Star Trek: The Original Series – Season 2

Episode List & Guide

2.01 – Amok Time: B

Star Trek’s second season opens with “Amok Time” – an inside look into the Vulcan culture by way of its “mating rituals.” There are a few themes being explored in this episode from biological urges that Freud would have a field day with, to the balance of logic and emotion, to friendships. On when the episode stays close to these concepts it succeeds wonderfully. But “Amok Time” is also an example of the show being overly gratuitous. The pomp and circumstance of the Pon Farr ceremony (starting with the name itself) is a reason why Star Trek is so often caricatured. Don’t get me wrong, the detail with which the Vulcan culture is portrayed in this episode is very much compelling. But there is such a thing as overplaying your hand.

2.02 – Who Mourns for Adonais?: C

“Who Mourns For Adonais?” starts with an intriguing, but ultimately shallow premise: What if the Greek Gods were actually aliens who descended upon Ancient Greece, who influenced our philosophy, morality, religion and science? And what if we met those “gods” whilst out on a five year mission to explore strange new worlds, to seek out new life and new civilizations? Could we boldly go back to our roots and become “children” once again? It’s all fascinating on a visceral level, but it has no practical meaning whatsoever, either for us, or for the episode. Put simply, the idea just doesn’t have enough depth to justify being the central focus of an entire episode.

2.03 – The Changeling: D

Interminable.

It’s the only way to describe “The Changeling” – an episode that is, ironically, in error. The premise, that an all powerful machine thinks it has been programmed to “sterilize” biological life forms has the potential to create a story that is relentless in a Terminator sort of fashion. But this? This is an example of what happens when production values are incapable of realizing even the most basic of ideas. Admittedly, there are a handful of redeeming qualities to this episode but, for the most part, it’s a wreck of nearly catastrophic proportions.

2.04 – Mirror, Mirror: A

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.

2.05 – The Apple: C-

“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.”

2.06 – The Doomsday Machine: A-

“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.

2.07 – Catspaw: D-

“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.

2.08 – I, Mudd: D+

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.

2.09 – Metamorphosis: C-

“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.

2.10 – Journey to Babel: B

“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.

2.11 – Friday’s Child: F

“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.

2.12 – The Deadly Years: C-

“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.

2.13 – Obsession: C-

“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.

2.14 – Wolf in the Fold: C-

“Wolf In The Fold” is an episode that starts off embarrassingly, recovers into a captivatingly off-beat, but very moody thriller and ends up being a campy version of camp. The result is a wasted opportunity that is, at best, mildly entertaining. Perhaps the most amusing element to this episode is its sidewise connection to Disney’s Monster, Inc.

2.15 – The Trouble With Tribbles: A

“The Trouble With Tribbles” has long been a fan favorite of the original Star Trek series. It’s an episode which blends a more sinister story featuring Klingons with a whimsical, comical, nonsensical plot centered around fuzzy little creatures called … tribbles. It’s a ridiculous premise. It’s the height of campy, self-indulgent humor. And the most preposterous thing about all of it is: it works. The damned fooled episode works. I almost don’t know how to explain it. This really is an episode which should be an abject failure – and if someone watches it and sees it as such it’d be difficult to dispute the matter – but the fact is, “The Trouble With Tribbles” is a hilarious, almost smart episode. In many ways, this is the embodiment of the series as a whole – with the exception that there isn’t a whole lot of commentary going on (which may be the biggest criticism of the episode).

2.16 – The Gamesters of Triskelion: D

“The Gamesters of Triskelion” is a very, very bad episode. There are some intriguing enough elements right at the beginning of the episode but whatever potential the story might have had, end up becoming severe liabilities by the end. It’s as if the series opened up the chance to write an episode to someone who writes some really bad fan fiction. The episode has some high-minded ideas that simply do not make it from script to screen. But for the most part the ideas are bad even in script form, and translate even worse on the screen.

2.17 – A Piece of the Action: B+

“A Piece of the Action” is the cat’s meow. For all its campiness and implausibility, for sheer entertainment this episode is a success. And a lot of fun. Don’t believe me? Imagine Spock in a zoot suit keeping a mob boss on ice. It’s sounds ridiculously silly, but damned if you don’t want to see it anyway. Of all the “period” pieces we’ve seen in the original series (castles, the Great Depression, the Old West, etc.) this one not only captures the spirit, but is thoroughly engrossing. This isn’t a perfect episode, and there are a number of problems beyond plausibility, such as acting and writing. But in all honesty, they almost don’t even matter.

2.18 – The Immunity Syndrome: B

“The Immunity Syndrome” is a surprisingly suspenseful and memorable episode thanks to its focused narrative, solid pacing and focus on character. The minimalist narrative, taking place entirely on board the Enterprise as the crew investigates a deadly entity puts the focus squarely on the crew forcing their characters and interactions into a kind of crucible, letting us see who they really are. There are a few superfluous additions, such as the fatigue the crew was fighting to begin the episode (considering that their energy will be drained by the deadly entity anyway). But for the most part, this is a solid installment.

2.19 – A Private Little War: D+

“A Private Little War” is a mess of a narrative, throwing a mishmash of ideas (some very profound and compelling) at the screen and hoping that some of it sticks. Most of it is overcooked or spoiled and the end result is an episode that is one intriguing concept and conversation from utter ruin. The episode is a commentary on the proxy wars of the Cold War, whereby the U.S. and U.S.S.R. would wage war on the soil of other countries. A similar occurrence happens here between the Federation and the Klingon Empire, and for those brief moments in which the episode makes the connection it is successful. Otherwise, it’s ridiculous.

2.20 – Return to Tomorrow: C-

“Return to Tomorrow” is an unfortunately clumsy and awkward episode centered around some otherwise compelling ideas. There really is quite a bit to this episode that is both thought-provoking and emotional. But there’s almost no restraint to the approach and as a result, most of what the episode has to offer is buried under bad acting, scripting and directing. It’s almost as if this episode is a caricature of the series as a whole.

2.21 – Patterns of Force: B-

“Patterns of Force” has a very important message to tell and lesson to teach. And you can tell that the episode’s writers and producers and actors made a commendable effort to make this a landmark episode – compelling and profound and worthy of attention. But the foundation of the episode, its most basic premise is too obvious and flawed to allow the full measure of this episode’s weight to be experienced by the audience. Put simply, the story would have worked better as a more general and universal allegory, instead of the clumsy, browbeating approach the episode employs.

2.22 – By Any Other Name: C

“By Any Other Name” is a surprisingly smart, insightful episode – almost in spite of itself. The truth is, there are just too many issues with the production – from writing, to acting, to pacing, to Star Trek cliché – to allow the real depth and meaning of the story to come to the fore. The end result is merely average, instead of the much more lofty goals set by the episode’s Shakespearean reference.

2.23 – The Omega Glory: D+

“The Omega Glory” is an example of a writer who has a good story to tell, but is unable to tell a good story. The premise, that war (and in this case biological warfare) can utterly ruin entire civilizations, causing them to slur even their most precious ideals is a worthy one. Heck, the consequences of bio-warfare alone are important on their own. The additional layer of losing cultural identity as a result of war in general only adds to a potentially complex and deep study. And for perhaps the first third of the show, the episode seems well on its way to being able to realize a great deal of its potential.

2.24 – The Ultimate Computer: A-

“The Ultimate Computer” plays upon familiar sci-fi themes: the dangers of too much reliance on science and technology – at the expense of the human equation. In essence, it’s the typical “Prometheus Unbound” story in which the thirst for scientific advancement ignores the moral and practical consequences of an over-reliance on technology. It’s a similar story to what we see in Jurassic Park and 2001: A Space Odyssey. This is classic science-fiction and Star Trek is the perfect vehicle for this kind of story. That the episode succeeds in telling its story is noteworthy for both the series and the genre. Put simply, if you were to recommend any science-fiction story to demonstrate the dangers of rampant progress, this should be part of the conversation.

2.25 – Bread and Circuses: D+

“Bread and Circuses” is, in many ways, a companion piece to “The Omega Glory.” And while it isn’t quite as blatant as its predecessor, it is still an awkward, clumsy story that seems almost juvenile compared to the rest of the series. That the episode was written by Gene Roddenberry and Gene L. Coon only makes the final result all the more unforgivable. The series creator and head writer ought to know better. That George Lucas guy should have taken lessons from this.

2.26 – Assignment: Earth: D-

Question: When is a Star Trek episode not a Star Trek episode?
Answer: “Assignment: Earth”