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Clint sings! This memorable Rawhide episode steers off the cattle-drive trail for an often-comical story about a snake-oil hustler's redemption. Buddy Ebsen guest stars as Dr. Stimson, a "Golden Remedy" purveyor, whose pitch wagon is attacked by Indians. Rowdy Yates (Clint Eastwood) rides to the rescue, but in the ensuing skirmish one of his men, Frank Miller, is killed. The drivers pitch in to send money to Frank's widow and two children, but Stimson has a plan to raise the stakes. Feeling that he "owes this boy's family a debt," he suggests a way to turn the tables on a local crooked poker game (run by venerable character actor Jack Elam) using Mushie (James Murdock), thefrontier Gump, as the "pigeon." This being Mushie, the con is soon discovered, but Stimson has another ace up his sleeve. When his estranged wife (Joan O'Brien) arrives to announce she is remarrying the more respectable Sam (Hugh Marlowe of All About Eve and The Day the Earth Stood Still), Stimson convinces her to impersonate the popular singer Jenny Lind and perform a recital. Yet another setback finds Stimson, Rowdy, and the boys alone to face an audience of increasingly agitated high-paying customers. "Rowdy," suggests grizzled cook Wishbone, "why don't you go out there and sing?" This is an atypical Rawhide episode, but one that pays off in unexpected, off-center moments. And Ebsen, for one, is in his element as the folksy, fast-talking Stimson. --Donald Liebenson ... Read more

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Rawhide should be on DVD. DVD please!
I recently read that Rawhide was one of the most popular TV western series of all time. They should put the Rawhide series out on DVD. They're converting all the other old TV series out on DVD, why not Rawhide? Also, there were about 270 one hour episodes made in seven or so years. Think of the all that great western footage from the golden years of Eastwood and the Western! I saw a short clip of Rawhide on the Eastwood documentary 'Eastwood-the Man from Malpaso' , and even that brief scene was good, so you know there's some good stuff hidden in all those episodes. ... Read more

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The Hot Number and The Suburbia Affair
The Hot Number Affair is an episode about a dress( a hot number) with a pattern that is a secret code and the Thrush people want it.This episode is built around pop singing duo Sonny And Cher who play Jerry and Ramona.Ramona(Cher) wears the "hot number" and doesn't remember where she left it until it's brought in from the cleaners.Jerry(Sonny Bono) designed the hot number that Ramona wears and Jerry has a crush on Ramona.The popular Sonny and Cher song "I Got You Babe" plays in the background.The stock music uses kazoos throughout the episode which may be irritating to some but I found it to be humorous.
"The Suburbia Affair" has Napoleon and Illya move temporarily to the suburbs.These two guys even divide up the household duties on cooking and cleaning.The so-called milkman sends them milk that appears to blowup.What a mess for them to clean up.Illya even gets to drive a ice cream truck.In one scene Napoleon and Illya almost sound like an old married couple when they begin to argue.I've seen a episode guide on "The Hot Number Affair" as an worst offering of the series.To me it's not that bad of an episode for 1967 compared to what tv executives put on nowadays. ... Read more

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A planetoid called Alpha Memory is chosen to become the Federation's official library, and Lieutenant Mira Romaine (Jan Shutan), charged with transferring records to the site's computers, is en route to that destination aboard the Enterprise. Along the way, she acquires a new beau in the adoring Scotty (James Doohan), and big trouble when the collective consciousness of the Zetars, a lost and disembodied race, attack the Alpha Memory project and take possession of her and her voice.

Not surprisingly, the story was written by someone who knew a lot about projecting personalities and voices into hapless third parties: puppeteer Shari Lewis and her husband Jeremy Torcher, both big fans of Star Trek. Typical of the original series' troubles with ever-shrinking budgets, the Zetar entities are represented as mere colored lights, an adequate effect improved immensely by the scary-dramatic context in which they appear and by a good vocal performance by Barbara Babcock (lately of Dr. Quinn, Medicine Woman) as the merged creatures. Shutan is just fine as the comely librarian, and Doohan is great in his impassioned-Scotty mode. --Tom Keogh ... Read more

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Worst episode of them all?
I'm sorry, but it doesn't get any worse than The Lights of Zetar. I have always thought this one was neck-and-neck with The Mark of Gideon for worst episode, but I watched it recently and really tried to like it. But come on... First of all, Spock says one ridiculous non-Vulcan thing after another through the whole episode. The whole cast appears to have given up...Scotty's assessment that one more phaser blast will kill Mira is thereafter taken as fact, even by Spock. The first half has some potential to be spooky...a planet full of dead people, a dying lady turning colors and talking weird (nice respect for the dying, Kirk, as he points at her like she's a freak). But nothing is ever developed, and it's not like they didn't have time...that scene in the briefing room where they match the brain waves is interminable! Seriously, that has to be the longest, most boring scene they ever shot. The whole episode drags on with pointlessness instead of exploring any interesting storyline. Even affectionate Scotty, endearing at first, get a little old. Weak.

Better than That Which Survives
Yet another dull and pointless episode, this one sees Scott's newfound-love (Mira Romaine) possessed by an alien life form represented by shimmering lights. Scotty's romance plays only slightly better than McCoy's earlier in the season; whereas McCoy's romance seemed flat, Scotty is over the top, acting out of character. At least Jan Shutan's stiff performance provides some counterpoint! The episode has few highlights other than the romance and the disturbing scene on Memory Alpha. While the concept of the 'distilled spirits' of a dying race is interesting enough, the cold-hearted treatment of the aggressors (see Wink of an Eye for a similar example) betrays the shows loss of idealism. Compare this to the humanity Kirk showed in say, Space Seed or By Any Other Name, in seasons 1 and 2. The episode simply has no message.

Plot gaps are also intolerably large even by Star Trek standards. Why do the Zetarians do so much more damage on Memory Alpha than on the Enterprise? What is special about Memory Alpha to the Zetarians? How does Kirk know pressure may kill them?

One plus about the episode is that it has the quirky style of many early 3rd season shows; although there is no original music here, this episode features music and even shots from a variety of episodes (revisiting the Where no Man has gone Before soundtrack was an interesting decision [given the parallels to that episode], and they were running out of money after all). The close up shots of her eye were also kind of interesting. When such minutiae are the best thing going for an episode, it's got problems.

The final scenes features the type of repartee and character discussion that were almost absent from season 3. Noteworthy though is a lack of warmth in the dialogue, which actually seems to extend to the actors themselves (excepting the irrepresible Shatner). Perhaps the others could no longer put their hearts into these weak shows and their improbable dialogue; perhaps the weak shows further strained the relationships between the cast.

Wh at Am I Missing?
I am sorry, fellow Trek fans. This is one episode that I simply can't stand. Don't be mad! Maybe I have no taste! But I do find it schlocky and the music is so terribly repetetive!

I have made these comments before for what they are worth but I have always loved the incidental music on Star Trek on some episodes but I find this episode is overkill.

For fans only. Not particulalrly bad but definitely not a masterpiece.

The closest thing to a Star Trek horror story (with holes)
As a kid, I always thought this episode was one of Star Trek's scariest, with pseudo-demonic possession, malevolence galore, and the ever-present Star Trek drama. As an adult, I find the episode still scary, but you must be willing to suspend disbelief and ignore the gaping plot holes.

"Lights of Zetar" had the potential to be one of the best episodes ever, but I believe third-season budget constraints and the pressure to deliver the script on time may have damaged it's credibility. How could a hyperbaric chamber "kill" gaseous entities capable of warp-speed? Too many plot holes; nevertheless, this episode still gives you the willies. A Trek-lover must-have.

The Enterprise encounters another killer cloud in space
"The Lights of Zetar" finds the Enterprise heading for Memory Alpha, a repository of accumulated knowledge which must be the Federation's version of Asimov's Foundation facility, when an energy cloud appears. After knocking out Lt. Mira Romaine on the ship, the cloud attacks Memory Alpha, kills most of the researchers and wipes out the computer memory. When the Enterprise finally catches up with the killer cloud it is clear that there is some weird link between it and Romaine. Eventually Kirk gets around to exploiting it in order to figure out what is going on and what to do about it. This is one of those Star Trek episodes that just strikes me as rather lame. Although the set up is certainly interesting, the explanation is unsatisfying and the resolution is a bit extreme on several levels. I know for sure that Jean-Luc Picard would not have wiped out an entire race of beings like this, even if they are already "dead." Besides which, I do not think energy clouds would be that easy to defeat. "The Lights of Zetar" was just another nail in the coffin for the show during its third and final season. ... Read more

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"Operation: Annihilate" is undoubtedly the only science fiction drama inhistory in which the requisite Scary Monster resembles a three-dollar itemfrom a novelty store--specifically, a rubber puddle of fake vomit. Moreover, theshooting locale for much of the story, which is set in a research community onthe Federation planet Deneva, brings to mind the plush, friendly, L.A. exoticaof Frank Capra's Shangri-La in Lost Horizon rather than anextraterrestrial outpost. Having said all that, however, this episode isdeservedly a minor classic that becomes most interesting in its final act.Rushing the Enterprise to Deneva is Captain Kirk (William Shatner), whosebrother Sam and his family are among the victims of an unknown invader thatfeeds on human nervous systems, driving people wild with pain and ultimatelykilling them. Once arriving, Kirk's problems are compounded when Mr. Spock(Leonard Nimoy) is attacked by one of the nasty "flying pancake" killers (blobbycritters of the aforementioned fake-vomit variety). The script (by Steven W.Carabatsos) feels as if it did not survive the series' editorial committeeprocess intact. There's a certain amount of obvious padding in the action, whilenext to nothing is made, dramatically speaking, of Kirk's discovery of his brother's fate. The best bits are reserved for a story twist in which Dr. McCoy(DeForest Kelley) develops a cure for Spock's ailment that is almost as bad asthe affliction. --Tom Keogh ... Read more

Reviews (4)

Flying Pancakes
The string of winning episodes finally came to an end in the final show of season one, which concerned pancake-like creatures that attack Spock's central nervous system. This was by no means trek at it's worst incidentally; just a step down from the prior six shows produced. The episode feels more like a second season episode in that it lacks the complex themes of its precursors; still it manages to work in a loss for Kirk and the effects that physical pain can have on the way we present ourselves. (As an aside, one thing that does connect this episode with season one is the slow pace at which the story develops.) This is one of those shows though that despite a disturbing premise doesn't have a lot to say in the end, and relies on a gimmick for the ultimate resolution of the conflict. Also dulling are the absence of significant guest performances and the un-engaging sets; both may well have been due to both empty coffers and fatigue at this point. Virtually everyone involved had certainly laid it out there in season one, both in terms of effort and sincere emotional investment; it wouldn't always be that way.

Tidbit: Both of the dead Kirks would appear in other episodes: the elder 79 times as Captain Kirk, and the younger once as Tommy Starnes in And the Children Shall Lead.

Attack of the giant brain cells on the planet Deneva
In "Operation--Annihilate!", the last episode of the first season, the Enterprise arrives at the planet Deneva in time to see a spaceship fly into the sun after the pilot cries out that he is finally free. Things are equally strange on the planet, where a mob attacks the Away Team. Then Kirk learns that his brother Sam is dead and his sister-in-law and nephew have been infected by strange creatures that sort of look like killer blood cells with little tails. While trying to capture one of the creatures for testing, Spock is attacked; the creature tries to control the Vulcan through his nervous system, causing great pain. So it turns out the creatures are more like giant brain cells (with little tails). Meanwhile, McCoy tries to figure out why flying close to the sun freed the Denevan pilot from the creature's control. On the one hand this episode has several very emotional moment, when Kirk discovers his brother is dead and when McCoy realizes he did not need to blind Spock to free him from the creature. But on the other hand this "inner eyelid" bit is just too damn convenient, even for television/science fiction. You would think between the Science Officer and the Chief Medical Officer they would know enough about the scientific method and the correct way to perform scientific experiments in your own lab to avoid making such a horrible mistook.

Can Kirk and the crew make this a successful operation?
"Operation-Annihilate!" is a solid episode for the original Star Trek series. Captain Kirk and the crew beam down to the planet Deneva and find out that Kirk's brother, Sam, has been killed and that his nephew has been injured by some alien force. They soon find a bunch of little creatures that are one-celled organisms. One of them get Spock and he is immediately taken to Sick Bay onboard the Enterprise. Being a Vulcan, Spock learns to control himself and says he must get one of the creatures onboard to study it. Kirk, Spock, and McCoy later decide that they are only cells of some larger alien. They must find a different way of destroying the creatures on the planet without having to kill every person that has been infected by them.

I recommend getting "Operation-Annihilate!" so you can find out how the U.S.S. Enterprise crew will destroy the creatures and cure Spock of the disease. My only complaint is that you never get to see the alien that these cells come from. But other than that it's a good episode. It features some of the best acting by Spock.

This episode gets a C+ grade and is ranked 47th out of 80
Arriving at the planet Deneva, home of Kirk's only brother Samand his family, the U.S.S. Enterprise picks up a transmission from aDenevan pilot who has steered his craft into the sun to destroy some unknown menace. ... Read more

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Written by renowned novelist-screenwriter Richard Matheson (The Incredible Shrinking Man), the outstanding episode "The Enemy Within" proposes a transporter malfunction that results in Captain Kirk being divided into two versions of himself, one aggressive and brutal, the other sensitive and good. Essentially, the personality mix that makes Kirk an effective leader and balanced man is scattered like so many marbles, and the result is one captain running around mauling women and wreaking havoc while the other is frightened and indecisive. The production is very effectively done, and William Shatner's performance is among his most interesting. --Tom Keogh ... Read more

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The Good Kirk Plus The Bad Kirk Equals Captain Kirk
"The Enemy Within" proved early on that William Shatner could certainly act when the spirit moved him; maybe the key factor was not playing Captain Kirk, per se. When Kirk beams back from Alpha 177 a transporter malfunction splits him into two halves: one good, the other evil. When Spock and the others catch on that there are two Kirks they are forced to leave Sulu and the rest of the landing party stranded on the freezing planet. Meanwhile, Yeoman Rand finally has a close encounter with the Captain, which turns out to be not all that enjoyable. Yes, it makes absolutely no sense for the transporter to split Kirk's personality in half like this, but that is why they call it science fiction (besides, the transporter was just a cheaper way of showing the crew getting to planets than doing special effects with shuttle crafts). Plus we get the philosophical discourse on how Kirk needs his "evil" side to be a good starship captain. "The Enemy Within" is an above average episode.

Human psychology clashing with technology
Human psychology takes center stage in this episode. A transporter malfunction creates a second Captain Kirk by siphoning out essential characteristics of his personality. Since only negative characteristics are placed in the copy, it is a feral creature, dominated by lust and other primitive emotions. The episode is well acted by all three of the principle characters, Shatner as the good Kirk appears properly drained, showing progressive weakness as he loses the will to command. However, his best performance is when he is playing the feral Kirk, fearful, yet full of animal vigor. Spock serves as psychoanalyst, properly dissecting the Kirk personas as he physically observes both parts. The crankiness so characteristic of McCoy begins to emerge.
It is in this episode where we are introduced to two fundamentals of the show. The first is the appearance of the rivalry between Spock and McCoy and the second is the first use of the Vulcan neck pinch to subdue the evil Kirk. The first time we see the rivalry is when Spock goes to the captain's quarters to investigate McCoy's assertion that Kirk is acting like a "wild man." Kirk's response is that the doctor is putting you on again, stated so routinely that it speaks volumes about the relationship between Spock and McCoy.
However, it is the mind of the captain that makes this story. We see the powerful Kirk vulnerable and afraid, and it is easy to see those two sides in our own personalities when we watch it. We all have our animal sides, and for most of us it rarely surfaces. Which is quite healthy, as a normal person is as repulsed as Kirk when it appears.
An episode that begins to flesh out the two other major characters and also the first time we hear the memorial McCoy line, "He's dead Jim!", it takes an old theme of good and evil and packages them in one person, but two separate bodies. While it is not one of the very best episodes in the original series, it shows us a new way in which a classic story can be told. It also points out that human psychology will remain what it is and clash with whatever technology we manage to develop.

"Just give me the brandy!"
On the surface, "The Enemy Within" looks like another re-telling of the classic Dr. Jekyll and Mr. Hyde tale with the timid Captain James T. Kirk (William Shatner) and the animalistic Captain James T. Kirk filling in for the good doctor and his beastly half. However, this first season episode is actually more than that. It is a philosophical exploration of the complex duality of man and an illustration of how his good and evil sides taken together define his very being. It is also a gimmicky way to squeeze in double the Shatner for your viewing pleasure. Talk about getting good value in return for your viewing time.

The U.S.S. Enterprise experiences a transporter malfunction while beaming up a crewman from Alfa 177. After the transporter is inspected by Montgomery Scott (James Doohan), Captain Kirk is cleared to beam aboard. However, remnants of the planet's magnetic ore have been caught in the transporter system and leads to the materialization of a second Kirk. It turns out the two Kirks each embody distinct traits of the original - one personifies his good attributes while the other personifies his sinister attributes. Soon the crew finds itself racing against time to save the two Kirks and the remaining members of the landing party still stranded on Alfa 177 because of the defective transporter.

It may not be one of the essential episodes in the Star Trek canon but "The Enemy Within" still has a lot going for it. You get to see the good Kirk devolve into a whimpering mound of jello. You get to see the evil Kirk swilling down brandy. You get the see the two Kirks modeling different Captain Kirk outfits. You get to see what an alien planet looks like when your television series is working on a limited budget. You get to see a nice alien dog and a mean alien dog. Yet when you get right down to it, the bottom line is that you get twice the Kirk than you usually get. What more can anyone ask for?

Getting there
The Enemy Within-With this episode, in which a transporter malfunction creates two wildly different Kirk's, the show begins to hit its stride. Like many first season shows, this one is sharply focused on dynamics of human personality and interaction. We are shown subtle aspects of both the two Kirks, and the thought process of the rest of the crew as the relate to the new Kirk's. Such attention to internal details, for better or worse, really fell off in the 2nd and 3rd seasons as the show become more extroverted. As others have noted, Shatner turns in a nice performance here, although that absurd make-up they put on the male crew members for the early shows is kind of distracting in the close-ups. One other nice thing about this episode is that its central theme, concerning our dual nature, is not presented in an overly simplisitic way; by this I mean that even each of the two sides of Kirk are somewhat nuanced, and the description of how the two parts need to be together not overly cliché. Nevertheless, the show like many early ones, is way too talky. While the show was beginning to hit it's stride, it wasn't there yet; this episode does drag, and feels somewhat clunky despite a fair amount of action.

Kirk must face both death and his darker side
After a transporter decides to go haywire, Captain Kirk gets split into two halves: an evil, unforgiving half and a nice, intelligent half. Not only does the real Captain Kirk have to worry about his other, animal-like half, but he also has some men that are trapped on a freezing, icy planet with nowhere to go. Is it possible to manage a double take of the captain and get the two halves to equal one again?

"The Enemy Within" is compelling, and it provides good entertainment the whole way through. It also has great acting like always from William Shatner and Leonard Nimoy, and a memorable line from Spock. Not to mention that you'll see a now-famous maneuver from Spock the very first time it was performed, and something else in this episode that you'll never see in another show of Star Trek.

We must all face our darker side every now and then, but I don't think any of us have ever had to face ourselves the way Captain Kirk must do. I recommend any Star Trek enthusiast to add this episode to their collection. ... Read more

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While on the planet Gamma Hydra IV, Captain Kirk (William Shatner), Mr.Spock (Leonard Nimoy), Dr. McCoy (DeForest Kelley), and Scotty (James Doohan)are infected with an unknown disease that causes rapid aging. The only member ofthe party unaffected is Chekov (Walter Koenig), who becomes McCoy's guinea pigwhile searching for a cure back on the Enterprise. A nifty idea with somepoignant overtones, the story by David P. Harmon startles a viewer with thesight of these familiar folks rapidly graying, wrinkling, weakening, andsuffering memory loss. At the same time, Harmon is careful to age each characteras a unique individual, as in real life. Kirk slows down more than the longer- lived Spock, while McCoy remains mentally keen if physically brittle. As forpoor Scotty, well...the dramatic subtext in "The Deadly Years" concerns theperennial conflict over when and how to decide that someone has become too oldto carry out crucial responsibilities. In that sense, this episode feelsconstantly relevant and uniquely entertaining: Let's just say that some of theseactors play "old" a little better than others. (Director Joseph Pevney hasreported that there was a lot of conflict over who was stealing old-guy movesfrom whom.) With all this going on, one might not notice that guest star CharlesDrake is a truly familiar face, having appeared in such classic films as The Maltese Falcon and Now, Voyager. --Tom Keogh ... Read more

Reviews (6)

Another strong show
This episode, in which the crew experience accelerated aging, is another winner. The best thing going for this show is the most simple; it's a good story. Add to that the fact that it is developed nicely and at it's own pace, and you have another thoroughly engaging show, in which we actually feel suspense as to how the crew will get out of this jam. The acting performances are also enjoyable from the big 3 in particular. Certainly the best job done by the make-up team as well; the aging was quite convincing given how low budget and low-tech Trek was.

While Commodore Stocker predictably fails, at least he is presented as a reasonably likeable Starfleet Official and one capable of being self-critical. The court-martial scene was a good idea, but it was far too drawn out at 10+ minutes; we did not need to have each of Kirk's recent foibles pointed out to us again!

This episode does a really good job of exploring how aging not only affects one's mental performance but also one's ability to gauge their mental performance. When we are young and thinking clearly it is so difficult to accept that as we approach death some of us will not accept that our capacities have significantly diminished, and will go on driving, living on our own, etc. even when it is no longer safe to do so.

Where's Planet Viaga IV when you need it?
In this one the crew faces rapid aging like Spock did in Star Trek III. Only in this one it only lasts one episode. I wonder if the the actors compare the way they look in this and the way they look today. They are in as old as they were supposed to be in this episode. It's a good overall. It's a silly concept but has a good gimmick to keep you watching. I don't see how the process was reversed to keep the crew to their current ages, however it works for Star Trek.

Kirk might be old, but he's still got grit and gumption!
In "The Deadly Years," the Enterprise discovers everyone on Gamma Hydra IV has either died or is in the process of dying from old age. Back onboard their ship, Kirk, Spock, McCoy and Scott all begin to age rapidly as well because of some unusual kind of radiation. Meanwhile, there is a Commodore Stocker on board who forces Spock to relieve Kirk as being unfit for command and then does the same to Spock. But the Commodore has been flying a desk his entire career and in no time at all he has the ship in the Neutral Zone, surrounded by Romulans. Seeing all the senior officers in old person make-up is a bit hokey, but this is redeemed by Kirk's performance during his competency hearing and the way Kirk uses his earlier mistakes to save the day in a nice ironic touch. Usually when the writers come up with a gimmick like this they do not come up with a worthwhile story in which to play it, but that is not the case with "The Deadly Years."

Radiation Sickness ages the Crew.
While making a routine at a small science outpost near the Federation/Romulan border, A Landing Party discovers that the scientists have died of old age from some form of radiation sickness and now the same fate will happen to Captain Kirk, Mr. Spock, Dr. McCoy, and Scotty unless a cure can be found within 48 hours. Makeup artist Fred B. Phillips does a great job with applying make-up to the actors to have them look older in every new scene. Guest stars Charles Drake and Sarah Marshall also give good performances. Written by David P. Harmon. Directed by Joseph Pevney. Music Composed and Conducted by Fred Steiner and Sol Kaplan.

An episode you won't forget
"The Deadly Years" is definitely one of the best episodes of the original Star Trek. Kirk and the crew find some old people on a planet that say they are only 25 and 28. However, they look like they're in their 90's. Soon afterwards, the crew beams back onboard the Enterprise and discovers that everybody, with the exception of Chekov, that beamed down to the planet is turning old quickly. Dr. McCoy or somebody must find a cure for the disease before they die of old age in only a matter of a few days.

"The Deadly Years" features some of the best makeup of any TV show or movie from the 60's, and also some of the best acting. Captain Kirk and Dr. McCoy put on the two best performances, they will make you think they really are old and frail. "The Deadly Years" is a classic episode of the series and Kirk does some of his best commanding at the end of the episode. This is one episode you won't forget. ... Read more

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A real treat for long-haul Trekkers: "The Squire of Gothos" is an entertaining program in its own right and the obvious blueprint for "Encounter at Farpoint," Gene Roddenberry's pilot episode for Star Trek: The Next Generation. Guest star William Campbell plays Trelane, a bratty, impulsive alien given to wearing costumes appropriate for an 18th-century French aristocrat. Equipped with godlike powers that allow him to alter and manipulate the world around him, Trelane is the prototype of The Next Generation's beloved quasi villain, Q (John de Lancie). Like Q, Trelane regards the crew of the Enterprise as playthings, and when Captain Kirk (William Shatner) disrupts his games, the omniscient boy-man puts humanity itself on trial. Great stuff. --Tom Keogh ... Read more

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This is wonderful.
I like this movie because it's cool. I also like this movie because it introduced me to Trelane in the novel of Q Squared by Peter David. I also like how Trelane uses the enterprise crew as bate. I also like the surprise ending of this episode. I highly recommend this to future Star Trek fans.

One of the best of the original series and a harbinger
There are two ways in which this is one of the best episodes in the original Star Trek series. The first is that the crew of the Enterprise encounters a creature (Trelane) that can command great power, and that considers the Enterprise crew to be playthings. This premise is a very interesting one, because it is so plausible. We humans are culturally conditioned to consider ourselves to be higher level beings, but the law of averages as played out in the universe dictates that we are most certainly not. Our foibles, nature and actions could very likely be a source of amusement for beings capable of easily moving planets.
The other way is that it sets the table for some of the best episodes of Star Trek, The Next Generation, as the Q character is obviously modeled from Trelane. "Encounter At Farpoint", the first episode of TNG, involves humanity being placed on trial, much like Trelane's placing Captain Kirk on trial in this episode. Trelane has studied Earth history, but somehow doesn't quite get it right. Q and the members of the continuum also never seem to quite be able to accurately solve the human equation, despite their ability to treat time and space like some of us use a television remote.
I went back and watched this episode again after viewing the TNG episodes that involved Q. The episode is so well acted and the repartee dialog so well written that I found myself enjoying it more than I ever had before. I found myself wishing that Trelane had made a second appearance in the original series.

An Ill-Mannered Spock & A Nubian Prize
This is a delightful episode for those of you who like the conceptual side of Trek. This is the heart of Roddenberry's world. Abstract "beings" that represent life and energy unknown and quite different from ourselves, but at once sharing common ideas and situations that all living things encounter.

My favorite Trek intellectual "smackdown" comes from this episode. Leonard Nimoy's performance as Spock is priceless here. With deft coolness, pure Vulcan disdain, and a hint of human irritation, Spock says to Trelane, "I object to you. I object to intellect without discipline. I object to power without constructive purpose." This is perhaps one of Star Trek's most consistently repeated and implied underlying themes. A venomous, vitriolic jab - true - but totally eloquent and one of my favorite lines of the 20th century. Bravo, Mr. Schneider.

Also of note is Trelane's encounter with the lovely Lt. Uhura. He describes her as "A Nubian Prize." Bravo again Mr. Schneider. In 1966 I can think of many less than appropriate ways such dialogue might have been handled. This is timeless - even the little joke about "raids of conquest" is witty, clever, and charming. Not at all racist as it very easily might have been.

A fab episode, low budget to be sure, but jam-packed with smart stuff. A-plus!

Greetings and Salutations
Another bizarre and campy episode, this one features a spoiled child who has designed himself a baroque castle. Like the former episode, this one presents us with a phantasmagoria of seemingly random, if stereotypical, scenarios. The tone is more ominous here, however, thanks in large part to some well-conceived shots (such as the shadow of the noose during Kirk's trial). The castle's blend of gilded glitz with incomplete realization increase the sense of unreality.

Unlike later shows (most notably 3rd season ones), the unreality here is not dreamlike however. There is a sharpness about this episode; the dialogue is literal and more crisp than in most 3rd season shows, which often felt more detached non-commital and ambivalent, while being softer-edged and more atmospheric.

Campbell, who later returned for The Trouble With Tribbles also gives a strong performance. After a while the gags start to lose their novelty though, and the episode seems to struggle to fill time. Another possible critique (although it doesn't really bother me) is that the episode ultimately doesn't have a lot to say. Still most of us, at some point in our lives, have had the experience of having to jump through hoops at another's whim; there isn't always a lot of meaning behind that either.

Before Q there was Trelane
Long before the Next Generation there was a god like being who was Kirk's foil for once. Too bad he wasn't a regular character. Perhaps this is what Gene wanted with the original series and tried for this in NG...who knows. This episode is fun because Kirk has to outsmart a god who knows no bounds. He wants to keep the crew of the Enterpise as pets for his amusement. From a historical perspective you can see how Q in Next Generation is very close in character. ... Read more

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M*A*S*H adds B.J. and Colonel Potter to the comedy mix
At the end of the third season of "M*A*S*H" the character of Colonel Henry Blake was killed while flying home. At the start of the fourth season of the military situation comedy Trapper John McIntyre went home as well, which meant that the show had to replace two of the three most important characters on the show. As we see from these first eight episodes from Season 4 (including the one-hour season premier), "M*A*S*H" not only replaced those two character, it evolved into the first and still one of the finest dramadies in television history:

Episode 1-2, "Welcome to Korea" (Written by Everett Greenbaum, Jim Firtzell, and Larry Gelbart, Aired September 12, 1975) has Hawkeye (Alan Alda) returning from R&R only to find that Trapper has just been shipped home. Grabbing Radar (Gary Burghoff) and stealing a jeep, Hawkeye races to Kimpo hoping to catch Trapper before he leaves. They arrive too late to say goodbye to Trapper, but they do get to meet his replacement, B.J. Hunnicutt (Mike Farrell), from Mill Valley, California. On the way back to the 4077th the new M*A*S*H surgeon is introduced first hand to the Korean War. The transition to Hawkeye's new second banana is awkward and that awkwardness is made a part of this episode. Of course Frank Burns (Larry Linville) dreams of molding Hunnicutt into his sort of officer, but by the time the new Swampmates make it back, it is too late. 4.5 Stars.

Episode 3, "Change of Command" (Written by Jim Fritzell and Everett Greenbaum, Aired September 19, 1975) heralds the arrival of Colonel Sherman T. Potter (Harry Morgan), Regular Army, as new C.O. of the 4077th. Despite the fears of the others that Potter will not fit in, the old man proves himself to be exactly what this group needed. I remember thinking at the time that "M*A*S*H" should have left Frank Burns in charge for a few episodes, but it is hard to fault them for wanting to take advantage of having Harry Morgan in the cast each week. 4.5 Stars.

Episode 4, "It Happened One Night" (Story by Gene Reynolds, Written by Larry Gelbart and Simon Mutner, Aired September 26, 1975) finds the 4077th being shelled while the surgeons try to carry on. Clearly the function of this episode is to further initiate Potter and Hunnicutt into the world of meatball surgery under pressure. 4 Stars.

Episode 5, The Late Captain Pierce" (Written by Clen Charles and Les Charles, October 3, 1975), finds B.J. getting a phone call from Hawkeye's dad in the middle of the night wanting to know "how and why." In a horrible SNAFU, the Army has declared Hawkeye dead and informed his father. Adding insult to injury, because President-elect Eisenhower is in the area, all communication has been cut off and Hawkeye cannot let his dad know he is still alive. Meanwhile, a guy (Richard Masur) arrives to pick up Hawkeye's corpse. Written by the future creators of "Cheers," this episode is one of the first to sober up Hawkeye's character and his speech about giving up and going home because the wounded will never stop coming is memorable. 5 Stars.

Episode 6, "Hey, Doc" (Written by Rich Mittleman, Aired October 10, 1975) has the gang trying to help out Sgt. Kimble, who wants to go home on a slow boat from Pusan rather than an airplane so he can ship home supplies to open by a Korean Kafe. This is a standard military comedy episode with Hawkeye and B.J. wheeling and dealing to get things done. Okay, but nothing special. 3.5 Stars.

Episode 7, "The Bus" (Written by John D. Hess, Aired October 17, 1975) has the doctors returning from a medical conclave (i.e., poker game) when their bus gets lost and they have to avoid North Korean patrols. Nice little change of pace episode that reminds us there is no situation that Frank Burns cannot make worse. 4 Stars.

Episode 8, "Dear Mildred" (Written by Everett Greenbaum and Jim Fritzell, Aired October 24, 1975) finds Colonel Potter writing home to his wife. The "letter home" format serves the series well as it allows Potter's character to be developed as he comments on the oddballs of his new unit. To be followed by B.J.'s "Dear Peggy." 4.5 Stars.

While B.J. works his way into gang, Sherman Potter provides instant revitalization to the series. After all, the man is not going to back down from Frank, Hot Lips, Hawkeye, or anybody else, which really changes the dynamic of the 4077th. What we would clearly see is that Harry Morgan could handle not only comedy, but provide pathos as well. Arguably the most brilliant addition of a cast member in the history of television. Go ahead, argue with that one. ... Read more

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The Enterprise has dangerous cargo indeed: the Medusan Ambassador Kollos and his lovely telepathic interpreter Miranda Jones (future Next Generation star Diana Muldaur). It's a Trek twist on "Beauty and the Beast," a study in surfaces, assumptions, and secrets. The apparently hideous Medusans are a race of great culture, intelligence, and warmth, yet their appearance drives others to madness, while the cool, unemotional Jones (a Vulcan-educated human) brings out the beast in Kirk and McCoy, who pull out their best come-ons and flattery over a cozy dinner. (It's kind of satisfying to see babe-magnet Kirk lose his touch, but give the man credit: he never stops trying.) When an insane crewman sends the Enterprise deep into uncharted territory, only the navigational skills of the Kollos can save them, but it will necessitate a mindmeld with Spock and in that direction, as we know, lies madness. Nimoy breaks out of his Vulcan reserve as Kollos greets the Enterprise crew with smiles while channeling through Spock's body, but the episode highlight is Spock's jerky, bug-eyed attack of insanity, capped by distorted point-of-view camerawork and set to brassy stings of stock music. Shatner must have been jealous. --Sean Axmaker ... Read more

Reviews (7)

Another offbeat but excellent episode from season 3
Here's another 3rd season show (see the Paradise Syndrome and the Empath for other nearby examples) that was refreshingly original (it wouldn't stay that way). It involves the seemingly quotidian transport of an Ambassador too ugly (or is it too beautiful?) for the eye. We have a central character with complex and unique motivations, who is more than just a muse for Kirk's latest escape from danger. One of the most original scores of all Star Trek episodes, plus some very trippy fisheye camerawork and psychadelic special effects, contribute to the episode's unusual feel. This thoughtful, even cerebral episode, nevertheless has a couple surprising plot twists. Also admirable is the strong female character with her own interests and passions, whom the males (not surprising) attempt to control.
Like all 3rd season shows, this episode has faults. Muldaur is as wooden here as in Return to Tomorrow, Marvick is only there as a plot device, and both Spock and Kirk's failures to wear the visor are inexplicable (although for very different reasons).

Guest star Miranda Jones steals the show this time around
Nimoy gets an opportunity to break Spock out of character in "Is There In Truth No Beauty?" The Enterprise is carrying Kollos, the Medusan ambassador, back to his home planet. Although formless creatures, the Medusans are so hideous that looking at them drives humans mad (and apparently they do not mind being called by the name of the creature from Greek mythology). (spoiler) Reflecting on this episode I am struck by how love triangles on Star Trek were a lot more effective when they did not involve Kirk. Muldar's performance is at the heart of this episode and it is arguably the finest work by an actress in the show's entire run. Her scenes with Shatner are nothing compared to her clashes with Spock; I especially like the look on Kirk's face when Spock tells Miranda that while she can do almost anything a sighted person can do, flying a starship is not one of them.

A mediocre episode
"Is There No Truth In Beauty?" is a one of a kind episode of Star Trek. A computer-like alien and a blind woman who can only know where she's going or what's happening around her by the aid of places on her dress is brought onboard the Enterprise. The computer-like alien can drive anybody mad who looks directly at it while it's open. It can warp their mind severely and maybe even kill them. Spock and the Enterprise crew have to find out what's happening and find a solution to this strange problem onboard the ship.

I didn't think there was anything special about "Is There No Truth In Beauty?" The plot is somewhat interesting, but the episode itself is pretty dull and it's not really exciting or all that interesting. Overall, I think it's a mediocre episode and it's far from being one of the better episodes of Star Trek....

Another under-rated Trek show.
I liked the VulCan concept of Infinite Diversity and Infinite Combinations, and this epiosode where we meet the Medusians,beings made out of pure energy, and who are also members of the Federation. Diana Muldaur puts in a good acting performance`as DR. Miranda Jones.Written by Jean Lisette Aroeste.Directed by Ralph Senensky.Music by Alexander Courage and Fred Steiner.

This episode gets a D grade and is ranked 78th out of 80
In an attempt to adapt Medusan technology to Federation use, and vice versa, the U.S.S. Enterprise picks up Medusan ambassador Kollos, instrument specialist Lawrence Marvick and telepath Dr. Miranda Jones. The Medusans have a great beauty of character, but their physical appearance causes shock to the point of insanity in humanoids. When Dr. Jones turns down her co-worker, Lawrence Marvick's, proposal of marriage in favor of staying with Kollos, Marvick tries, unsuccessfully to kill Kollos. Instead, he is driven insane by a glimpse of the Medusan. He takes over the U.S.S. Enterprise engines, which he helped design, and drives the ship out of the galaxy into an indeterminate region. The crew experiences acute sensory distortion and Marvick finally dies. While the crew cannot pilot the starship back to the galaxy, it is possible that Kollos can, with Spock forming a mind meld. Kirk distracts Dr. Jones, who jealously objects to Spock contacting Kollos in this manner. Kirk discovers why Dr. Jones is able to gaze upon Kollos... she's blind. Using Spock's body, Kollos pilots the U.S.S. Enterprise back to its galaxy, but the Vulcan forgets to wear his protective visor when restoring Kollos to his box, and goes insane. Dr. Jones mind-links with Spock and draws the Vulcan's mind back to reality. She then makes a permanent mind link with Kollos and transfers with him to the Medusan vessel. ... Read more

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All the signs that Star Trek was creatively strained late in its third season (following the departures of key creative personnel and the absence of Gene Roddenberry's full attention) can be seen in "The Cloud Minders." David Gerrold, author of the hugely popular "The Trouble with Tribbles," conceived an almost Dickensian story about the exploitation of miners, called Troglytes, on the planet Ardana, and the way Troglyte labor enriches the lives of an aristocracy that literally lives in the sky, above the fray. Third-season producer Fred Freiberger wanted fewer ideas and more action, and he had another writer deeply revise Gerrold's notion that Captain Kirk (William Shatner) should broker positive change on behalf of the have-nots. The finished production finds Kirk more irritated than anything that a domestic problem is slowing his mission to retrieve zienite, a medicinal mineral. Meanwhile, Spock (Leonard Nimoy) uncharacteristically sniffs around an Ardanian cutie who flirts with him, and a ridiculous torture-the-space-babe scene belongs in a midnight movie from the 1950s. "The Cloud Minders" is like a junk-food snack: chunky in its organization and cheesy in its production values. --Tom Keogh ... Read more

Reviews (9)

Most Stylish, if not best acted Trek --- Fun!
Kirk and Spock just want to pick up some Zenite antidote from the
planet Ardana, and find themselves in the middle of a class war between aristocratic cloud dwellers and the subservient cave dwelling Troglytes.
Though later in the series, this was one of the more stylish, if not best acted episodes. Just about everyone gets to chew the scenery, (Count how many times different characters exclaim "For What Purpose?") Costume designer William Ware Theiss's creations leave you wondering how they stay on, and Spock gets to flirt with Droxine, the sexy daughter of High Advisor Plasus.

Bad Trek, Good Trek
Again, Star Trek, even when it is bad, is still pretty good.

This episode is no exception. It keeps your interest, has social implications, and features outstanding acting by William Shatner (one of Hollywood's greatest).

The Cloud City concept is interesting, and the episode features good use of a NASA photo taken from the Gemini capsule of canyons on earth.... as a Troglyte falls to his death.

I never felt Spock was getting Frisky with Droxine... I merely felt he was feeling his human side come out, and it was at best a mere flirtation. Besides, Spock really does have "exquisite ears."

Nothing seriously wrong with this above average show
This episode, concerning a socially and
vertically stratified society of mine and cloud dwellers, temporarily staunched the haemorraging occurring at this point in the 3rd season. While not exactly action-packed (not many 3rd season shows were) this episode has an ebb and flow lacking from many of its contemporaries. The premise is also interesting enough, with obvious implications for our own society. The decision to take on the nature vs. nurture question was all admirable. While they were of course correct to pick nurture, the zenite quick fix was a copout. Obviously those deprived of knowledge for generations will require some time to get up to speed (the same could be said of Uhura's experience in the Changeling).
While the Spock romance was out of character, I didn't find it totally implausible or regrettable. They did seem to have a rapport, at least. The episode is hurt by weak performances from the other two guests though.

Tidbits: Production was getting really sloppy by this point. For example, after the crew have been corralled on the planet's barren surface, Kirk is heard to utter through totally unmoving lips, "Who are you? What is the meaning of this attack?"

Mind you head - these clouds are lower than they look
In this, the 74th Star Trek episode, we find the Enterprise travelling to the cloud city of Stratos on the planet Ardana to get a rare mineral to help stop a plague on another planet.

Classic Trek has told stories about two different civiliztions clashing before, and this one holds very little surprises. The upper crust of society lives in a city held above the planet's surface by powerful anti-gravity generators, while the lower class toil in the mines below to gather the mineral wealth of the planet that they are not allowed to enjoy.

The stereotypical plot lines of the story almost detract from the rather heavy handed message that the episode is trying to get across - that all people are people, and should be treated with the same respect. The seperation of the ruling class from the working class is emphasized too much by things like the city floating gently far above the troubles they create.

The reason that the Troglytes (short for Troglodites?) have a retarded intellect and violent tendencies is their constant exposure to a gas that the mineral produces, and not anything actually genetic. McCoy finds out that they are the same race. Plasus, the leader of Stratos, resists giving the Troglytes gas masks to help filter their air until Kirk forces him into a situation that exposes him to it directly, in clear violation of the Prime Directive.

One of the only saving graces of this episode is Spock's obvious interest in Droxine, the daughter of Plasus. Spock get her to finally agree that the Troglytes might be her intellectual equals despite their contant exposure to the mineral gas.

I would have liked to see a story about what happens to this civilization after the major society changes that Kirk and crew just about forces on them, but that is impossible now except in the non-canon Star Trek books.

My score - 5.5 out of a possible 10 (1/2 point for Spock's interest in Droxine).

For ST-TOS diehards only
Discovering Amazon's second-hand buying/selling service has allowed me to stock up on ST-TOS episodes that I had deliberately ignored in the past. "Cloud Minders" is one such episode.

In all honesty, 3rd-season ST-TOS episodes are nowhere near as bad -- nor 2nd-season episodes as good -- as the conventional wisdom would have you believe. Nearly all 3rd-season episodes have points of interest, but these disparate elements seldom coalesce to form a meaningful storyline liable to appeal to outsiders.

3rd-season ST-TOS episodes are characterized by increasing verbosity and awkward departures from long-established plot and character guidelines. Budget cuts resulted in a different "look" for the show, but ingenious set-designers did everything in their power to cope with the resulting financial constraints ("The Cloud Minders" illustrates this quite well). William Shatner, unjustly maligned as Kirk, invariably acts with giant conviction in an effort to keep the show on the road. Aside from this, however, one comes across all too many poorly acted and abysmally directed passages of dialogue. In 3rd-season episodes there is an increasingly dreary reliance on sadomasochistic plot devices (obedience collars, torture chambers, etc.), which are a scriptwriter's copout. The actresses' costumes are raunchier, suggesting reduced studio censorship (or interest). This isn't the "kiddie format" which the show's regular staff dreaded; but it comes close.

All of the above trends are exhibited in "The Cloud Minders", which, as I have said, is for hard-core fans only. But 3rd-season episodes, for all their flaws, should not be overlooked: note the interesting treatment of contraception in "The Mark of Gideon;" Spock's sputtering encounter with an ancient vulcan hero in "The Savage Curtain;" the eating of the acid fruit in "The Road to Eden;" and best of all, the web-spinning sequence in "The Tholian Web," a special-effects sequence still unmatched for pure shock value and spine-tingling horror. ... Read more

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Like the preceding episode "What Are Little Girls Made Of?", "Dagger of the Mind" is another mad-doctor drama. This time, Kirk delivers supplies to a penal colony on Tantalus V, where he meets the renowned Dr. Tristan Adams. Adams has been working on the development of a neural neutralizer to control and manipulate dangerous patients. When Kirk threatens to expose him as a dangerous megalomaniac, Adams uses the technology on the unfortunate captain. This tense piece set in a madhouse atmosphere makes for a riveting episode, with a few unhinged performances adding to the fun. --Tom Keogh ... Read more

Reviews (15)

EXCELLENT, THOUGHT-PROVOKING EPISODE
Dagger of the Mind is one of the finest episodes of the original Star Trek series. It was made at the same time Communist China's murderous "Great Proleatarian Cultural Revolution" was getting under way in 1966 in which mobs of young Communist "Red Guards" were dragging unpopular teachers and "capitalist roaders" into the street and frequently beating them to death while mindlessly chanting meaningless slogans from Mao's "Little Red Book". In the 1960's, also memories were still fresh from the horrors of Hitler's genocidal policies against the Jews and Slavs and Stalin's purges of millions of "class enemies". Actor James Gregory gives a fine performance as Dr Tristan Adams, a notal penal reformer and idealist who tragically degenerates into a tyrant controlling the minds of the inmates at his penal colony planet called Tantalus through use of his "neural neutralizer" device. Writer Shimon Wincelberg (pen-name S. Bar-David) is warning us how many well-meaning people who want to help humanity by supporting various universalist utopia schemes (e.g. Marxism-Leninism, Jonestown, etc) can end up being part of a monstrous tyranny because the lust for power and control of large numbers of people overwhelms them. Actor Morgan Woodward puts in a stellar performance as Dr Simon Van Gelder who is a tormented victim of Dr Adams' neural neutralizer (you can see his tortured face on the cover of the box containing the video tape). The names used in the episode give chilling hints as to the nature of the characters and their prison, for example, Tantalus-the name of the penal colony planet, was a figure from Greek mythology who is condemned to hell and his punishment is to have all sorts of desirable food and drink within his view but just out of reach (hence the word "tantalize), Dr Adams' first name is Tristan which is from the famous mideval story from Cornwall of "Tristan and Isolde" in which the hero "dies of loneliness" and finally Dr Adams' mind-controlled assistant is called Lethe, whose name means oblivion. Unfortunately, the resolution of the crisis is a little weak so I give the episode only four stars, but it is still one of the very best.

Promising Episode That Doesn't Quite Deliver
Morgan Woodward's standout performance in the first half of this episode makes this an episode worth owning. His character is initially very frightening, but eventually emerges as a character to sympathize. It is a a very effective performance.

Unfortunately, the episode becomes rather silly as Kirk and a none-too-bright psychiatrist, Dr. Helen Noel, investigate the penal colony. After such a brilliant set-up, this story line becomes disappointing. Still, an adequate entry in the Star Trek series.

This is the first episode that uses the Vulcan mind meld.

This, or Whom Gods Destroy? Pick your poison!
The first of the insane asylum/penal colony episodes just doesn't work. The early scenes on the planet do convey a sense of unease as we try to figure out just what is wrong here, but the eventual delivery just doesn't pack much (Christmas) punch. Woodward, for one, is way over the top here. Worse though is the poor development of the motives behind Adams' actions. I suppose the question of the potential costs behind the treatment of mental illness are as timely today as they were then, but this episode doesn't contribute much to the discussion. Plus, this episode is convoluted, and just isn't very interesting. To be honest, the coquettish Dr. Helen Noel was one of the best things going for this one.

"Dagger of the Mind" - A Solid Episode with Lots of Drama
While on a routine mission to resupply the Tantalus V rehabilitation colony, Kirk and company are shocked to discover that the facility's director is using a mind-control device to control the inmates.

''Dagger of the Mind'' is one of the better episodes from Star Trek's first season. While there are some plot inconsistencies and gaps in the story-line, the episode is quite enjoyable. This episode contains moments of high drama and suspense, as well some action. Here are a few of my observations:

''Dagger of the Mind'' introduces us to the Vulcan Mind Meld for the first time. Spock uses it to probe the mind of Dr. Van Gelder in search of the truth about the Tantalus colony.

The acting is superb--particulary Leonard Nimoy (Mr. Spock) and the guest actors. Morgan Woodward steals the show with his dramatic portrayal of Dr. Simon Van Gelder. His emotional expressions are enough to convince anyone that his mind has been ravaged by a mind-control device. The interactions between Spock and Van Gelder in sickbay are particularly intense. James Gregory plays the charming yet sinister Dr. Tristan Adams, the director of the Tantalus colony. The beautiful Marianna Hill plays Enterprise psychologist Dr. Helen Noel. While Helen is not the greatest psychologist in the world, she proves her courage by risking her life to save Captain Kirk. She playfully flirts with Kirk during their first few scenes together, and this visibly upsets Kirk (I love it when a woman actually gets the better of Kirk).

A couple of wardrobe items: (1) Dr. Adams and the rest of the Tantalus staff wear the traditional jumpsuits that are common throughout Star Trek. However, they feature a neat patch on the front--a gloved hand holding a dove reaching up to the sun. There is a lot of irony in this symbol, given the sinsiter motives of Dr. Adams. (2) It looks like the wardrobe department gave Marianna Hill (Helen Noel) a Starfleet uniform that is about a size too small for her. The top portion of the uniform seems to fit a bit too tight, and the skirt is a couple of inches too short in the back. I realize that these Starfleet skirts are supposed to be short, but Helen's doesn't quite cover what is supposed to be covered. Whenever the camera films Helen from behind, you can plainly see her ... ummmm ... undies.

The Neural Neutralizer is a powerful device, with the ability to reshape memories and control minds. However, the chair looks like a 23rd century dentist's chair.

Great acting and an interesting story make ''Dagger of the Mind'' an episode that any Star Trek fan will want to own.

Like DEATH
Over the years, my sister Cathy and I have used Dr. Simon Van Gelder's description of the Neural Neutralizer as a catch-all description of things unpleasant:

Kirk: "What was it like?"
Van Gelder: "Like DEATH!"

Morgan Woodward did an all-too-convincing job as a man nearly driven out of his mind. It was also refreshing to finally have a woman on the set (Dr. Helen Noel) who did not swoon at the very sight of Kirk for a change. I wish they could have brought her back to trade sarcastic barbs with Kirk on occasion.

Highly recommended for any devout "Classic Trek" fan. ... Read more

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Our favorite Starfleet trio, Captain Kirk (William Shatner), Mr. Spock(Leonard Nimoy), and Dr. McCoy (DeForest Kelley) beam down to Capella IV topersuade the resident warrior race to sign up with the Federation.Unfortunately, a Klingon agent named Kras (Tige Andrews, the captain of TV'sMod Squad) has preceded them and set enough doubt into play that thetake-no-prisoners Capellans decide to give Kirk and company a hostile reception.Written by story editor D.C. (Dorothy) Fontana, "Friday's Child" has the broadoutlines of a Western, with the good guys getting rebuffed by hostile Indiansand a final showdown with crude weapons set up in the barren hills. JulieNewmar's guest role as Eleen, wife of a former ruler and a pawn in the barbedpolitics between Kirk, Kras, and the Capellans, even has something of thefrightened but stoic native princess about it. Viewers hoping to catch Newmar ina Capellan catsuit, however (an extension of her iconic, sleek presence asCatwoman in the old Batman TV series), will be sorely disappointed: Eleenis quite pregnant, fit to burst and placed in McCoy's capable hands. Trekstalwart Joseph Pevney directed this action-adventure piece, which contains oneof the good doctor's most memorable utterances, spoken when Eleen expects McCoyto carry her up a steep hill: "I'm a doctor, not an escalator!" --TomKeogh ... Read more

Reviews (5)

Classic season 2. Action plus parallel earth culture study
Here we have a classic action episode about a war-like people caught between the Klingons and the Federation. This is one of the more nuanced cultures we encounter on Star Trek (with parallels to Native Americans or other indigenous groups), despite (or perhaps because of) the fact that they are not 'highly advanced'. The thoughtful, conscientious scripts of the first season often made the most of more advanced civilizations, but as the show became less introspective and more action-oriented, it made more sense to include less advanced cultures. The second season episodes often did so with success (see also Bread and Circuses, A Private Little War, and a Piece of the Action). By the third season, they were again relying almost exclusively on more advanced aliens, albeit for a new reason. It was easy to introduce the 'danger' theme, but without the complex motives we might expect of advanced people (contrast the subtlety of season 1's A Taste of Armageddon and Errand of Mercy with the sadism and nihilism of, say season 3's, Plato's Stepchildren and The Savage Curtain). The latter episodes lack both suspense and plausibility.

But back to Friday's Child. Julie Newmar gives a strong performance, and we begin to see one of the signatures of the 2nd season-real humor-first in the play between Newmar and McCoy. It just seems like the cast had fun making the second season shows. But this episode isn't all fun; it's one of the more violent episodes. In addition to the brutality of the teaser, this is captured in the show's heavy music and dark lighting. Interestingly, the Federation (read the U.S.) commit missteps throughout the episode, proving unable/ unwilling to adapt to te local culture. While the Klingon (read Russian) is equally inept, it is in some ways the Capellans who shine. The original chief shows integrity and courage, and the usurper ultimately shows these traits as well in the somewhat convoluted and convenient climax. One might have wished for a less rosily convenient ending and more introspection about the superpowers' manipulation of the indigenous people, but the episode certainly works on the level (suspenseful, yet ultimately humorous and not too cerebral) it is intended. Funny ending, too.

Kirk blows off the Prime Directive for an unborn child
"Friday's Child" is one of those diplomatic disasters that the Enterprise stumbles across from time to time. On Capella IV, Kirk, Spock and McCoy are negotiating for Federation mining rights. The Klingons also have a representative negotiating as well. When there is a coup and a Capellan named Maab takes over as leader, their culture demands that the old leader's wife must die. Kirk, refusing to let the pregnant woman be slaughtered, stops the execution and has to escape with her to the hills so she can have her baby. Then the politics gets really confusing, which is pretty much where this episode loses me; nothing like being consistent to a really stupid principle. Besides, the Capellan's have such funny looking outfits and it is just strange to see the Enterprise crew scrambling around rocks avoiding guards throwing killer frisbees. Actually, Peter David does a nice take off on this episode as the backstory behind Quintin Stone's bizarre behavior in the STNG novel "A Rock and a Hard Place." But "Friday's Child" is a below average Star Trek episode.

The sky changes colors
The first half of this episode was filmed on Capella 4 and the second half was filmed in Calfiornia, thus the changing sky and landscape. No, actually this is a fine episode that really plays on the strengths of the big three more than many other episodes. The big three try to deal with a fight for leadership that puts them on the run and Scotty and the ship try to deal with Klingons out in space. The episodes that show the constants in emotions and feelings in other beings are some of the best and this episode plays it out beautifully. Seeing Spock and Kirk fight with bow and arrow is also a big plus.

No Mission is ever easy for James T. Kirk
Kirk, Spock,and Bones try to get the people of Capela to sign a mining treaty with the Federation, but their efforts are hampered by the Klingons, and then they must flee for their lives when they save a wife of a slain ruler (Julie Nemar) who is pregnent with child. Meanwhile the Enterprise is engaged in battle with a Klingon warship and is unable to help the landing party. Directed by Trek veteren Joseph Pevney.

An exciting adventure with a few twists
"Friday's Child" is one of the best episodes of the original Star Trek. Kirk, Spock, and Dr. McCoy must beam down to Capella IV in order to get some rocks from the planet for their ship. However, there is a major obstacle in their way, a Klingon. Kirk must prove to the new leader of Capella IV that he's worthy of the rocks that he needs. But first, he must do something with the Klingon that has gotten their first.

In "Friday's Child," you will see an exciting adventure while Kirk and the crew try to stay away from the approaching Klingon and the people of Capella IV. In addition to the Enterprise crew, they have brought a woman from Capella IV with them.

If you're a fan of Star Trek, "Friday's Child" is one of the episodes you need to get. Dr. McCoy puts on one of his best performances of the series and you'll see him perform one of the biggest deeds of being a doctor. At the end of the episode, there are many funny lines that you'll remember from the series. "Friday's Child" is one of the best overall episodes of the original series that any Trekkie needs to own. ... Read more

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The Enterprise's Vulcan-born first officer, Mr. Spock (LeonardNimoy), generally smiles about as often as Greta Garbo. But in episode 25 ofthe original 1960s series, not only does Spock smile, he laughs, dangles from atree, kisses a good-looking blonde woman, and gets into a fight with his best friend. Could this be some long-lost episode in which Nimoy's stoic heroregresses into a 6-year-old? No, but it is one of the most popular stories from Gene Roddenberry's classic Trek. Spock, Captain Kirk(William Shatner), Dr. McCoy (DeForest Kelley), Sulu (George Takei), and acouple of crewmen beam down to Omicron Ceti III hoping to find out what happenedto a group of scientists who built a research colony on the planet. What theydiscover is a little spooky. The self-satisfied colonists claim they'vecreated a true paradise where no one has needs or wants, where no one ages or gets sick, and everyone is part of a collective mind bent on positivity.Kirk, naturally, argues that paradise robs men of their need to suffer andcrawl toward progress. Meanwhile, Spock is zapped by an exotic flower that is the real source of all this community goodwill, and he instantly gets happy--acting like a kid, renewing a romance with a comely biologist (an angelicJill Ireland), and giving the sputtering Kirk an earful of entertaininginsubordination. Story editor D.C. Fontana's script contains some obviousparallels between a chemically induced "paradise" and a drug-induced high in the '60s. But the real draw here is Spock's uncharacteristic joy and the drama behind Kirk's shattering decision to break his friend's heart. --Tom Keogh ... Read more

Reviews (9)

"For the first time in my life, I was happy."
Happy is putting it mildly! See Spock swing from trees and engage in some serious lip-lock with Leila Kalomi! The care-free colonists of Omicron Ceti III have a secret -- they should have died of Berthold Rays, but they're all happy, healthy, and not at all concerned that all of their animals have died. Kirk gets to the heart of the matter (with Samsonite luggage in hand).
One of my favorite, favorite episodes of all time. This episode features one of the sweetest goodbye scenes ever. Guest stars include the lovely, and much missed Jill Ireland as Leila.

Another top notch episode from the end of season 1
Yet another excellent episode, this one concerns a planet where plant spores have caused an epidemic of joyful inebriation. Like many of the best early shows, the slow pacing here allows a sense of mystery to develop before the hook is revealed to us. This is one of the more convincing of the 'Enterprise in danger' episodes, but it is more than that. The plot device enables several crew members to flesh out their characters, most notably Leonard Nimoy. It is difficult not to feel angry at Kirk as he goads Spock with racial slurs, even as we understand why he says what he does. Certainly the conflict between the happiness prov