“The Menagerie, Part II” represents a subtle shift in focus from its predecessor. Whereas “Part I” had an overall story in which the footage from “The Cage” was added, “Part II” is the opposite with footage from “The Cage” making up the lion’s share of screen time. In one sense, the benefit is positive, allowing us to be pulled further into this secondary story line. But on the other hand, the transitions become all the more awkward, particularly with the characters of Spock and Kirk and Mendez commenting on the footage – almost as if they were some strange incarnation of Mystery Science Theater 3000. Even so, the episode manages to be compelling, particularly in the exploration of captivity.

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“The Menagerie, Part I” is the only two-part episode in the entire run of the original series. The fact that it spans two episodes is due to incorporating footage from the original Star Trek pilot – the one in which Captain James T. Kirk did not appear, when Spock and the Enterprise were commanded by Captain Christopher Pike. In order to include this footage in conjunction with the current cast and crew, the show had to contrive a plausible enough reason. Surprisingly the strategy, while a bit unconventional, works. The result is an episode that successfully establishes a compelling mystery and conflict, built around the characters of Spock and Captain Pike, and their shared mission to the mysterious planet, Talos IV.

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“The Corbomite Maneuver” is an episode about testing the limits (and strengths) of humanity. In essence, the crew of the Enterprise play the role of a rat in a maze. And the various conflicts they face test the limits of their patience and aggressiveness. And in that sense, it’s an enjoyable episode to watch. But it isn’t a flawless episode. The “test” is presented a bit too obscurely to become a real focus in the episode. And the transition from the opening tension to the later stratagem of bluff and counterbluff is not handled particularly well. In a fifty-minute episode, that can spell disaster. Fortunately, there is enough momentum from the opening sequences to get us through to the final twist which, at the very least, is unexpected and intriguing.

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“Dagger of the Mind” is Star Trek’s foray into the psychological-horror subgenre. A great effort is made to emphasize themes of violation, power and dominance. And as far as the characters and performances are concerned, the episode does a fine job establishing the context, mood and dread that is necessary for stories of this kind. But where the episode falls short is in what it doesn’t do – namely draw a clear enough connection between the violation and the loneliness and emptiness that can occur as the result of such a violation, as well as the motivations behind such acts of dominance. This concept can be inferred from the narrative, but a clearer connection would have driven home the true “horror” of the episode with greater conviction.

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“Miri” is an episode that is a severe let down. It begins, intriguingly enough. And the first few sequences almost effortlessly establish a mystery and mood that are utterly compelling. Deep in the far reaches of the galaxy, the Enterprise finds an exact replica of Earth, circa 1960, that appears to be completely uninhabited. It’s a great idea but, unfortunately, shortly following this success, the episode presents a premise that is so completely ridiculous that you have to scratch your head in bewilderment. Worse yet, the episode completely ignores any thematic benefits that could have been raised by having a duplicate Earth as its setting.

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“What Are Little Girls Made Of?” is another episode dedicated primarily to the exploration of the human condition. There is the typical sci-fi fare of androids and mad scientists, but these are merely the window dressings framing a view of emotion and individuality. In some respects, this episode is a combination of themes explored in episodes such as “The Enemy Within” and “The Naked Time” – a study in how we deal with the full measure of emotions, and how our identity is a culmination of not just our thoughts, but our feelings as well.

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“Mudd’s Women” is about self-confidence and beauty being more than skin deep. But it doesn’t accomplish its goal particularly well. The message itself is a worthy one. And I like that a television show had the courage to approach such a topic. But at odds with the episode’s intended message is a worldview about women that is stuck in the 1960s mindset. Add to it the caricatures of “Mudd’s women,” and Mudd’s character himself, and you have an episode that is almost as shallow as the skin-deep beauty it purports to criticize.

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