.
Catspaw, an episode which employs Halloween frights (witches, black cats, etc.), was the first episode produced in the second season. There is a light, jaunty quality to both the music and the performances not seen during season 1. It's almost as if everyone gave a collective sigh when the show was finally renewed, and thought they wouldn't be as heavily scrutinized the next year. Whether or not this was a good thing is certainly open to debate, but there is no denying that the second season shows feel more relaxed and lighter than the first.

But back to Catspaw. This episode and the 3rd season opener (Spectre of the Gun) were the only episodes written with a specific airdate in mind. This was meant to be first and foremost a Halloween episode, and it does a decent job of providing some frights. (Spectre of the Gun aired within a day or two of the anniversary of the gunfight at the OK Corral.) But Catspaw is ultimately too reliant on a parade of gimmicks (that don't even frighten the landing party) to be engaging. Uninspired performances by Antoinette Bower and Theo Marcuse don't help any either. Other than the gimmicks, there just isn't much here; on the other hand, the gimmicks keep the show moving.

what are scotty and sulu doing?
spooky.these aliens control the minds of enterprise crewmen.the spooky begining with the enterprise crewmeber screaming youll all die! and then dying himself.scotty,sulu and mcoy are well....spooky when under the aliens control.the good alien is very dull.the ending is good too.

How broke was Gene Roddenberry anyway??
Now I know a TV series that was never popular with the network in the first place ain't gonna get much money, but c'mon. The best they could do was two puppets at the end that looked like they were stolen out of a garbage can in TJ? The black threads are so thick a child can point them out and laugh.

There's something familiar about that woman with the warlock
"Catspaw" is the Halloween episode of Star Trek, where the Enterprise discovers fog, witches and a haunted castle on Pryis VII. There they also find a warlock named Korob and his beautiful but definitely strange associate, Sylvia. The pair are visitors to Prysi VII themselves and want to learn about the technology of humans, apparently as a prelude to launching some sort of invasion. They demonstrate their powers when Sylvia holds a small pendant shaped like the Enterprise over a fire and the crew reports things getting suddenly very hot aboard the ship. This is one of the few times that Kirk relies on his good look and charm rather than his brain or his right hook to save the day. "Catspaw" does not amount to much as an episode, although we do get to see Kirk and Spock hung up in a dungeon and you have to chuckle at the Vulcan's characterization of the witches' curse as "very bad poetry." But the idea that "magic" is nothing but alien technology dressed up with smoke and mirrors, is a tad cliche, even for Star Trek.

Don't let the cat paw you to death
"Catspaw" is another one of the great episodes of Star Trek that used illusions as its main effect. This is the episode where you'll see the catwoman hang a U.S.S. Enterprise chain above a fire and it will heat the whole ship and its crew up till they're sweating. She uses everybody as a slave and when she gets mad, she will turn into a huge black cat. Kirk, Dr. McCoy, and Spock must find a way to get Scottie and Mr. Sulu out of their spell while they try to survive in the dark dungeon.

"Catspaw" is a great episode and anybody who likes Star Trek should get it. It has some of the best special effects of the series and it also has good acting. ... Read more

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Dr. McCoy gives babe magnet Kirk competition when the big-haired High Priestess (statuesque Kate Woodville in a form-hugging green wrap) of the runaway planet Yonada falls for the old country doctor, who has just been diagnosed with an incurable disease. Yonada is actually a spaceship in the guise of an asteroid, a kind of interstellar Ark on a trip to the promised land. A godlike computer known as the Oracle (voiced by James "Scotty" Doohan, minus the brogue) keeps the citizens in blissful ignorance and enforces its will with shock therapy, but it's dangerously off course and McCoy must break religious commandments and challenge his lover's will to set it right. A promising story that tackles dogma and blind faith is undercut by a timid script and a passionless affair (McCoy isn't getting married, he's negotiating a contract!), turning potential tragedy into just another shore leave fling. The episode earns its name from an inspired moment of poetic defiance: an aging citizen proclaims the truth in the face of the computer's wrath and dies in McCoy's arms. The rest of the episode never achieves the power of that moment. --Sean Axmaker ... Read more

Reviews (7)

For the plot is hollow, and I have seen much better
This one is pretty weak overall. The ultra-aggressive high priestess gets McCoy to marry her within a few days, but hours later, she encourages him to leave. The oracle has the ability to "zap" the boys, but when they go for the book at the end, it only yells at them, "NO! STOP!" Pretty decent idea, rather poorly executed, McCoy utterly passionless as the man "in love".

Longest title does not mean most content
This episode, featuring an oracle and a McCoy romance, is fairly weak. The episode has a schmaltzy, soap opera feel, and not much happens. The predictable, Oz-like ending with the now familiar digital twist doesn't help. Don't call me a hater, but one of the biggest problems-along with the dialogue and lack of action-is Deforest Kelley's passionless performance as a man in love.

McCoy is terminally ill so he decides to get married...
At the start of "For the World Is Hollow and I Have Touched the Sky" the Enterprise discovers an "asteroid" that is really a large spacecraft which Spock calculates is going to crash into a large planet. Kirk, Spock and McCoy beam over and meet Natira, the high priestess of Yonada (I am not sure if that qualifies as the name of the ship or the "planet"). She explains that their ancestors build the spaceship to move her people from one star system to another. Meanwhile, McCoy has an incurable disease and decides to stay on Yonada as Natira's husband and have a little fun before he drops dead. However, as soon as the "Oracle," Yonada's computer/god, makes McCoy one of the people (via an implanted device), he discovers that the sacred book of knowledge is really the owner's manual for the spacecraft. Of course, this little development has major ramifications for Yonada crashing into that populated planet and McCoy's fatal illness. The problem is that in terms of the latter this is just too convenient for my tastes. Then again, in terms of the former, did we not already see this during the third season in "The Paradise Syndrome"? I mean, we have one of the big three getting married while stuck someplace other than the Enterprise and an oblisk (yes, I know what word I could have used) of great power erected by an advanced alien civilization. For that reason this one has to lose another star. Certainly they could have come up with something more interesting for an episode focusing on Bones.

An underrated episode
"For The World Is Hollow And I Have Touched The Sky" is in my opinion an underrated episode of Star Trek. Dr. McCoy has been diagnosed with a deadly illness, but insists to accompany Captain Kirk and Spock to a planet. Shortly after reaching the planet, the Enterprise crew learns of a group of people who don't even know about any world other than the closed-in ship that they live on. Oh yeah, Dr. McCoy also falls for a woman on the planet.

"For The World Is Hollow And I Have Touched The Sky" has a few more plot elements to it, but I'll let you watch the episode on your own in order to find out what they are. If you like other episodes of Star Trek The Original Series such as "Return of The Archons," I would recommend purchasing "For The World Is Hollow And I Have Touched The Sky." It's an interesting and entertaining episode. It also has good special effects (for the time) and a great performance from everybody.

A lesser known, but interesting episode
The Enterprise crew land on a moving asteroid that is in the form of a planet on the interior and find it to be ruled by a computer, similar to "The Apple". At the same time, Dr. McCoy finds he has succumed to an incurable disease with less than a year to live. This is one of the few episodes shown with McCoy in love. Kate Woodville, who played the high priestess Natira, never had a very illustrious career and apparently quit the movie business long ago. A shame for such a beautiful and talented actress. She also co-starred with Kirk Douglas in Posse. ... Read more

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When their mission to secure a mineral trade ends in failure, a freak ion storm catches Kirk, McCoy, Uhuru, and Scotty in mid-beam-up and sends them to a parallel dimension where Federation leaders are as ruthless as the Klingons, and Star Fleet promotions are attained by assassination. They find themselves on an alternate Enterprise, peopled with evil counterparts to the individuals they know (all attired in glittery, glam-rock uniforms), including most famously an evil, goateed Spock whom Kirk must convince to overthrow the empire. Kirk and his landing party try to fit in with this crew of villains who are threatening with annihilation the planet where the mineral trade went sour, while searching for a way back to their world and fending off assassination attempts. "Mirror, Mirror" achieves the best of what Star Trek is capable, which is to say space opera brought to a high pitch by melodrama. Everyone appears to be having great fun turning their characters to the dark side, especially George Takei, whose evil Sulu beams when making his assassination attempt against Captain Kirk, and Leonard Nimoy, who makes Spock's shift from the meditative logician to the ruthless goateed one seem, well, quite logical. This episode in particular fueled popular culture in such a way that in some circles it is now impossible to sport a goatee without being called "the evil Spock." The story of the evil Spock is continued in the Deep Space Nine episode "Crossover." --Jim Gay ... Read more

Reviews (21)

The Logic of History
"Terror must be maintained or the empire is doomed. It is the logic of history."

The concept of an alternate reality, of a place where a decision I made has its alternative or counterpart, has always held scientific and philosophical fascination for me. The quotation above was spoken by Spock, the Spock of the Taryn Empire. The ruthless assassinations and blood letting as it exists in the alternate universe is only one indicator of how human decisions and manifest themselves in the future. Perhaps a dictatorship arose on earth where a democracy existed in our own time-line. Such would be enough to cause the eventual formation of the empire and the conditions under which Kirk, Scott, Uhura, And Mccoy found themselves to be playing. The concept of an abusive captain, a conniving and vengeful first officer, and a Gestapo-like security apparatus is not something we are accustomed to seeing on our own starships, and it speaks profoundly to humans' abilities to act as savages.

The episode is the first of its kind, and therefore some understandable and predictable faults must be pointed out. First, the transporter accident which caused the episode is not explained to our satisfaction, at least, not to mine. More fundamentally, however, there seems to be an underlying assumption that only one alternate reality exists. If each decision, or even each significant historical event has alternatives, does that not speak for numerous if not infinite realities? Yet this is not so much as hinted at. Too, there is the lack of history. I wanted to see more hints of imperial history, to better understand what makes a Vulcan killer or such a ruthless authoritarianism possible. These questions could not have been answered in anything less than a television movie, and such was simply not done with the first series. These defects are the reason the episode earns only four stars. Yet its moral, scientific, and philosophical assertions and implecations make it a show worth several viewings.

The Only Good Mirror Universe Story Ever.
While beaming back to the Enterprise during an ion storm, Jim, Bones, Scotty, and Uhura (William Shatner, DeForest Kelly, James Doohan, and Nichele Nicholas) find themselves transported into a Mirror Universe where the history of everything they know is altered. Here in place of the Federation, is an evil "Galactic Empire" where they destroy worlds that oppose them and the officers move up in rank by political murder of their comanders. In order to get home, they are aided by a woman (Barbara Luna) to fix the transporter and use the power of the warp engines to balance it for the four of them to beam back to their home universe where everything they know is waiting for them, aboard their Enterprise. But they have to hurry because the doorway between the two universes is closeing fast and they have only three hours to get the work finished and return home. Very well written episode with very good effects work.Written by Jerome Bixby. Directed by Marc Daniels. Music Score by Fred Steiner.

The best episode of the original series
This is my favorite episode of the original Star Trek series. Due to a freak ion storm, Kirk, McCoy, Scotty and Uhuru are beamed to an Enterprise in a parallel universe. In this alternate universe, there is no United Federation of Planets, but an Empire dominated by humans. Discipline is brutal, officers assassinate superiors to achieve rank and the mission is to destroy the Hulkans if they refuse to cooperate. One of the best lines ever to appear in Star Trek is uttered by Spock at the close, "It was easier for you as civilized people to behave as barbarians than it was for them as barbarians to behave as civilized people."
There are several memorable scenes, but one of the best is when the barbarians are forcibly placed in the brig. The rage exhibited by McCoy, Scotty and Uruhu is very realistic and I have always felt that the episode would have been better if there had been some treatment of the actions of the "evil" officers plotting while in the brig of the "good" Enterprise. Even though he is first officer of a ship whose purpose is to destroy uncooperative civilizations, Spock is still thoughtful, still fundamentally a Vulcan. One of the excellent spin-off story lines that could have been done would have been some explanation of how the Vulcans managed to acclimate themselves to serve an "evil" empire.
The final scene on the "evil" Enterprise is one that begs for a sequel. It is clear that the "evil" Spock will attempt to save the Hulkans, but the only tool he has is one that causes people to disappear without a trace. However, it is clear that Spock cannot save the Hulkans simply by making people disappear, at some point, the Empire will send other ships to destroy the Enterprise. It would have been fascinating to witness what happened once the "evil" Kirk and his group arrived back on their ship.
One of the best treatments of the science fiction staple of parallel universes, the acting in this episode is superb. The story line is intense, thoughtful and does not waver a great deal from the fundamental characters. Spock still considers the "evil" McCoy to be full of human weaknesses and Spock is still a Vulcan. A sequel would have been an excellent premise for a feature film.

Perhaps the most suspenseful episode
The 'real' alternate universe episode, featuring an evil Enterprise, is a real gem. From the spooky string music accompanying the ion storm at the start to the ensuing more dramatic music and orbit-change, Mirror Mirror has Trek's best teaser. It doesn't let up much thereafter. Drama is maintained throughout, as the good guys try to keep up with the wily machinations of Chekov, Sulu (even Sulu turns in a good performance here!), and just about everybody else. The gorgeous Luna also turns in a nice performance. The episode is very dramatic and threatening, yet by the end a hard-fought optimism has been interjected, thanks to some of Kirk's strongest salesmanship ever (he has to work on both the Harkan council and Spock here). By the end of the episode, I was totally absorbed, and even found myself believing that maybe good can conquer evil (certainly it's hard to imagine the 'evil' Federation ever growing strong in the first place with all that intrigue and double-dealing). It just goes to show how a good story can knock down our cynical defenses.

Ion Storms and Mirror Universes and Bearded Vulcans
Synopsis:

Caught in the beginnings of an ion storm, Kirk, McCoy and Uhura interrupt their negotiations with the Halkans for dilithium crystals, to return to the U.S.S. Enterprise. Scotty beams the landing party aboard as a burst from the storm hits the starship. The transporter malfunctions, sending Kirk, McCoy, Scotty and Uhura into an alternate universe. In this world, they soon discover the "Galactic Empire" is maintained by fear and assassination. Now, aboard the Imperial Starship Enterprise, the four must find a way to remain undetected until they can return to their own universe.

Meanwhile, the mirror versions of Kirk, Scott, McCoy and Uhura have been beamed on board the positive U.S.S. Enterprise. Their behavior is so different from their counterparts that Spock immediately realizes something is wrong. He had the four imprisoned until the transporter could be checked and repaired.

On the I.S.S. Enterprise, the mirror Chekov is foiled in an attempt to assassinate Kirk. When Kirk refuses to give an order to destroy the Halkans, who have refused to give up their dilithium crystals, the mirror Spock becomes suspicious.

The Imperial Fleet sends a secret message to the mirror Spock, telling him to kill Captain Kirk and assume command of the starship. Finding an unexpected ally in the mirror Spock, Kirk continues to stall while his three comrades gather the information needed to send them back to their own universe.

Mirror Spock has no desire to become captain, and therefore a mark for assassination. Along with Lieutenant Marlena Moreau, who wants the mirror Kirk back because she is "the Captain's woman," they help return the four U.S.S. Enterprise officers to their own world. Before he goes, Kirk talks to the bearded Spock, telling him the advantages of a Federation-like system over the anarchy of this universe. Spock seems almost convinced that he should in fact get rid of his Kirk, seize control of the I.S.S. Enterprise, and manipulate the Imperial Starfleet into working toward a more civilized universe. ... Read more

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This episode is an absolute must for fans of Star Trek's recurring shirtless-Kirk-being-tortured motif. Kirk, Spock, and McCoy are taken to a strange laboratory and tortured by powerful aliens while a mute woman is forced to watch--a woman whose empathic abilities are being put to the test. There is, of course, a broader scheme to it all--this is one of the early manifestations of Trek's eternal conflict between the needs of the many and the needs of the few, or the one. Keep an ear out for one of the all-time great Bonesisms ("I'm a doctor, not a coal miner!") and hang on to those fragile but oh-so-important human emotions. --Ali Davis ... Read more

Reviews (11)

Testing the bonds of friendship between Kirk, Spock & McCoy
"The Empath" is certainly one of the most intimate episodes of Star Trek on so many levels. The Enterprise arrives at a star system that is about to go nova to pick up a scientific team. Kirk, Spock and McCoy have just found the station abandoned when they are suddenly transported to a huge cavern. There they find the corpses of the scientists and a mute empath, who McCoy names Gem. The mystery as to what is going on is solved when two Vians appear and explain they are doing experiments which consists of torturing Kirk and letting Gem heal him with her empathic abilities. When the Vians return for more tests, McCoy sedates the others and goes in their place. Kirk and Spock awake to find the doctor dying, with Gem his only hope. There have been a lot of Star Trek episodes where superior aliens test humans, but in "The Empath" the Vians provide a surprise and interesting twist. It seems they can transport the inhabitants of ONE planet from the Minaran system before its star explodes and while Gem's people are the most promising, the Vians must learn if she can sacrifice her self for another, which they call one of the highest qualities. So all the torturing has not been in the name of sadism, but rather to justify the horrendous choice of which planet of people to save. Of course, the two Earthlings and the Vulcan get high marks for their performance during the experiments. The strength of "The Empath" is the clear evidence of the strong relationship between Kirk, Spock and McCoy. Probably no other episode in the series focuses on the trio as much as this particular one.

Absurd premise, noblest of behavior
Some people refer to this episode as quirky in an attractive way. To me, the premise is just silly, although it shows the three main characters behaving in the most noble of ways. Kirk, Spock and McCoy are captured and the subjects of an experiment where the worthiness of a mute empath (Jem) is being tested. The star of their planetary system is about to nova and a technologically advanced species can only save the inhabitants of one of the planets. The Enterprise three are to be placed in danger, but separately, so only one is to be placed at risk. Using his advantage of having a hypospray to render the other two unconscious, McCoy puts himself at risk. Although they have the opportunity to escape, Kirk and Spock choose to go to the aid of McCoy. All of this is so Jem can experience the concept of self-sacrifice and prove the worth of her "people."
The problem with the episode is that no intelligent species would ever try to save a planet by performing dangerous experiments on another intelligent species. All they had to do was to approach the Federation and ask for assistance and a fleet of ships would have been provided, which could have saved the inhabitants of all the planets. The amount of time wasted in the test of Jem was enormous and there is also the problem of what they would have done if she had failed the test. Find three more humans to torture?
There is one redeeming feature of this episode, and that is the deep affection and personal loyalty that Kirk, Spock and McCoy demonstrate towards each other. Each was willing to die for the other, without hesitation and there was no thought about leaving their comrades to save themselves. More than in any other episode, we see that natural "human" trait of bonding with your comrades in arms. One can argue that a precondition for any species to achieve space travel is the ability of selected groups to function as a unit, willing to risk all for their comrades.
Therefore, despite my intense dislike of the premise of the experiment, I find the episode tolerable, although in the bottom third of the original series in terms of quality.

Something oddly appealing about this one...
maybe it's the bizzarro black void most of the episode takes place in. Love the Vians too, letting the boys think they can escape while they whole time they've got it under control. OK, so it gets a little slooowww at points, and i dont care for the original music score, which usually adds so much. But it's a pretty good story and one of the weirdest episodes of them all.

Another slightly above average, and original, episode
Here is another off-beat and dark 3rd season offering, in which the triumvirate spend their time in the dark with a mute 'named' Gem. We meet the Vians, some of the most frightening and sadistic aliens every encountered in the original series. Yet the refreshingly innocent Gem provides a wonderful counterpoint, giving a light to the episode despite the most minimalistic sets ever seen in TOS. Nothing is as it seems in this episode, and the most creepy and dreamlike scenes actually occur in the light (Kirk running in slow motion to Scottie). While the episode ultimately suffers from a thin plot and shaky motivations for the aliens, it is, like many episodes from the first half of the third season, refreshingly unique and stylistically more advanced than earlier episodes.

Friendship, Tension, Emotion - A Good Story
This is one of the first Series's best episodes. Friendship, sacrifice and a plethora of tensions make this a well written episode. Instead of goodies and gadgets, emotion and character assume the center of the stage.

Cheap to make? Yes. There were few special effects. The Vians weren't cute and cuddly, quite the contrary, they were cold, heartless and "alien". "Gem", the empath is silent but deeply insightful and talented.

This isn't the typical Star Trek pablum; a secret widget or gimmick doesn't save the day. The Genesis Planet doesn't bring anyone back to life. The Transporter doesn't make anyone young again. None of Dr. McCoy's special nostrums cure every ill, instead Dr. McCoy's character is revealed. Under the whiny exterior is a tough man who can call the shots and back them up.

What saves the day is Kirk's appeal to the Alien's vestigial sense of morality and right and wrong. Their only motive, to learn if the equally alien "Gem" is capable of self sacrifice and learning the noble virtues which in their view make civilizations worthy to survive. Kirk turns this around on the aliens, convincing them to demonstrate the very virtues which they prize by letting the men and Gem go.

On the road to this realization Kirk is tortured. Spock and McCoy vie for the position of the next victim. McCoy sacrifices himself for Spock.

It ends happily but enigmatically. We never learn if the Vians save Gem's race or if she survives. We do not learn if the three men are better friends for having suffered so together.

Would I change this episode? Slightly, some of the dialogue was sophomoric, but the story was far superior to most Star Trek episodes. I recommend this episode highly. ... Read more

Reviews (8)

A pivotal episode
An average episode, this one sees the enterprise crew reduced to salt (Styrofoam?) crystals for future use by the colonization-bent Kelvans. As others have pointed out, this is an interesting episode in that it has two tones. The events of the first half are frightening (although not as eerily stylized as 3rd season shows), as Kirk seems powerless to prevent the Kelvans' cold blooded homicide and control of the Enterprise. The ominous sense that anything goes is augmented by the surprising turn of having a female crew member killed. The tone changes dramatically in the second half of the show though, as the remaining crew exploit the Kelvans' newfound emotions, with entertaining results. These scenes are not just entertaining, but also insightful; it reminds the viewer that much of our own (only semi-successful) acculturation is devoted to reigning in our emotions.

But one wonders whether the blend of the dark and the comic seen here was for the best; it still worked here to some extent, but the episode's schism is somewhat jarring, and we're not quite as able to go along with the blend as we were in say Friday's Child, or A Private Little War. Why? Because a growing lack of introspection was beginning to border on cynicism. Did this gradual moral drift taint the show? Certainly the shows were becoming more calloused, a process that would accelerate in season 3. Season 3 certainly had other problems, but I believe some of the roots of future problems can be found, ironically enough, even in some of the strong episodes from season 2.

But back to By Any Other Name. Other pluses include Kirk's willingness to forgive even a defeated and cruel foe. And don't forget the lovely Kelinda.

Distant Galaxies
Synopsis:

When the U.S.S. Enterprise answers a distress call from a small planet, the landing party is captured by a group of agents from the Kelvan empire, located in the distant Andromeda galaxy. The Kelvans' purpose is to find planets suitable for colonization. However, their own ship was destroyed and now they need the Enterprise to make the 300-year journey home. To utilize the starship, the Kelvans â€" huge, tentacled creatures â€" take on human form. After several attempts at escape, Kirk accepts his fate and agrees to let the aliens take over his ship. The Kelvans use their technology to transform all but essential Enterprise personnel into small "cubes" which, unless broken or damaged, can be restored to human beings.

Recognizing that the Kelvans, in their new human bodies, are discovering human sensation and emotion, the remaining crew attempts to foster dissent amongst the aliens: Scotty succeeds in gettting one of them drunk, McCoy injects an irritant into another, and Kirk makes romantic overtures to the Kelvan leader's woman. With the Kelvans thus distracted, Kirk and the crew are able to regain control of the ship.

Kirk points out to Rojan, the Kelvan leader, that the Kelvans are already becoming less like they were before by encountering the humans. In 300 years, their descendants will be so human-like that they won't be able to live among their people on Kelva. Rojan sees the logic in his argument and sends a robot probe to Kelva, reporting what has happened. Pledging to restore the Enterprise crew, Rojan accepts Kirk's offer that the Enterprise find the Kelvans a Class-M planet to colonize.

Showing aliens how to be human beats being a cube
In "By Any Other Name" a group of Kelvans take ove the Enterprise using advanced technological weapons that allow them to reduce the crew to small blocks of chemicals until only Kirk, Spock, McCoy and Scotty are left (If you remember the comedian who did a riff on this episode, say the punchline to yourself now, please). Rojan, the leader of the Kelvans, wants to modify the Enterprise so his group can get back to the Andromeda Galaxy in only 300 years, at which point his descendants will inform their government that the Milky Way is suitable for conquest. Fortunately, the Kelvans have assumed human form, which means they are now susceptible to sensory inputs, a fact that Kirk and the others seek to exploit. Scott introduces one Kelvan to liquor (the "green" type), McCoy slips them stimulants, and Kirk hits on Kelinda, while Spock helps Rojan experience the wonderful world of jealousy. It is rather surprising that "By Any Other Name" goes the comic route, but it does get pretty funny. You know, it is important to have fun when you are out trekking around the universe on a five-year mission.

A great episode that can stand repeated viewings
This is the one where aliens take over the Enterprise. They compress them into these strange cubes of salt or some alien substance. It was fun to see the crew take advantage of their human form and use human weaknesses as a means to prevent them from taking over the ship. These aliens did take human form for a temporary amount of time. To fool Kirk and crew of course. All in all it's one of those episodes that you can watch again and still find it good.
Especially the scene where Scotty gets the alien drunk.

Terrible
I've always considered this episode to be one of the worst Trek Classic episodes. The writing is just plain bad (a low point in Jerome Bixby's career. Interesting that he also wrote "Mirror, Mirror", one of the best episodes, as well as "Day of the Dove" and "Requiem for Methuselah", two bright lights in the otherwise dismal third season).

The concept of the story is good, but the execution is an embarrassment for Star Trek. ... Read more

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"Space Seed" introduced Khan Noonien Singh (a viperlike Ricardo Montalban) to Trek lore. The trouble begins when Kirk and crew discover a derelict ship and its crew of 70 supermen aboard, all in suspended animation. Led by Khan, these strange people turn out to be the product of genetic experimentation in the 1990s and instigators of a so-called Eugenics War, i.e., the Third World War on Earth often mentioned on various Trek programs. Though displaced from his more violent time and place, Khan quickly overcomes his disorientation and shifts into conqueror mode, rapidly overtaking the Enterprise with the aid of a comely Federation historian who is swooning at