Star Trek: The Original Series – Season 3

Episode List & Guide

3.01 – Spock’s Brain: D-

You may file “Spock’s Brain” in the “What the hell were they thinking?” category. From start to finish this is an episode fit only for Mystery Science Theater 3000. And at that it may be pushing the envelope. Indeed, before this episode is over, the term “Spock’s brain” takes on an unintentional comedic value which is indicative of the episode as a whole. Put simply, this is about as bad as sci-fi can get – to the point where it almost requires ridicule and derision.

3.02 – The Enterprise Incident: A

“The Enterprise Incident” is easily one of the finest episodes of the series, featuring a compelling spy narrative, wonderful character growth from Spock, and a memorable guest star who just so happens to make the whole thing come together in as close to perfection as possible. This episode is, truly, a joy to watch and experience. But its mastery isn’t simply in its twists and turns – it’s in how well those turns show up on screen. The plot itself isn’t terribly well disguised and it’s quite possible to figure out what is going on just a few minutes into the story … but, as it turns out, doing so proves quite irrelevant to the enjoyment of the episode.

3.03 – The Paradise Syndrome: B+

“The Paradise Syndrome” is a moving, personal, and compelling story. In many ways, it is the precursor to TNG’s “The Inner Light.” And in every way that this episode mirrors its eventual progeny it succeeds masterfully, weaving a bittersweet tale about how elusive, intense, and fleeting true happiness can be. It’s a story of living lifetime within a finite period of time, and then returning to the world of reality – wiser and sadder for the experience. If only the overall production had been able to live up to the story itself …

3.04 – And the Children Shall Lead: F

“And The Children Shall Lead” starts off promisingly enough but quickly devolves into the worst, most horrid, most painful sci-fi I think I may have ever witnessed. I’m not even sure this episode even deserves a proper post-mortem. It’s dead. Let’s leave it that way.

3.05 – Is There In Truth No Beauty?: D

“Is There In Truth No Beauty?” is an episode which just cannot muster any real drama or suspense. And what’s worse is that the episode manages to take a fairly compelling concept and turn it into an embarrassment of a production. To be fair, this isn’t the worst that Star Trek has to offer, but it is an episode which is indicative of the bad writing, acting and directing which ultimately made the series the subject of a great deal of ridicule. Indeed, this episode is, by definition, ridiculous in its presentation.

3.06 – Spectre of the Gun: B+

Believe it or not, “Spectre of the Gun” is a classic episode, one of the most memorable and enjoyable of the series – if you can accept its primary conceit. The problem is, the premise is likely to prove insurmountably abstract to many viewers, especially those who may only have a casual interest in Star Trek. But if you can indeed get past the episode’s inherent weirdness, then you’ll be in for a real treat.

3.07 – Day of the Dove: B

“Day of the Dove” is a strong episode that present a typical Trekkian theme of non-violence. But the episode’s success isn’t as a result of innovation or revelation, rather it does an admirable job of showing the audience its message, with a minimal amount of preaching or pontification. This “show-not-tell” approach is the difference.

3.08 – For the World Is Hollow and I Have Touched the Sky: B+

“For The World Is Hollow And I Have Touched The Sky” is a surprisingly effective episode about blind faith in rules and dogma, as well as a touching love story. It is unfortunate, then, that the both the episode’s beginning and conclusion are more than a little contrived to allow for the episodic nature of the series. Otherwise, this could easily have been one of the better episodes in the Original Series, despite its overly long title.

3.09 – The Tholian Web: B+

“The Tholian Web” is an example of classic Trek. Indeed, this is an episode in which Trekkies ought to find many memorable and compelling moments. It certainly is entertaining and briskly paced, with an approach not often seen in the series – namely a distinct lack of focus on Captain Kirk – and a mood, inspired by tales of ghost ships on the high seas, that is thoroughly captivating. But in spite of all its strengths, there just isn’t enough to this episode to elevate it into something truly exceptional.

3.10 – Plato’s Stepchildren: D

Tucked into the abomination that is “Plato’s Stepchildren” are a few worthwhile themes and ideas. But they are presented so embarrassingly that the episode is almost entirely worthless. The reality is that, while there are some worthwhile commentaries being made, the presentation obliterates any sense of respectability. It’s a bit like the President of the United States giving a State of the Union speech in his pajamas and slippers. No matter what the content of the speech may be, there’s no way you could take him (or her) seriously.

3.11 – Wink of an Eye: D+

“Wink of an Eye” is a marginally entertaining episode – if you can put your brain into hibernation for an hour or so, that is. It’s not often that Star Trek makes an episode that is completely mindless and hollow, but this is one example. Even the supposed “science fiction” of the episode is so badly mangled that unless you completely ignore it, the entire production comes crashing into ruin. For the most part, the episode is a mystery, opening with a bit of a supernatural feel. But once the science comes into play, it is, simply, pedestrian.

3.12 – The Empath: C+

Watching “The Empath” is a bit like watching paint dry, grass grow, and … well, you get the point. The story itself isn’t bad, from either a premise or execution standpoint. But everything is so incredibly unremarkable, so pedestrian, so aimless that regardless of whatever strengths there are to the characters and plot, the episode as a whole just doesn’t function particularly well. It’s a shame because the interactions between Spock, Kirk and McCoy are certainly worthwhile.

3.13 – Elaan of Troyius: C-

“Elaan of Troyius” is a mess. From start to finish this episode has no idea what it wants to be. And it swings wildly from one extreme to the next trying to accomplish several goals all at once. At its heart, there is a story of forbidden love and the conflict between love and duty. On that level, the episode is worthwhile. But the concept is buried under over-acting, a wayward, confused plot and an all-round poor production.

3.14 – Whom Gods Destroy: D

What’s with the penchant of Star Trek to give us guest stars who push the limits of melodrama and overacting to new and preposterous heights? “Whom Gods Destroy” is yet another in this series of nonsense, ruining what might otherwise have been a moderately successful episode. Instead, this ends up being little more than a cartoon of amateurish proportions. Once again, over-indulgence ruins any possibility of success.

3.15 – Let That Be Your Last Battlefield: B+

“Let That Be Your Last Battlefield” is a remarkable episode on a number of levels. Only a rather clumsy execution of the resolution holds this back from being a truly exceptional installment. Otherwise, this is one of the better episodes of the entire series. The allegory here is blatant and ridiculous, but I suspect that’s because the writers wanted to demonstrate how blatant and ridiculous the notions of abject prejudice and hatred are, in general, and racism, specifically. The “black and white” characters are so overly simplistic that it cannot be seen simply as a mistake, but rather as a deliberate production idea. As a result, what we get is a rendition of the Sneeches, with much greater, and profound, consequences for the prejudice.

3.16 – The Mark of Gideon: C-

“The Mark of Gideon” starts off strongly enough to keep the audience interested at least through its midway point. But as the episode approaches its specific messages and ideas, it stumbles mightily, ending with a whimper, rather than finishing with a bang (puns somewhat intentional). In truth, the episode’s primary commentary, on overpopulation and, of all things, birth control, are just too awkwardly presented. The result is an episode which ends up being slightly less than average.

3.17 – That Which Survives: C-

“That Which Survives” is a middling episode filled with a by-the-numbers plot that is never able to transcend a pedestrian story. It certainly isn’t a total loss, however. In fact, there are a number of intriguing concepts and amusing moments. But they don’t add up to anything special. Indeed, this is about as average an episode as you can possibly get from Star Trek.

3.18 – The Lights of Zetar: D+

“The Lights of Zetar” is yet another in a string of barely competent, unremarkable episodes. It’s as if the production were so focused on avoiding an embarrassment that very little was done to take chances and reach for something much grander – let alone realize such an achievement. The result is plain to be seen in an episode such as this one which, by all counts, is constructed well enough but ends up being a bit like watching paint dry.

3.19 – Requiem for Methuselah: C

“Requiem For Methuselah” stumbles at the very moment it should have been a marginal success. The result is an episode that just barely avoids being both a failure and an embarrassment. Truth be told, the episode skirts along the edge of disaster right from the start. It throws all manner of bizarre notions at the screen. But at the very moment when it makes its revelations – and finally gets to the point of the story – it becomes so ludicrously preposterous that one simply has no choice but to cringe and shake one’s head in bewilderment.

3.20 – The Way to Eden: D-

Far out, man.

“The Way To Eden” is the way to madness – if you try and take the episode seriously, that is. I mean, there is at least some attempt at a message and a purpose. But the episode is simply all over the place in its attempts to convey any meaning or significance. And the sheer ridiculousness of the characters, and caricatures, is, simply, embarrassing. It’s a shame because the notions of a utopian society, free from the corrupting influence of high technology, is certainly worth exploring. Too bad this episode is presented as poorly as it is.

3.21 – The Cloud Minders: B-

Given the relative lack of success in Star Trek’s third season, “The Cloud Minders” might seem like a better episode than it actually is. As a point of fact, the episode is an improvement – it just isn’t an outright classic. Of course, all of the elements are in place for such a classic to exist, from a suitably profound and conflicted society, to memorable characters, and classic Trek drama. But with the season, and the series, drawing to its close, nothing is working at a very high level. The result is an episode which is worth watching, but otherwise struggles to be praiseworthy.

3.22 – The Savage Curtain: D

“The Savage Curtain” is a bit like Star Trek’s version of The League of Extraordinary Gentlemen. And the results are the same. Using historical figures and making them into “action heroes” is just plain silly and laughable. There’s a not-so-subtle subtext of good vs. evil in this episode, with a more obscure reference to the price of war. But considering our entry point into all of this is the sudden appearance of one Abraham Lincoln, it’s almost impossible to take the episode, the story, and the message seriously. And that doesn’t even begin to factor in the mistakes that the episode makes after the introduction of Lincoln.

3.23 – All Our Yesterdays: B+

“All Our Yesterdays” is a bittersweet episode which explores, in some measure, the legacy of civilization. It is, therefore, with a bit of irony that it provides, in some measure, a kind of legacy for the Star Trek franchise. There’s quite a bit that this episode gets right, particularly with respect to the character explorations. But there are just a bit too many questionable decisions to turn this classic into a truly exceptional hour of television.

3.24 – Turnabout Intruder: C

What an awkwardly appropriate way to end a series. “Turnabout Intruder” is, on its surface, a terribly sexist and derogatory episode. Indeed, the surface level story is enough to draw a significant amount of ridicule – and justifiably so. But lurking just below the surface is a story that successfully draws upon the history and camaraderie of the crew to solve what might be the most dire crisis to face the Enterprise. In the end, it is the crew’s love of, loyalty to, and friendship toward, the captain that pulls the ship out of a seemingly no win situation.