“Obsession” is, essentially, Moby Dick in space. But instead of a great white whale, we’ve got a great white puff of smoke – that sucks blood like some vampire. Because it’s meant to be symbolic, the object of vengeance isn’t as important as the actions of the characters – in this case Kirk – who seek to fulfill their rage. But here, the white-cloud monster thingy becomes a distraction – and indicative of the sloppy approach to an episode which had the potential to be an insightful look into the captain of the starship Enterprise.

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“The Deadly Years” is an episode about geriatrics – about the ravages of growing old and losing one’s mental and physical abilities. It’s a topic that isn’t often raised within entertainment, and is certainly a worthy topic of exploration. But the episode’s central mystery, pacing and structure do not allow the topic to be presented in a way that makes the story compelling. I’ve said before that there is a difference between having a good story to tell and telling a good story. This episode has a good story to tell, but doesn’t tell it very well at all.

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“Friday’s Child” is an unfortunately embarrassing episode. Almost nothing here works – from non sequitor fisticuffs, to silly Klingon ploys that an Ensign could see through but Scotty can’t, to a ridiculously convoluted and ultimately pointless plot about negotiations gone bad. Even the guest characters are worthless and pointless. All in all, it’s a failure of an episode.

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“Journey To Babel” is easily a classic episode, featuring a plethora of aliens including Vulcans and Andorians. It also features the introduction of Sarek, Spock’s father. The plot is a twisting mystery which successfully establishes and elevates the tension. There are themes of familial tension and duty. In fact, all of the elements exist to create an outstanding episode. Unfortunately, the story, which focuses so heavily on logic, is undermined by two premises which are wholly illogical – and therefore sabotage the episode itself.

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“Metamorphosis” is an episode that moves at an excruciatingly slow pace. It features guest stars who are remarkably uncharismatic. And the story, while ending on a positive note is just a bit too predictable – given typical Star Trek formula. Even the central issues of the episode, including the nature of love for someone “different,” are not presented with any particular emphasis. The result is an episode that is bland from start to finish, despite raising a few rather intriguing questions.

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Absurd.

It’s the only way to describe “I, Mudd” – an episode that, by all rights, should never have been written, let alone filmed, let alone aired, let alone imprinted onto DVD. But as Captain Jean-Luc Picard would say decades later (in a TNG episode in which a chicken flies out of the transporter room), “Sometimes … you just have to bow to the absurd.” And really, that’s the only way you can possibly stomach this episode. Otherwise, it’s excruciating.

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“Catspaw” is the Star Trek equivalent of a Halloween episode. Given the fact that I greatly enjoy Halloween, there are a number of elements to this episode which I find entertaining – particularly in terms of setting and mood. But make no mistake, this is a terrible episode, hardly worth a second glance (unless, like me, you enjoy the spooky side of Halloween). The plot is formulaic and derivative (of previous Trek episodes, no less), the pacing stumbles, the characterizations are hit and miss, and the visual effects are horrendous – even by Star Trek standards. The result is an episode which can (and should) have only a very limited appeal.

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“The Doomsday Machine” is one of the most enjoyable episodes in the entire run of the original Star Trek series. It features a briskly paced plot, a memorable turn from the episode’s guest star, solid action, and some indelible performances from the regular cast, particularly from Spock, McCoy and Scotty. There’s even enough room left over for some mild commentary about the H-bomb. It all adds up to an episode that should be on any short list for the best in the series.

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“The Apple” is a story about the Garden of Eden – or at least it wants to be. It also wants to provide a quasi-commentary on Communism. And it wants to prove that sex, love, hard work and growth are essential to existence. The problem, of course, is that this episode doesn’t get what it wants. It doesn’t even come close. There are a few high points, particularly with respect to interactions between the characters of Kirk, Spock, and McCoy. But for the most part, this is one bad “Apple.”

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What fun!

“Mirror, Mirror” is the kind of episode in which the plot’s sheer bravado is enough to carry it through most flaws. And this just so happens to be an episode which barely stumbles at all. The story is all about exploring an alternate universe – a reality that is similar to our own, save for a few fundamental differences. In this case: what if, instead of a United Federation of Planets, there was an entity called the Earth Empire? What would the Enterprise be like? What would the crew be like? And furthermore, what would it be like to take a handful of our familiar heroes and maroon them in such a universe?

This episode provides some answers.

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