reviewed by Charity Bishop
     

Reaching the end of this season of the original Star Trek brings about a sense of sadness in the viewer but also leaves us with the impression that the adventures of the Enterprise will continue -- whether or not we are a part of them.

Given a five year mission by the Federation to explore distant galaxies and discover new civilizations, the crew of the Star Ship Enterprise and Captain Kirk (William Shatner) have never before encountered a more horrific adversary than the woman who simply appears out of thin air on the bridge, renders everyone unconscious, and makes off with the most valuable resource on board: Spock's brain. His body (Leonard Nimoy) has been left behind but his mind has been surgically removed and Dr. McCoy (DeForest Kelley) warns that if they cannot recover it and figure out how to put it back within a few hours, the half-human, half-Vulcan will die. Desperation drives them to a planet whose population astounds them with its naivety and ignorance. The same woman responsible for the theft has no memory of what has happened, but it does not take long for them to discern that Spock's consciousness is all that is keeping the inhabitants of the unusual world alive.

Although the final season starts out with a pretty dreadful episode (honestly, whose idea was it to steal Spock's brain??), most of the rest of the season is great. The same fantastic character interaction and subtle messages of humanity are present throughout, but more risks are taken and they more than pay off. Kirk is still the primary leading man who all too frequently falls for the charms of beautiful alien women, but McCoy and Spock are also given episodes that showcase their individual backgrounds and even on occasion pit them against one another. I was surprised but not displeased to see Spock become more of a romantic figure -- it was refreshing to see women become fond of him rather than Kirk. One episode, "All Our Yesterdays," even has him respond to love, when a time warp begins to awaken his emotions. It tugs at our heartstrings. Spock is not the only one given a change of pace -- Chekov in "Spectre of the Gun" is given the opportunity to play a Western gunslinger. One of the finest episodes in the season, not only does it provide a genuine peril for the heroes in knowing they cannot change history, it also reveals a perspective of Wyatt Earp and Doc Holiday that you have probably never seen before. Other historical figures appear in subsequent episodes, including Methuselah and Abraham Lincoln.

Other great episodes include an unexpected twist ending in "Is There No Beauty in Truth," a haunting exploration of slavery in "The Cloud Minders," and the shocking "Plato's Stepchildren," in which powerful telekinetic beings force McCoy, Spock, and Kirk to act out of character to suit their whims. This episode also introduces a terrific and unforgettable one-time character: the dwarf Alexander, who provides not comic relief as one might expect but a deeply emotional connection to the audience that further illustrates the evils of any civilization that forces its weaker inhabitants to submit to its will. Though difficult to watch due to the humiliation the characters suffer (it is positively painful to see Kirk playing pony on the floor, and Spock become so engulfed with emotion it nearly kills him) it also contains great wisdom in its messages of redemption and forgiveness. When Alexander asks if he would fit in on Earth, Kirk gently answers that where he comes from, it does not matter what size or shape or color you are. It is a worthy statement and ironic considering the episode faced potential outrage at its inclusion of the first interracial kiss in the history of television -- between Captain Kirk and Uhura. (Not one single viewer complained.)

The limitations of television during the late 60's prevent the content from being too troubling, but the series does attempt to push the boundaries in interesting ways. It's a given that the women are bound to be scantily clad, showing a lot of thigh and bare backs. Kirk is a ladies man but this isn't explored beyond his tendency to fall for and exchange passionate kisses with many women. (My favorite "love story" this season was "Elaan of Troyius," in which his romantic interest is a spoiled and bratty Egyptian princess.) "The Paradise Syndrome" places Kirk in a marriage relationship in which they are physically affectionate with one another. Spock "seduces" a female commander in "The Enterprise Incident" (nothing happens beyond intense glances and "finger kissing"); a woman asks about Vulcan mating rituals and intimates she would like to experience them. In "All Our Yesterdays," Spock passionately kisses a woman and carries her to a bed; it's unclear whether or not it went further, since we rejoin them much later. In "Plato's Stepchildren," Spock and Kirk are forced to kiss female crew members against their will. In a demented twist, their captors then intend to have the men torture the women.

Various episodes feature hand to hand combat and battles in space. Many people are knocked unconscious or killed by alien entities. Occasional torture is not uncommon and one character winds up almost dead. Psychic powers are explored through Spock's ability to communicate with an alien being who takes possession of him for a brief time. Other mortal beings have supernatural abilities that can not only bend people to their will but also manipulate their surroundings. This season features some lovely guest appearances as well, not the least of which being Jay Robinson. He might have been green from head to toe, but I would have known his voice anywhere. Though there are a handful of weak episodes and the special effects are dated, the final season of the original series is delightful for anyone curious about the "grandfather" of television sci-fi.