“The Galileo Seven” is an intriguing look at “Spock’s first command.” And in that sense, watching Spock try and use his unrelenting logic to solve an irrational problem, the episode is quite valuable. But there are a number of issues – mostly in terms of pacing and the overall premise – which greatly diminish the overall episode. But even as the episode unfolds, it takes a very inconsistent approach toward Spock – both his character and the logic he uses. The result is an uneven episode that is only suspenseful because of a poorly contrived plot device.

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The best that can be said about “Shore Leave” is that it is *almost* an allegory for lucid dreaming. But I have to question whether or not that was the actual intent of the episode, especially because there is very little explicit evidence to support such a conclusion. The problem for the episode is that, without any sort of underlying thematic foundation, the whole thing becomes a pointless, nonsensical, nearly never ending romp. I certainly don’t mind being led down the rabbit hole once in a while, but I’d very much like to find something other than dark, dirt and roots when I get there.

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“Balance of Terror” is primarily notable for one thing: the introduction of Romulans. But there is much more to the episode, including: the duel between the Romulan ship and the Enterprise; the battle of wills between Kirk and the Romulan commander (played convincingly by Mark Lenard); and a few subplots including bigotry and pacifism. The primary problem, however, is that the episode provides no rationale (plausible or otherwise) for the conflict. As a result, much of the impact of the episode is diminished.

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“The Conscience of the King” is an ambitious and entertaining episode. It makes a deliberate effort to merge stage and screen performances, Shakespeare and science fiction, tragedy and comedy, morality and mystery. And, for the most part, the episode succeeds. There’s a palpable sense of danger looming over the episode’s central suspect, an actor named Anton Karidian (Arnold Moss). Along with his daughter Lenore (Barbara Anderson) the episode greatly benefits from its supporting roles. Unfortunately, the whole endeavor is threatened by the episode’s final scenes which are thoroughly implausible, and objectionable.

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