The Naked Time-This episode, in which a virus causes the crew to lose their inhibitions, was the best offering yet from the new show. The episode commences with an effective teaser, and the story unfolds at a good pace once aboard the Enterprise. The basic premise is a good one, since it enables the cast to both playfully embellish their roles and have some serious ruminations. The episode certainly has its share of action, and is one of the more creative 'Enterprise in danger' shows. We are also introduced to adult themes such as tradeoffs between duty and responsibility on the one hand and joyous, unconstrained intoxication on the other. Some of the soul-searching monologues are a bit much though for characters who weren't exactly our friends yet (this was the 3rd show to air), and as others have noted Nimoy-who seems to really need to believe in the material-was not terribly effective here. The same can (as usual) be said of Takei, and the inclusion of a 'drunken Irishman' character was also somewhat unfortunate. The boomerang premise is also kind of silly, but what the heck, enough hating; this is Star Trek, and it's a good episode.

Where No Man Has Gone Before-The pilot that was accepted is a story about two crewmembers gaining extraordinary powers as they drive the Enterprise to the fringes of the universe. Watching early Trek episodes is a bit confounding since the characters and a lot of the kinks, hadn't been worked out yet. On the other hand, it is interesting to watch the show grow, and to see what might have been (an enterprise without Uhura and McCoy, for example).

As far as content, this episode is pretty good. We see Kirk forced to choose between his loyalty to a friend and a growing threat to the Enterprise. Another theme explored at least allegorically is the tendency for the strong to not only seek dominion over the weak, but also to drum up paternalistic rationalizations for their actions. The episode is also helped by strong acting from both Lockwood and Kellerman, who are several cuts above your average Trek guest star.

The pilot episode in many ways set the tone for season one. Many of the offerings would include an engaging but fairly simple and straightforward plot. Much attention was paid to little details during season one. This feeling of introspection generally led to stories that were coherent, plausible and consistent, despite being science fiction.

The Man Trap-This episode, in which we meet a salt-craving creature with shape-changing abilities, was the first Trek episode to air. While decent enough, it certainly is not an exceptional episode. While it is conceivable that this was the only episode completed in time, more likely it was selected because it was not what NBC had called 'too cerebral'. Other factors that NBC might have liked include the fact that it was largely planet-based and had an alien that 'looked like an alien.' While this episode does touch on loneliness, the subjectivity of beauty, and all creatures' right to survival, it does no more than touch on these themes. As an action episode, it's no more than passable, and again everything from the delivery of the lines to the music is slow, slow, slow (compared to even one year later). The episode is, quite honestly, most memorable for 1) the well-designed vampire, and 2) the shock-value of humans being preyed upon. (2.5 stars)

The Naked Time-This episode, in which a virus causes the crew to lose their inhibitions, was the best offering yet from the new show. The episode commences with an effective teaser, and the story unfolds at a good pace once aboard the Enterprise. The basic premise is a good one, since it enables the cast to both playfully embellish their roles and have some serious ruminations. The episode certainly has its share of action, and is one of the more creative 'Enterprise in danger' shows. We are also introduced to adult themes such as tradeoffs between duty and responsibility on the one hand and joyous, unconstrained intoxication on the other. Some of the soul-searching monologues are a bit much though for characters who weren't exactly our friends yet (this was the 3rd show to air), and as others have noted Nimoy-who seems to really need to believe in the material-was not terribly effective here. The same can (as usual) be said of Takei, and the inclusion of a 'drunken Irishman' character was also somewhat unfortunate. The boomerang premise is also kind of silly, but what the heck, enough hating; this is Star Trek, and it's a good episode. (4 stars)

This film, starring Steve Coogan, tells the story of Factory Records and the seminal role it played in the late 70's-early 80's Manchester music scene. This is a subject I knew very little about; someone with greater knowledge and/or appreciation of the subject matter may have had a very different viewing experience. I however did not feel like I learned much about the music, personalities (with the exception of Wilson, to some extent), music industry, or region for that matter.

On the other hand, the movie is somewhat more successful when looked at less analytically. Coogan is quite funny during the first third of the film, and is even convincing in the latter parts as a man lost in the heart of the 1980s (if Wilson was much more than that then, it isn't conveyed here). Also amusing enough are some of the drug crazed antics. Still, not exactly the full-on sex, drugs, and rock-n-roll excesses you might expect from the title and cover description.

But unfortunately, when the movie tries to be serious, it generally fails. Despite the fact that the motives behind the suicide are not well explored, the suicide is never the less predictable. Other aspects of the effort that feel luke-warm at best include the specious rationale for all the drugs in the club, and more importantly, the failure to explore musical creation or musical passion more than superficially.

But maybe this somewhat rambling movie is just supposed to be about Wilson. He certainly comes across as contradictory, which is intriguing but in my opinion not sufficient. He just doesn't seem-from what we see here--to have the charisma or vision to anchor this entire film for two solid hours. Again though, perhaps one with more understanding and appreciation of the time, place, and scene would feel differently.

Turnabout Intruder-Star Trek closed with one of its oddest and campiest offerings, in which an old flame switches bodies with Captain Kirk. In no other episode is there such a palpable sense of the personnel's detachment from the material. This detachment is presumably attributable both to the episode's dubious content and the knowledge that the show would not be renewed. The basic premise is interesting enough and the effects during the transfer are cool, but the episode quickly runs into trouble. First off, the episode is very sexist even by the standards of the day. Lester's character is an amalgamation of stereotypes including:
1) the scorned lover, who made too much out of a fling, 2) the woman unable to 'face the reality' that she wasn't 'cut out' for command of a starship, and 3) the sadistic, murderous woman who will stop at nothing to preserve her deluded sense of reality. These stereotypes are obviously all very pernicious, and this is one case where Shatner's acting (which I generally find solid) didn't help matters any. Odds are he was told to play the part this way, but it's still enough to make you cringe. Not to mention his scenes with the hapless Harry Landers; did Landers think about what he was signing on for beforehand? Smith on the other hand is decent enough, but it isn't enough to lift the episode through the tedious court room proceedings.

Tidbit: NBC didn't finally get around to airing this episode until June of 1969, more than 2 months after the penultimate 'All Our Yesterdays' had aired. (2.5 stars)

The Cage-The pilot episode of the show, which featured a different captain (Jeffrey Hunter) as Pike would be worth watching for comparative purposes even if it was not an interesting episode. Much feels clumsy and disconcertingly different in this episode, but how could it be any other way, given that this was their first attempt, and so much was rejected by the suits? But a female second in command would have been really interesting (I'm not sure Barrett would have been up to the task though), as would a more emotional Spock and a more introverted Captain (I prefer Shatner's interpretation though).

The story is also good enough, with aliens reminiscent of the Vians from 'The Empath'. The episode explores the nature of reality and illusion, as well as the human need for companionship and love (themes also explored in 'The Empath', come to think of it). A strong if inevitably somewhat clunky episode, but one ultimately most valuable for the fact that it makes us ask ourselves, "What if.." (3.5 stars)

Tomorrow is Yesterday-The first of the contemporary earth episodes is a solid offering about a USAF pilot who ends up aboard the Enterprise. One might be forgiven for not realizing they were watching Star Trek here; the Enterprise doesn't show up until the end of this unusual teaser. This episode explores the trappings of time travel, with every effort the crew makes at not altering the future invariably leading to more modification of the future. If the questions of logic posed by the above aren't taken to seriously (they shouldn't be, in my opinion) this episode is watchable enough. The strongest aspects of this show are the humor behind the cultural (temporal?) differences and a fallible Kirk. In truth though, not that much happens here, and the contemporary Earth idea isn't too interesting 36 years later after the fact. (3 stars)

The Return of the Archons-This creepy if hokey episode concerns cloaked figures and a zombie-like populace. This show isn't particularly thoughtful for a first season episode, and the ending in particular is very unoriginal and disconnected from the rest of the show. The first half of the episode certainly packs enough mystery though, with the creepy creatures and music, as well as the Jeckyl-Hyde aspect of the population. Sulu also has one of his larger roles here. (3 stars)

This Side of Paradise-Yet another excellent episode, this one concerns a planet where plant spores have caused an epidemic of joyful inebriation. Like many of the best early shows, the slow pacing here allows a sense of mystery to develop before the hook is revealed to us. This is one of the more convincing of the 'Enterprise in danger' episodes, but it is more than that. The plot device enables several crew members to flesh out their characters, most notably Leonard Nimoy. It is difficult not to feel angry at Kirk as he goads Spock with racial slurs, even as we understand why he says what he does. Certainly the conflict between the happiness provided by drugs and alcohol on the one hand vs. their 'unnatural' tendency to hinder personal development and achievement is as resonant today as it was in 1967. (4.5 stars)

Devil In the Dark-Yet another in the string on winning episodes, this one concerns a conflict between miners and a silicon-based life form. This unusual episode has a strong element of suspense, since we are not only trying to figure out just what's happening, but also worried about what lurks in the dark tunnels. The episode is more than just suspenseful though. Themes explored include the rights of all creatures to survival, and the mammal bias inherent in our notions of both ugliness and maternal love. Star Trek must have been one of the first shows to devote so much thought to ecological/environmental questions, which like so many themes explored by Star Trek has only grown in importance. More research is of course devoted today than ever before to boundary conflicts, and more generally to finding ways to balance our human resource needs with the survival of other species.

Tidbit: William Shatner's father died during the production of this episode. (4.5 stars)

What Are Little Girls Made of?-The first of the android episodes, in which the landing party end up deep inside an icy planet, is a solid episode. As in Charlie X, we see the question of what it means to be human explored, as well as the human quest for immortality and god-like power. While the episode is thoughtful enough in these regards, less convincing are the motives behind the plan Korby hatches. Additionally, the surprise doesn't really come as a surprise at all. Still, overall an offbeat and forgotten episode with enough action to suffice. This episode can't exactly be punished for employing themes what would be beaten to death, since it is one of the first shows to employ them. (3 stars)

Dagger of the Mind-The first of the insane asylum/penal colony episodes just doesn't work. The early scenes on the planet do convey a sense of unease as we try to figure out just what is wrong here, but the eventual delivery just doesn't pack much (Christmas) punch. Woodward, for one, is way over the top here. Worse though is the poor development of the motives behind Adams' actions. I suppose the question of the potential costs behind the treatment of mental illness are as timely today as they were then, but this episode doesn't contribute much to the discussion. Plus, this episode is convoluted, and just isn't very interesting. To be honest, the coquettish Dr. Helen Noel was one of the best things going for this one. (2 stars)

Miri-One of the most disturbing of the 1st season shows, Miri concerns a fatal fungus-like disease that strikes only adults. The early parts of the episode wield a claustrophobic suspense more akin to a sci-fi/horror movie. The kids are quite chilling as well in the extent to which they have gone wild, and in their capacity for denial in the face of trauma. Kim Darby's performance also boosts the show, injecting an element of hope and a bridge between the 'young' and the 'old.' The taboo subject of adolescent female sexuality is handled gracefully and respectfully. The solution found to the illness is a bit anti climactic, but Star Trek certainly saw worse. At least here McCoy is allowed to shine; by the 3rd season all to often only Kirk, and Kirk alone, was allowed to be hero. (4 stars)

The Conscience of the King-This Shakespearean episode, in which a father and daughter lead an acting troupe being transported by the Enterprise, is one of the most underrated. The episode has a very distinctive feel, from the opening shot of the bloody knife to the medieval-sounding musical score. The parallels between Macbeth (and other Bard works) and the episode are also quite intriguing. Themes explored in this thoughtful show include 1) the impossibility of escaping the past, and 2) the strength (for better or worse) of familial bonds. Add to this the fact that the episode is a murder mystery with three plot twists (one of them is admittedly revealed far too soon), and you have a winner. (4.5 stars)

What Are Little Girls Made of?-The first of the android episodes, in which the landing party end up deep inside an icy planet, is a solid episode. As in Charlie X, we see the question of what it means to be human explored, as well as the human quest for immortality and god-like power. While the episode is thoughtful enough in these regards, less convincing are the motives behind the plan Korby hatches. Additionally, the surprise doesn't really come as a surprise at all. Still, overall an offbeat and forgotten episode with enough action to suffice. This episode can't exactly be punished for employing themes what would be beaten to death, since it is one of the first shows to employ them. (3 stars)

Dagger of the Mind-The first of the insane asylum/penal colony episodes just doesn't work. The early scenes on the planet do convey a sense of unease as we try to figure out just what is wrong here, but the eventual delivery just doesn't pack much (Christmas) punch. Woodward, for one, is way over the top here. Worse though is the poor development of the motives behind Adams' actions. I suppose the question of the potential costs behind the treatment of mental illness are as timely today as they were then, but this episode doesn't contribute much to the discussion. Plus, this episode is convoluted, and just isn't very interesting. To be honest, the coquettish Dr. Helen Noel was one of the best things going for this one. (2 stars)