Freedom to Choose (Lesson 4)

In my post for Lesson 2 of the Gospel Principles manual, I wrote about the  importance of understanding we are all a part of a heavenly family with a Father in Heaven who loves us perfectly.  As spirit children, we improved our talents and abilities in our heavenly home and desired to partake in the life our Father lives and to receive the fullness of joy He has as a perfected being with a body of flesh and bone (see D&C 138:17 & D&C 130:22).  Recognizing our righteous desire, Father wanted to give us the opportunity to acquire the blessings we sought, but He also knew that for our desires to be truly met, we would need to be tested.

 

The idea of testing shouldn’t be new to us.  While we have forgotten our time with Father before our arrival here on earth, we’ve taken plenty of tests.  How well or poorly we’ve done on those tests coincided with our understanding of the course material.  If we studied effectively, the outcome was good; if we didn’t, our poor results or failure to pass reflects our lack of effort.  Gathering all of us together in a grand family council, Father explained that if we wanted to achieve the life He has, we would need to prove to Him our willingness to live His commandments outside His direct influence (Abraham 3:25); to walk by faith and trust that He would always have our best interests in mind despite what might happen along our journey.  As Elder Neal A. Maxwell taught, we needed an examination “with real mistakes and with real consequences! His plan include[d] real tests, real dilemmas, real anguish, and real joy” (Ensign, Nov. 1987, 30).  The main component to this test would be our agency (or freedom) to choose.

 

While teaching Jacob about agency and its role in the plan of salvation, Lehi affirmed: “Wherefore, men . . . are free to choose liberty and eternal life, through the great Mediator of all men, or to choose captivity and death, according to the captivity and power of the devil” (2 Nephi 2:27).  Because our agency offers us freedom of choice, some refer to it as “free agency.”  While there isn’t anything necessarily wrong with this term, Elder Boyd K. Packer taught that the “phrase ‘free agency’ does not appear in scripture. The only agency spoken of there is moral agency, ‘which,’ the Lord said, ‘I have given unto him, that every man may be accountable for his own sins in the day of judgment’ (D&C 101:78; italics added)” (Ensign, May 1992, 67).

 

God’s definition of agency gives precise meaning for what He intended for our earthly test: 1) a clear choice between opposites, and 2) accountability: do those choices remain within the established guidelines of His law.  Lehi understood this truth.  He instructed Jacob that there “must needs be . . . an opposition in all things. If not so . . . righteousness could not be brought to pass, neither wickedness, neither holiness nor misery, neither good nor bad” (2 Nephi 2:11).  Elder D. Todd Christofferson explained: “When we use the term moral agency, we are appropriately emphasizing the accountability that is an essential part of the divine gift of agency. We are moral beings and agents unto ourselves, free to choose but also responsible for our choices” (Ensign, June 2009, 47; emphasis in original).

 

This plan had to excite many of us when it was presented.  As far as our freedom to choose was concerned, it was no different than what we were already used to.  Not everyone was happy with what they heard, however, Lucifer, who is described in the scriptures as a “son of the morning” (D&C 76:26), offered a plan of his own for us to consider.  He stood and proclaimed: “Behold, here am I, send me, I will be thy son, and I will redeem all mankind, that one soul shall not be lost, and surely I will do it; wherefore give me thine honor” (Moses 4:1).  While his ultimate goal was to usurp Father’s position, it appears to me that Satan’s main objection to Father’s plan was its reliance on accountability.  I believe Lucifer’s definition of “redemption” had two distinct possibilities.

 

The first definition would manifest in the way we as Church members commonly consider when discussing this pivotal moment in our pre-earth life: we would be forced to make the right choice every time.  The ordinances of baptism, confirmation, priesthood, and the temple would come without question; no opposition or resistance would be tolerated.  Once those cookie-cutter milestones had been completed, we would live out our dreary, milquetoast existence until death where we would be patted on the head and tossed like cord wood onto a pile of “saved” souls.  There would be no need for a “savior” to sacrifice himself for us, so unless some some other way of resurrection was offered, a complete exaltation would not exist.  We would be “redeemed” only in the sense of having incorrect choices removed from the earthly equation, but nothing would be learned nor would any real progress be achieved.

 

The second possible definition of “I will redeem all mankind” has to do with the elimination of rules altogether. Elder Christofferson pointed out that many societies today teach “that truth is relative and that everyone decides for himself or herself what is right. Concepts such as sin and wrong have been condemned as ‘value judgments’” (Ensign, Nov. 2009, 106).  Korihor epitomized this concept when he brazenly declared to the Nephites that “every man fared . . . according to the management of the creature” prospering “according to his genius” and conquering “according to his strength; and whatsoever a man did was no crime” (Alma 30:17).  Taking this blurring of moral boundaries into consideration and the scriptural accounts of those who would justify their actions by arguing against God’s laws, I am left to wonder if Satan’s proposal was one which would eliminate agency and choice by revoking those laws altogether!  Father declared that “no unclean thing” could enter His kingdom (3 Nephi 27:19) which required the need for a Savior and repentance.  Satan possible counter was to say, in effect: “I don’t care what you do.  If you want to live by a code of ethics, so be it.  But if you follow whatever your natural man desires, that’s fine too.  Either way, I’ll save you all.  No Final Judgment will be necessary because I will allow you into the Celestial kingdom regardless of what you’ve done on earth.  I will take away the need for being accountable for your actions!”  Instead of being saved from sin, Lucifer may have proposed to save us in sin (but it wouldn’t be sin because he had repealed the law).  In both cases, Father would be forced to relinquish His throne to Lucifer: “Wherefore give me thine honor!”

 

Whether by coercion or elimination, Lucifer’s ultimate goal was to “to destroy the agency of man” (Moses 4:3).  His rebellion could not be allowed to stand and God “caused that he should be cast down” (ibid).  Still, Lucifer’s flattering words convinced a third of the hosts of Heaven to join him (see Revelation 12:7-9 & D&C 29:36-37).  Satan and his followers continue to rebel against God’s laws and seek to pull us down and cause us to be “miserable like unto [themselves]” (2 Nephi 2:27).  With these to opposites firmly in place, we now have the ability to choose either God’s love or Satan’s misery; Father’s “house of order” (D&C 88:119), or Lucifer’s “great and spacious building” of chaos (1 Nephi 8:26).

 

“Exercising agency in a setting that sometimes includes opposition and hardship is what makes life more than a simple multiple-choice test,” Elder Christofferson declared. “He is not satisfied if our exercise of moral agency is simply a robotic effort at keeping some rules” (Ensign, June 2009, 53).  Life is not a checklist of choices.  The path is called “strait” because it is “strict, narrow and rigorous” with many obstacles to avoid or climb over or squeeze past as it ascends toward Father’s throne.  We don’t just move from one destination to another in a straight line with only the mile markers on the side of the road to show us our progress.

 

Our choices matter!  Obedience to God’s laws does not make us a marionettes manipulated by His hand.  Father didn’t give us His laws simply to keep us from trouble.  He gave them to us to help us understand who we are; to gain insight into the potential we have; and to see ourselves as He sees us.    This is why, as Elder Dallin H. Oaks has said, the “Final Judgment is not just an evaluation of a sum total of good and evil acts—what we have done. It is an acknowledgment of the final effect of our acts and thoughts—what we have become. It is not enough for anyone just to go through the motions. The commandments, ordinances, and covenants of the gospel are not a list of deposits required to be made in some heavenly account. The gospel of Jesus Christ is a plan that shows us how to become what our Heavenly Father desires us to become” (Ensign, Nov. 2000, 32; emphasis in original).   As Elder Christofferson explained, Father in Heaven and our Elder Brother want “us to become something, not just do some things” (Ensign, June 2009, 53; emphasis added).

 

There is a reason why Jesus urged His Nephite apostles to use Him as their standard: “Therefore, what manner of men ought ye to be? Verily I say unto you, even as I am” (3 Nephi 27:27).  As we become more like Christ and do His works, we will more readily find “his image in [our] countenances” (Alma 5:14)!  Do we truly want the life Father in Heaven lives and are we committed to do His works to show Him our desire continues to be legitimate?  “That is the choice the Lord puts before us as we face our own promised lands and our own bright futures,” taught President Howard W. Hunter. “We are given the knowledge, the help, the enticement, and the freedom to choose the path of eternal safety and salvation. . . . By divine decree before this world was, the actual choice is and always has been our own” (Ensign, Nov. 1989, lds.org).



My Top 10 Best Star Trek Original Series Episodes (5 thru 1)

Welcome to the top 5 of my top 10 list of favorite Star Trek original series episodes!  I'm going to jump right in with #5 and work my way to #1.

 

Uhura gets her tribble

#5. "The Trouble with Tribbles"  --  Uhura: "Oh, it's adorable!  What is it?" Cyrano Jones: "What is it?  Why, lovely lady, it's a tribble."  Thus begins the descent into furry madness.  Having been "removed from their predator filled environment and placed in an environment where their natural multiplicative proclivities have no restraining factors", the "harmless little beasties begin to reproduce and spread like the old shampoo commercial where the pitch girl tells two friends and they tell two friends and so on and so on and . . . you get the picture.  One of the dangers of doing comedy on a show like Star Trek is if the characters become caricatures.  If they appear to be spoofing themselves and acting in ways outside the established norms (one of my major problems with the movie Star Trek V), then the audience will not stand behind the story for too long.  I think one of the reasons this episode works is because it hits all the right notes with the characters and the situation.

For instance, when the Klingon battle cruiser  appears, we, gear up for another confrontation between the Enterprise crew and the militaristic aliens. We think they will be the main antagonists in the story, but this episode throws that premise on its head.  Yes, the Klingons show up at K7 to make mischief and disrupt Federation plans for Sherman's planet, but in this episode, they are only a minor annoyance--the tribbles are the real antagonists for both our intrepid Federation friends and the Klingons.  In the bar, we learn tribbles don't like Klingons and the feeling is mutual.  Nevertheless, while the Klingons aren't the antagonists, the bar fight between them and the Enterprise crew members is satisfying.  When Scotty punches the first officer of the Klingon ship, the resulting brawl is great because it's something we've wanted to see for a while.  It is a conflict confined to K7, but speaks volumes as to the antagonism both sides feel for one another.

The tribbles are taking over (note Scotty's missing middle finger)

Another reason this episode works so well is it utilizes all of the main bridge characters, allowing them to remain true to themselves while placing them into the comedic situations arising from the story. Kirk is actually able to vent his frustration with Mr. Barris, a glorified paper pusher, throughout the episode; ridiculing him every chance his gets (don't we all wish we could do that sometimes).  Spock is attracted to the trilling of a tribble affects him in a way in which he claims to be immune.  Later, Spock and McCoy have another of their bickering moments over what makes tribbles tick.  Scotty is reluctantly prevailed upon to accompany a shore leave party to make sure no problems arise with visiting Klingons and he's the man who loses his decorum (moments after stopping Chekov from starting a fight for insults against the captain) and starts a fight with the aliens as "a matter of pride" when the Klingon's insult the Enterprise.


"Really, guys, in the back of the head again?"

In the end, however, the tribbles rule the story.  As a furry, Noah-like flood engulfs the Enterprise, Kirk loses his patience when he stops in the rec room to get lunch and finds tribbles in his "chicken sandwich and coffee."  Scotty enters the rec room with an armful to warn Kirk that the tribbles have gotten into the food processors "through the air vents."  Realizing similar air vents exist on K7, Kirk and Spock beam over to the station to see if the tribbles are in the grain storage compartments.  This sets up the biggest gag of the show: the moment when Kirk is deluged in tribbles pouring out of the upper compartment.  One of the reasons I've always liked the scene with Kirk chest deep in tribbles, getting a bit of a comeuppance from Mr. Barris, is because of the tribbles falling out of the open upper compartment door.  Several times a tribble whacks Kirk in the back of the head (here he is glancing up in annoyance at the latest occurrence).  I picture production people up in the compartment area using William Shatner's head as their target.  I can't help but wonder if special compensation was given to any production member who could bean the good captain in the melon with a tribble since it happens several times (another time a flying tribble knocks a smaller tribble out of Kirk's hands).  The "head hunting" cracks me up every time.


"There be no tribble at all."

Finally, the tribbles actually help save Sherman's planet by exposing Mr. Barris' aide (Arne Darvin) as a Klingon spy ("I wonder what Star Fleet command will have to say about that.") who has poisoned the quadrotriticale with a virus.  Kirk also uses the tribbles to send Captain Koloth scurrying back to his ship as fast as his Klingon legs will take him.  Scotty's final engineering feat in transporting the tribbles off the Enterprise and onto the Klingon ship is a satisfying ending (and also a last bit of payback for the insults leveled at his beloved ship) :)





The Constellation after its battle.

#4.  "The Doomsday Machine"  --  Honestly, if I had put a top 10 list together back in my grade school days, this would have been my number one episode.  I was really taken by the story of "the big, blue thing" (as I called it back then; I didn't know what else to name it), because of its action!  There are space battles in Star Trek, but nothing quite like the one that takes place in this episode.  The desperate fight of the two star ships (one damaged, the Constellation, and the other intact, the Enterprise) is very exciting.  Now with some life experience behind me and having read Moby Dick, I see the episode has a lot more depth than just a desperate space battle against a mechanical foe.

 

The Enterprise strafes the Doomsday Machine

"Aye, aye! and I’ll chase him round Good Hope, and round the Horn, and round the Norway Maelstrom, and round perdition’s flames before I give him up” (Moby Dick, [1987], 261).  A variant of Captain Ahab's quote is used by Khan in Star Trek II.  Four instances of the "Ahab syndrome" immediately come to my mind when I consider this episode: Decker vs. Doomsday Machine; Kirk vs. blood sucking cloud creature; Khan vs. Kirk; and Picard vs. the Borg.  In each instance, the first character is willing to sacrifice everything (up to and including their own lives) in order to achieve their desired vengeance against the second character (machine, entity or person) unless snapped out of their emotional state in time.  This episode was the first to use the plot device and it does so very well.

 



The Enterprise caught in a tractor beam

"They say there's no devil, Jim, but there is. Right out of hell, I saw it!"    A distraught Matt Decker declares to Captain Kirk when attempting to describe the cause of his extreme distress.  In a sense, that statement and the emotion behind it, sets the stage for the lengths Decker will go to have his revenge upon the Doomsday Machine.  Instead of leaving him with a peg leg, the device killed Decker's entire crew, crippled his ship, and, in a final indignity, relieves him of command ("I've never lost a command before," he admits to Kirk before beaming to the Enterprise with McCoy).  He wants revenge and will do anything he can to achieve it.  Once aboard the Enterprise, with Kirk unable to contact his ship from the Constellation, Decker seizes his chance by taking over command from Spock.  The confrontation between Vulcan and human crackles with tension.  To McCoy's dismay, regulations force Spock to surrender control of the ship to the higher ranking commodore.  Spock (or should I call him Starbuck) attempts to dissuade Decker from attacking the machine, but with no success.  Despite the machine's impenetrable hull, Decker is convinced his can "kill" it if he uses different tactics then before.  When Kirk is finally able to contact his ship and finds out what is happening, he personally orders Spock to take back command.  Disregarding regulations, Spock doesn't hesitate to remove Decker.  This moment shows the confidence the captain and his first officer have in one another.  Spock is willing to give Decker the heave-ho because he knows Kirk will have his back.  Even though Decker can no longer attack the machine with the Enterprise, he cannot let go of his guilt or his anger.  He takes a shuttle craft and drives it into the center of the device in a last ditch effort to destroy it and to join his crew in death; a sad ending to a very good guest character.  The result of Decker's suicide is enough to give Kirk the idea of sending the Constellation down the machine's "throat" to finally destroy it.

The Constellation enters the machine

Of all the original episodes, this one benefits the most from the re-mastering and the updated special effects.  Although writer Norman Spinrad originally envisioned the doomsday machine with all sorts of gadgets and attachments, the FX team couldn't alter the overall cornucopia look of the device.  They did manage, however, to make it look more fluid in its motions and much more menacing inside and outside.  The strafing runs made by the Enterprise against the machine are amazing!  The new effects increase the sense of jeopardy when the Enterprise is caught in the tractor beam, being pulled toward the machine.  As can be seen from the first posted picture, the look of the devastated Constellation is also much improved.  Instead of the right nacelle looking like a crushed piece of silly putty, the ship truly looks as though it has sustained heavy damage in a desperate battle against a superior foe.  All in all, I will always have a soft spot in my heart for this episode.  The Kirk in jeopardy scene is probably the most contrived moment in the entire show, but I have to admit it's great to hear Scotty muttering under his breath as he climbs back into the Jefferies Tube. :)



The Guardian of Forever

#3. "The City on the Edge of Forever" --  Back in 1981, I was an intern (of sorts) for six weeks at the Aspen Grove Family Camp Center (near the Sundance Resort in Utah).  While I was there, I heard a BYU production (presented as if it was an old style radio show) of the Ray Bradbury short story "A Sound of Thunder."  The story is about a company that uses a time machine to take people back into the past to hunt dinosaurs who are going to die.  They only allow hunters to kill animals that are supposed to die because of the potential risk one small alteration in the past could have in the present.  During the course of the story, one of the hunters kills a butterfly that was not meant to die.  This "butterfly effect" alters the present in ways noticeable to the time travelers when they return.  For me, this episode offers a similar premise when McCoy, crazed from an accidental shot of the drug cordrazine, leaps through a time portal (the Guardian of Forever) into Earth's past and alters the future to the point where the Enterprise no longer exists (which, by implication, means everything else has no longer exists).

Kirk and Edith contemplate the stars

I can only surmise that the proximity of the  landing party (Kirk, Spock, Scotty, Uhura, and two security officers) to the Guardian protects them from the alteration.  Spock, who had been examining the passing time line his tricorder at the moment of McCoy's entry, determines (in general terms) when he and Kirk should jump through to stop Bones.  The captain and first officer arrive in America in 1930 (the midst of the Great Depression) and meet Edith Keeler, a social worker who runs a mission.  While Kirk begins to fall for this "uncommon" woman, Spock builds a primitive memory circuit in order to view his tricorder to find determine who or what might be the "focal point" that drew him, the captain, and, eventually, McCoy to this time period.  The moral dilemma comes when Spock discovers Edith to be that focal point.  Spock sees her obituary on the tricorder screen, but when he attempts to show Kirk, a different future is revealed.  Kirk is amazed; Edith is leading a peace movement and meeting with FDR!  Spock throws the cold water of reality on his friend, explaining that Edith Keeler may need to die to set the timeline aright.

Reviewing the time line

I suppose there are all sorts of existential arguments that could be made at this point.  Someone might ask: Is the life of one person that important?  My answer is "yes" (and not just because I like watching It's a Wonderful Life every Christmas Eve).  Whether the influence be small or great, for good or ill, each of us can impact the life of others.  Edith Keeler is on the verge of expanding her influence from a local to a national level.  While the ideas she champions in the alternate future are good, the results are catastrophic.  The argument could turn to "what if" this person never lived or that event never happened (or vice versa), but it would be best to just stick to this particular story.  If Edith Keeler lives beyond a certain point, the ramifications will be deadly.  Just like in the Bradbury story, one might think the death of one butterfly back in the age of the dinosaurs is not a big deal, but it sets off a terrible chain of events.  The dramatic ramifications on Captain Kirk are gut wrenching.  When the tricorder evidence proves to Kirk how Edith Keeler's extended life causes Germany to win WWII, the captain knows in his head that he cannot save her, but is faced with the fact that his heart may not let him make that decision.

Kirk can't save Edith

One of the interesting aspects of the Kirk, Spock and McCoy relationship is how the latter two men serve as the dueling halves of Kirk's decision making process.  In order for the captain to make his decisions, he needs to weigh the logical practicality of each given situation against the compassionate side of himself.  Instead of showing Kirk having an internal argument each time he needs to make a decision, Spock and McCoy embody logic and compassion and give the internal conflict a voice.  In this episode, Spock is put in the unenviable position of being the captain's conscience.  As a Vulcan, he can look unemotionally at the situation; he cannot allow Kirk to think with his heart.  When Edith trips on the stairs and the captain catches her, Spock reminds him later that she needs to die.  Kirk tries to justify his actions: "McCoy's not here."  Spock reminds his friend McCoy may very well be there, they do not know (and by that point, McCoy is there, sleeping off the cordrazine in a back room of the mission).

"Let's get the hell out of here."

In an ironic twist, McCoy's reunion with Kirk and Spock sets in motion the accident that kills Edith.  Even though Kirk repeatedly tells her to stay on the opposite side of the street, she is drawn to the reunion of the three men (how can she not; they have piqued her curiosity and now she learns they know each other--she has to find out what is going on).  As she crosses the street without noticing the oncoming truck, Kirk sees her danger, but as he makes a move toward her, Spock calls out, "No, Jim!"  In that instant, Kirk realizes he must let this happen and can only watch helplessly as the truck hurtles toward her.  When McCoy recognizes what is happening, his compassion--his oath to save life--takes over and he attempts to lunge into the street, but is grabbed by Kirk as the truck hits Edith.  The devastated look on Kirk's face reminds me of another moment in the engine room of the Enterprise when Spock succumbs to radiation poisoning.  When the three men return to the present, everything is "normal," but the tragedy Kirk has suffered is reflected in his final line, "Let's get the hell out of here."  A very good story. :)



Sarek and Amanda arrive

#2. "Journey to Babel"  --  In several instances in the first and second seasons, the duality of Spock or his "otherness" as a Vulcan has been the focus of the story (two of these I have previously discussed).  With this episode, that duality is personified by the introduction of his parents to the crew of the Enterprise.  The premise of this episode is a galactic conference of Federation members to consider the controversial question of accepting a new planetary member, Coridan, into the fold.  The Enterprise's mission is to deliver a plethora (I love that word) of ambassadors and their entourages to the code-named planet, Babel to debate and decide the matter.  The last stop of the Enterprise before it continues to Babel is the planet Vulcan.  Kirk, Spock and McCoy, attired in their full dress uniforms, await the shuttlecraft carrying the Vulcan delegation.  Once the party is aboard and ambassador Sarek and his wife Amanda are introduced (with Sarek's very cold reception to Spock's greeting), Kirk tells his first officer he can beam down to the planet to visit his parents if he would like.  Spock's reply: "Captain, Ambassador Sarek and his wife are my parents."  Good old Vulcan logical reticence.  It's never been relevant to talk specifically about his parents (except for a brief mention in "The Corbomite Maneuver" --which, by the way, is curiously made in the past tense), so Kirk and McCoy are hard pressed to not keep the surprise from their faces. :)

Gav confronts Sarek at the reception

I mentioned above how Spock and McCoy serve as the two halves of Kirk's decision making process.  One of the intriguing aspects of this episode is the personification of Spock's dueling personalities.  As a full-blooded Vulcan, Sarek is the epitome of logic--the role model Spock has sought to emulate throughout his life.  When the Tellarite ambassador, Gav, attempts to confront Sarek about the Coridan admission, the Vulcan ambassador first coolly side-steps the issue and later makes his government's feelings known when he realizes Gav will not stop pestering him until he reveals its position--perhaps also recognizing that his words may sway others.  Sarek's every action is calculated and logical.  When comparing Sarek against what "Amok Time" revealed about Vulcan society, we better understand those whom Spock has used as models throughout his life.  At the same time, we see where Amanda's human side fits into Spock's equation.  The first thing she does when she has a moment is to ask Spock why he hasn't learned how to smile after being around humans for so long.  He replies: "Humans smile with so little provocation," but it's interesting to note how much he did smile when the spores took over him during "The Paradise Syndrome."  There is a twinkle in her eye when she admits to Spock having a pet sehlat as a boy.  Although her husband chides her for embarrassing Spock in front of his peers, Amanda wants to highlight Spock's human traits to his crewmates.  She even looks for human traits within her husband.  She tells Sarek that he has "almost human pride" in Spock.  It may be that she is trying to mend the rift existing between father and son, but she appears to want to find emotional aspects in her alien husband and half-alien son that are familiar and comforting to her.  Even with her strong emotionalism, which baffles her husband and son at times, her influence, however subtle it might be, is a part of her family (Sarek admits he married her because "it seemed like the logical thing to do").   While Spock may desire to turn himself toward Vulcan characteristics, he cannot completely escape the human factor inside him and his mother is determined not to allow it.

Amanda confronts Spock

Spock's crisis in the story comes when Sarek collapses in his cabin from a Vulcan version of a heart attack (McCoy later finds a defective heart valve that needs corrective surgery). Afterward, Spock throws himself into his job and tries to logically side-step Kirk's compassion, but he has to be feeling some sort of emotional turmoil, how could he not (in Star Trek III, even Sarek admits: "My logic is uncertain where my son is concerned.")?  The political intrigue of the upcoming conference increases Spock's crisis when a third party operative, as part of his attempts to disrupt the conference, attacks Captain Kirk, critically stabbing him.  With Kirk injured, Spock, siting regulations, backs out of the plans for his being a blood donor for Sarek's operation.  Amanda can't understand why Spock would desert his father in his hour of need and appeals to his human side (saying also that if his inaction causes Sarek to die, she'll hate him for the rest of his life).  In trying to help his mother understand the reasons he cannot subject himself to the transfusion, Spock says: "Sarek understands my reason."  Earlier in this episode, we learned that Sarek and Spock have been at odds with each other over Spock's choice to join Star Fleet for 18 years--they've not spoken for the last 4.  Even so, Spock chooses the Vulcan path (his father's path) even though doing so could potentially kill his father.  Although he doesn't say it, Spock's ultimate explanation to Amanda is a form of: "The needs of the many outweigh the needs of the few; or the one."  Spock has lived his whole life trying to show all the full-blooded Vulcans (most importantly, his father) he is one of them.  To throw all his efforts aside for personal rather than logical reasons, would be the most damning evidence against him.  Nevertheless, after his mother slaps him and leaves his quarters, Spock approaches the closed door and lays his hand against it.  The scene is very poignant and serves to show that no matter how hard Spock tries to suppress it, there is a part of his mother inside of him and it can be reached; just not entertained.

Thelev's plan is defeated

In the end, Kirk's human emotions assist Spock.  Although still weak from the stabbing, Kirk musters enough strength to convince his Vulcan friend that he can take part in the operation.  Before he can turn command over to Scotty, Kirk finds himself caught up in the end game of the third party (Orions who have their own designs on Coridan).  Though not at 100% physically, Kirk figures out the puzzle of the attacking, enemy ship and is able to stop the Orion ship and their operative.  With the delegates safe and Sarek's operation a success, McCoy forces Kirk back into his sick bay bed and doesn't allow Spock to leave his.  After shushing them both, McCoy proudly proclaims: "Well, what do you know.  I finally got the last word."  In a pig's eye! :)
 

Romulan warbird

#1. "Balance of Terror"  --  What do you do when you encounter an enemy who seems to be attempting to reopen hostilities years after a devastating war?  This is the dilemma the Captain Kirk and the crew of the Enterprise find themselves in when they are pitted against the Romulan race.  Kirk’s chess match of moves and counter moves against an opponent who is his equal is the subject of my favorite episode of the original series.  This episode was the front runner when I started purchasing the remastered shows. After watching all 79 episodes with my family, I find this one to still be at the top of my list.  Besides the chess-like moves throughout, another reason I like this episode is because both Captain Kirk and the Romulan Commander are humanized (if such a word can be used for a Romulan) and shown to be very much alike in the insecurities they feel as they try to be precise in their decision-making process to defeat their opponent.

Depth charge phasers

I have read several sources siting the movie The Enemy Below as the inspiration of this episode.  Since I didn't know much about the movie, I've looked it up and seen the movie trailer on YouTube.  The movie turns out to be a WWII story about an American destroyer and its battle with a German U-boat or submarine.  Put in this context, the parallels between the 2:30 minute trailer I saw and the episode make more sense to me.  The Enterprise is the navel destroyer: the Romulan warbird the U-boat.  The cloaking device on the warbird is the equivalent of a submarine submerged under the sea.  One of the special effects choices I thought would be "cleaned up" in the remastered version was when the Enterprise fires its phasers.  I have always wondered why the phaser fire looked more like photon torpedoes in this particular episode.  Now that I know more about the source material, I understand the phasers are supposed to look like depth charges.  When Spock gets a fix on the Romulans with the ship's sensors, like a destroyer tracking a U-boat with sonar, Kirk instructs Sulu to mirror the Romulan ship move for move.  The Romulan bridge crew interpret the strategy as a "reflection" possibly like a submarine might consider a following warship.

The Romulan Commander and Centurian

Eventually, the story shifts to the bridge of the Romulan ship to give a voice to the Romulan perspective.  Allowing for the antagonist's perspective, and, in a sense, making them the protagonist in those moments, increases my enjoyment of the episode and serves as another parallel of the movie.  From what I have read about the plot in the movie, the U-boat captain expresses thoughts showing him to not care much for the Nazi regime.  The characterization of the Romulan Commander as war weary and tired is an interesting parallel.  He is convinced the Earth vessel will prove to be weak and easily destroyed, but is less than thrilled about the Romulan praetor's desire to go to war against Earth again.  "If we are the strong, is this not the signal for war?" asks the Commander's friend the Centurion.  "Must it always be so?" the Commander retorts. "How many comrades have we lost in this way?"  The Commander admits he will do his duty and complete his mission, but the exchange between the two friends gives the Commander a depth he would not otherwise have had and changes the tenor of the overall story.  It is a brilliant move to switch perspectives from ship to ship.  In this way,  we better understand the motives and tactics of both sides of the conflict.

Stiles gives Spock the evil eye

An earlier recitation of the facts of the war reminded the crew that no one knows what a Romulan looks like.  The tension aboard the Enterprise increases mere moments after the navigator, Mr. Stiles, relates that members of his family died fighting in the previous war 75 years earlier and raises the possibility of Romulan spies on the Enterprise.  Spock is able to tie into a coded communication from the warbird to get a look at the bridge crew.  The picture shows . . . pointed ears on the antagonists.  Shock and surprise (consternation from Mr. Stiles) registers from the crew as they get a good look at the Commander of the Romulan ship; even Spock allows an eyebrow raise.  With this revelation, the specter of prejudice enters the story.  Mr. Stiles focuses years of pent up animosity onto his Vulcan colleague.  The emotional aspect of Stiles' bigotry takes the overall story of Earth vessel verses Romulan vessel and boils it down to an individual level.  Interestingly, when Kirk call a staff meeting to review his options, Spock agrees with Stiles' recommendation to attack the Romulan vessel.  If Romulans are related to Vulcans of the past, Spock reasons, the Enterprise's inaction will be looked upon as weakness, increasing the likelihood of another war (a correct deduction).  Later, although he passes it off as a logical action rather than an emotional response, Spock's rescue of Stiles helps the navigator to gain a greater respect for the person he had unnecessarily labeled his enemy.

"Don't destroy the one named Kirk."

Like the Romulan Commander, Kirk has his own soul-searching moment in his cabin during a conversation with McCoy.  When McCoy goes to Kirk's cabin.  "Why me?" Kirk wonders as he notes how the crew hangs on his every command, but what if he's wrong?   Bones reminds his friend of the countless people in the galaxy and how there is only one of each individual.  "Don't destroy the one named Kirk."  It is a nice scene, showing the emotional stability the doctor offers his captain.  Eventually, Kirk's tactics prove superior to the Romulan Commander's.  After the Enterprise has rendered the warbird inoperable and helpless, Kirk and the Commander have an exchange.  "I regret that we meet in this way," the Commander admits before he sets his ship to self-destruct. "In a different reality, I could have called you friend."  It's a moving moment between two adversaries who have come to admire one another through combat.  A great episode; one I am very satisfied to call my number one. :)
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So there you have it; my top 10 list of best Star Trek original series episodes.  This was fun.  Maybe I'll make a go at naming my 10 worst episodes in the near future.

My Top 10 Best Star Trek Original Series Episodes (10 thru 6)

As a birthday present to myself, I bought season 1 of the re-mastered episodes of Star Trek the original series with updated special effects.  After securing season 2 with a birthday gift card and obtaining season 3 for Christmas, I have re-acquainted myself with the shows I became enthralled with as a kid and am ready to subject my mighty readership with a Top 10 List!  Blame my boys for this; they were the first to ask me to rank my top 5 episodes.  Their question caused me to wonder: What are my favorite original Star Trek episodes?  Such a question, by its very nature, is subjective since my Top 10 will obviously be different from another person's.  However, I will state my case (as it were) and give my reasons for choosing these 10 episodes.  If you wish to read my statements and yell at my obvious ridiculousness, that's fine; or if you wish to read the list alone, I have highlighted each in bold.  I've also decided to split the list in half, making 2 posts, otherwise this one post will be huge.  I will begin with my honorable mentions and continue from #10 to #6.

 

Bullets fly, but only the fence is harmed

Honorable Mention:  I've picked three.  First, "Spectre of the Gun" from season 3.  Season 3 episodes are so maligned, and for good reason, that it's sometimes difficult to remember that there are several good (not great or classic) shows scattered throughout the season.  Each of the episodes seem to suffer from plot holes, characterization problems and the like, but the good ones stand out because they seemingly suffer less from these problems.  I think one of the reasons I like "Spectre" is because Star Trek was originally pitched as "Wagon Train To the Stars" and this episode actually melds the stars with the old west as five bridge crew members, Kirk, Spock, McCoy, Scotty and Chekov, find themselves in a surreal version of Tombstone, Arizona, mistaken for the Clanton gang on the day of the gunfight at the O.K. Corral.  Maybe its the setting; it could be the bland line reading of the Earps (to show their distaste for the Clanton gang, or were they just bored?); perhaps its watching the fence behind Kirk, Spock, McCoy and Scotty explode from gunfire while the men remain upright; it could be the girl ("She was so real; so beautiful."); but whatever the case may be, this episode is my favorite of all the 3rd season shows and I thought I'd acknowledge it. 

The Squire challenges Kirk to a duel

My 2nd honorable mention is "The Squire of Gothos."  I have read theories from other fans that Trelane is a "Q."  Some of the things he does during this episode, appear to indicate that this might be true.  If so, this episode marks first time someone from the Federation meets this race of beings.  Put in this context, I would think this episode merits acknowledgement since Q becomes a driving player in TNG.  As I watched the episode, I found myself wondering if John de Lancie was influenced in any way by William Campbell.  Campbell's Trelane is so spirited and seems to have such fun with the role that when the "reveal" is made (he is nothing more than a spoiled child who is not "playing nice" with his toys) all his previous actions make even more sense ("I was winning!").  Wouldn't it be funny to learn that Trelane is a younger Q.  He is still so upset with his parents for making him stop his game with Kirk that he decides to take his anger out on Picard!  It's a thought.  Anyway, Campbell makes this episode fun and raises it high enough for me to make mention of it.

Khan and Kirk engage in a stare-down

My final honorable mention is "Space Seed."  I suppose some other Trekker (or has Trekkie now reached some level of acceptability) would question my sanity for leaving this episode out of the top 10, but while the story is the genesis (pun intended) for the best of the 6 original cast movies, I give it honorable mention for that reason alone.  The story is left off my main list because . . . well, I just don't find it as compelling as the episodes I have chosen for my top 10; it's as simple as that.  At one point in the episode, Kahn boasts to Kirk that he and his "pals" are superior ("mentally, physically") to regular humans, yet he spends half the episode seducing Lt. McGivers, a mere "mortal," to help him take over the Enterprise.  Other than an overactive libido, why would Kahn bother, especially after reading all those technical manuals in sickbay (a huge error in judgment on Kirk's part)?  Someone who can send a hulking red shirt flying down the corridor with one smack doesn't strike me as a guy who needs a wingman (I'm reminded of Roga Danar in TNG's "The Hunted").  The episode spends so much time with the seduction that not much time is left for the payoff.  Sticking Kirk in the decompression chamber and the final fight sequence leave me a bit flat (Kirk's getting the stuffing beat out of him until he finally realizes, "Hey, I can use this lever thingy to help me knock this guy out!").  I'd rank this episode somewhere in the 15 to 25 range, but it doesn't have the chops for my top 10.

With honorable mentions out of the way, on with the bottom 5 of my top 10 list!

Spock hangs from a tree!

#10. "This Side of Paradise"  --  There are several episodes in the original series which attempt to serve as a "Mr. Spock in love" story; two work, the rest do not.  Since this episode finds it's way into my top 10, it is one that works as far as I'm concerned (the other appears later on--foreshadowing alert!).  Up to this point in season 1, we've been offered flashes of the human half of Spock.  The virus in "The Naked Time" brought negative emotions (fear, regret, anger) out of him with a vengeance, and other moments have popped up on occasion.  The spores on Omicron Ceti III, however, finally allow us to see what would happen if Spock's positive human emotions rather than his Vulcan stoicism where in charge.



Kirk confronts Spock and Sandoval

Spock's duality is, for me, the biggest reason he is such a compelling character.  When a plausible, uncontrived way is found to strip away the unemotional logic in favor of the "torrential flood of illogic[al]" emotions, the results are very interesting.  Spock's initial reaction to the spores (pain as his walls are broken down) and then to Leila when the euphoria finally takes hold ("I love you.  I can love you!") speak volumes as to the amount of control needed to hold his human half in check.  The spontaneity, the caring, the desire to show affection which results as he experiences a new found freedom from his "self made purgatory" makes the story special.  He now takes the time to see clouds and rainbows with more than his analytical eyes.  He laughs with ease and finds Kirk's rigidity amusing.  We get to see this side of Spock, but don't feel as though the character has been altered in some ridiculous way.  Spock's found hanging from a tree for crying out loud, but my response is to laugh and find joy with him, not think, "No way!  It could never happen!"  What "The Naked Time" began, "This Side of Paradise" continues, and does so in a very satisfying manner.  



McCoy readies himself to kidney punch Sandoval



Kirk has a personal moment as well, but it echoes, rather than augments, what was first introduced in "The Naked Time."  When the spores take him over (and isn't it interesting that the plant seems to pop out of nowhere even though Kirk himself threw it there--see the long cameral shots of the bridge), it is his feelings about his true love--his ship ("I can't leave!")--that break the hold.  The episode is mostly Spock's personal story; love found and love lost because of his choice to hold to his Vulcan attitudes and beliefs.  In a way, it's almost disappointing when Kirk goads Spock to such anger that the spores leave him.  Again I can react as Leila does, but I can also feel some measure of relief in the knowledge that the Enterprise's resident Vulcan has regained his logical veneer.  The dramatic elements of this episode make it very good--and it's also fun to see McCoy kidney punch Sandoval without spilling his mint julep. :)



The Enterprise is stopped by the cube

#9. "The Corbomite Maneuver"  --  When I was in 3rd grade (I think) and the local TV station started showing reruns of Star Trek on weekdays at 3 P.M., it played them in their production order, not their original air time order.  Although this episode wasn't aired until week 10 of season 1, it was actually the first episode filmed when production of Star Trek began.  Understanding this episode's true place in the season 1 rotation gives better context as to the type of story it actually is.  "The Corbomite Maneuver" lands in my top 10 because of the intrigue of the mission.  I don't think it could be argued that this is the very first of the Enterprise's "five year mission," but it appears to chronicle the ship and crew's first venture into an area of unknown space. 


The Enterprise confronted by the Fesarius

When confronted by the cube, Captain Kirk is cautious; he wants to make sure that his decision to move forward or retreat is well informed and he consults his department heads to advise him.  We also see that when he makes his decision, the crew immediately moves to put the plan into action.  After the cube is destroyed and the Enterprise is then confronted by Balok and the Fesarius, Kirk's mettle is  really tested.  We see him attempt to negotiate (doesn't work), try to "make nice" and leave (Balok doesn't allow it), and seek to help the hostile alien understand his reasons for destroying the cube (the communication is cut off and ignored).  During the situation with the cube and as each of Kirk's attempts to negotiate with the alien are rebuffed, the episode serves as a good introduction of the main players of the Enterprise's crew (except for Uhura who was the last cast member hired before this episode--note her gold uniform--and is relegated to "Hailing frequencies open" throughout).  They are all cool under fire and appear to be veterans of deep space exploration, with the exception of one: chief navigator Bailey.


Bailey about to lose his composure

Mr. Bailey is young and inexperienced.  McCoy thinks Kirk promoted him too quickly.  I think Bailey serves as a "surrogate" for the audience.  As it is possibly Bailey's first deep space mission, it is also our first mission with the Enterprise.  Bailey gives us a context of what it might be like for us if we were in his place on the bridge.  We see Spock's "otherness" through Bailey's eyes.  When trying to explain an emotional outburst in the beginning of the episode, he mentions his adrenal gland.  Spock retorts, "It does sound most inconvenient, however.  Have you considered having it removed?"  When the pressure from the encounter with Balok  finally gets to Bailey, he snaps.  The alien's responses and motives are definitely frustrating.  Why give them 10 minutes to prepare to die?  Why not just finish them off and be done with it?  We, the audience, are left to wonder if we would do the same in his shoes.  The navigator's eventual return to the bridge to contritely ask for permission to return to his post gives us hope for ourselves.  Another interesting moment comes when Kirk turns to Spock for advice and Spock gives him the chess analogy.  "Is that your best recommendation?" Kirk snaps.  "I'm s . . ." Spock begins and catches himself to then "regretfully" admit it is.  This brief slip gives a brief glimpse into Spock's duality and the battle he has to control his human emotions.

Balok "relishes" his tranya

The poker gambit of the "corbomite device" is Kirk's last, desperate attempt to save his ship and his crew.  It is a well played bluff ("Hold on that!  Let him sweat for a change.")  and shows the lengths Kirk will go if pushed; but it doesn't come across as reckless.  In the end, we are shown Kirk's compassion as he is willing to board the small vessel to see if any assistance can be rendered.  Also, his willingness to take Mr. Bailey on the boarding party shows a concession to McCoy's earlier diagnosis.  Balok is found to clearly not be someone the Enterprise would have been frightened of and his frustrating responses were his test of the crew (could you image if Kirk actions had mirrored Bailey?).  Finally, Kirk's offer to Bailey to be the volunteer to stay on Balok's ship is a final connection to the audience as we contemplate if we would make the same choice Bailey does.  I think this episode sets the tone for season 1 and the series.  It is far superior to "The Man Trap" (Ugh!) as an opening episode.  Also, it's a kick to see Clint Howard try to choke down his tranya. :) 



Shooting the "monster"

#8. "The Devil in the Dark"  --  One of the unique aspects about Star Trek (at least in the seasons 1 & 2) is that the stories didn't reduce themselves, for the most part, to a "monster of the week" like what was found in pulp magazines or other sci-fi TV shows of the day.  If a weird creature was involved in the story, motivation was given for its actions (even the salt creature was given a motivation).  This episode represents the epitome of Star Trek's different approach.  Instead of just introducing a creature who kills humans, the story asks: Why is the creature killing?  What is interesting about the story construction for this episode is that the monster appears in the beginning to serve as nothing more than a bogyman who attacks for no reason.  We hear the miners discussing the 50 people who have died up to this point; we see Schmitter's nervousness as he's placed on watch; and the creature's attack on Schmitter, burning him "to a crisp."  Instead of leaving the creature as a contrived device to terrorize the miners, however, the story begins to ask the question: is this creature (eventually understood to be called a Horta) killing for the sake of killing, or is there an underlying reason for its actions.? 


Spock mind melds with the Horta

As the Enterprise arrives and the story continues the Horta begins to gain a fascinating back story.  First, Spock posits that the Horta could be a silicon-based life form.  McCoy scoffs at the notion, but there is scientific theory making this notion not as far fetched as it might seem.  Next, we are introduced to the silicon "nodule" in Vandenberg's office.  After Kirk and Spock take a "bite out of it" with their phasers, Spock learns from his tricorder readings that there are thousands of tunnels (more than one Horta could make in a lifetime) and states that if Horta is the last of its race, killing it would be a crime against science.  Funny thing, in the beginning of the story, Kirk is only interested in saving the miners and Spock wants to preserve it.  When the Horta and Kirk come face to face (so to speak), Spock urges Kirk to kill it and Kirk hesitates.  He finds that his earlier comment comparing the Horta to a wounded animal to be true as he backs it off by pointing his phaser at it every time it moves toward him.  Motivation for the Horta's killing of the miners and stealing the station's power pump comes when Spock mind melds with it and learns that it is a mother protecting her children.  The silicon nodules are her eggs.  Vandenberg and his miners have destroyed hundreds of her babies.

"I'm a doctor, not a bricklayer!"

As soon as he understands the Horta's motivation and personally sees the broken eggs, Kirk's view changes.  He wants to protect the Horta; he orders McCoy to heal it; and he threatens death to any miner who attempts to shoot it when they break through the security perimeter.  This progression from monster to mother and Kirk's change from wanting to kill the Horta because it's a threat to protecting it because of his new found understanding of it shows the range and depth of Star Trek.  The episode also takes the step of offering the two life forms more than just a truce, Kirk tells the miners the Horta could open up mining areas they could not.  Instead of a truce of both sides leaving the other alone, Kirk encourages them to work together.  Giving the "monster" a reason for its attacks on the miners and resolving the conflict in this manner makes "The Devil in the Dark" one of the most unique of the 79 and stands as an example of the great stories Star Trek can tell when given the opportunity--and hearing McCoy retort: "I'm a doctor, not a bricklayer!" to Kirk after the Captain asks him to care for the Horta always cracks me up. :)

Spock rockin' the beard!


#7. "Mirror, Mirror"  --  Spock with a beard!  From the moment Kirk, McCoy, Scotty and Uhura step off the transporter pads and see facial hair on their resident Vulcan, they realize they're not in Kansas anymore!  Immediately, the four crew members are forced to navigate a minefield of intrigue and assassination attempts aboard the ISS Enterprise.  Not only does this episode feature a "fish out of water" story, it throws everything we've come to learn about the Enterprise on its head--and it does so by giving each actor a chance to shine.  When Kirk refuses to destroy the Halkans as ordered by the Empire, he quickly finds disobeying a direct order gets him something much more than a reprimand--Chekov puts a hit on him!  It's interesting to note that when the Ensign makes his move, Sulu (who's also the head of security) notices the signal and does nothing to stop it: why should he when it benefits him?  Also, the look of evil glee on Chekov's face as he accompanies Kirk in the turbo-lift is great.


Chekov cuts loose with a patented scream

The only thing that saves Kirk is when one of Chekov's men switches sides at the last second.  The ensign is sent to the agony booth where he gets to cut loose with a patented Chekov scream!  Along with Chekov, Sulu makes an assassination attempt and even Spock makes a veiled threat to Kirk under the guise of the captain's inaction.  One of the fascinating aspects of this episode is the placing of our heroes in a familiar setting with unfamiliar rules.  The trick for them is to adapt as quickly as possible without losing their identities.  There is a moment in Kirk's cabin when McCoy wonders what type of people they are in this universe.  Kirk begins a playback of his service record and finds that he assassinated Christopher Pike to become captain and enacted other terrible actions.  He quickly stops the playback and he and Bones share a look of shock as both men realize that the actions of their counterparts run in complete opposition of the normal decisions they would make.

Uhura distracts Sulu

For me, this episode raises the question of the choices we make and how those choices affect us individually and also affect the people around us.  The Kirk in the alternate universe would not think twice about destroying the Halkans, but the Kirk we know will try to see if he can somehow avoid making that decision.  The "evil" Kirk trapped in the "regular" universe tries to bribe his way out the brig; the "regular" Kirk in the "evil" universe tries to use all his skills to survive long enough to return to where he belongs.  The idea of a parallel universe is a compelling one which eventually spawned additional episodes in DS9 and Enterprise.  I also really like the way Uhura gets to make a difference in this episode.  Although shaken by the transference at first, when she's called upon to use Sulu's lust against him, distracting him long enough for Scotty to divert enough power to the transporters to get them back to their own universe, she goes all in to help her shipmates.  The way she plays Sulu and then lets him have it across the face is great (note the smirk on the faces of the two guards standing at the turbo-lift doors). :)





You've got to fight for the right to marry me!

Vulcan greeting

#6.  "Amok Time"  --  "It has to do with ... Vulcan biology." ... "Well, there's no need to be embarrassed about it, Mr. Spock, it happens to the birds and the bees." "The birds and the bees are not Vulcans, Captain."  I mentioned in my introduction to #10, that only two "Mr. Spock in love" episodes work for me.  Now that I come to this episode, I'm not sure I can really call it a "Mr. Spock in love" episode.  It's more a "Mr. Spock needs a mate very, very much" episode.  Since Spock is Vulcan and reacts differently than a human, stories such as this are interesting in that they offer glimpses into the "otherness" of the Enterprise's first officer and his people.  Spock's "otherness" is very evident in this episode.

At the same time, however, he is frustratingly tight lipped about what is happening to him.  One can understand his hesitancy due to the extremely personal nature of this aspect of Vulcan biology, but it  leaves the bewildered humans to guess at why the humanoid they have come to understand is acting so strangely all of the sudden.  As a member of a race whose very identity is intertwined with the suppression of emotion and a reliance upon logic, such a loss of control has to be embarrassing (yes, I know its an emotion, but I don't know how else to describe it).  Kirk's loyalty to his Vulcan friend is established even more in this episode (lending understanding to his later choices in Star Trek III).  Kirk would rather defy Star Fleet orders to get his friend to Vulcan and deal with the repercussions later.  Once the Enterprise arrives at Vulcan, we, the audience, are offered a large glimpse into the rituals and customs of Spock's people.  "This is the Vulcan heart.  This is the Vulcan soul," T'Pau declares and we are treated not to Spock's wedding, but to the kal-if-fee, the challenge or battle to claim T'Pring.  Of course, neither Kirk nor McCoy are quite ready for the curve Spock's betrothed sends their way when she chooses the Captain as her champion.  The bewildered human is then expected to fight "to the death" moments after being told that he is a good friend.



Kirk and Spock fight to the "death"

The Vulcan greeting; the parting statement of, "Live long, and prosper;" and all of the wedding rituals are introduced in this episode.  The fight is great and McCoy's gambit of slipping Kirk a mickey to end the battle before someone really gets killed was nice corbomite maneuver in itself.  One of the best lines, for me, is after McCoy has beamed back to the ship with Kirk's unconscious body and Spock asks T'Pring to clarify why she chose the challenge.  Having come to understand T'Pring's motives and calling them "flawlessly logical," Spock tells Stonn that T'Pring is his and adds, "After a time, you may find that having is not so pleasing a thing after all as wanting.  It is not logical, but it is often true."  In this moment, I think Spock shows a depth that has come to him because of his working closely with humans.  As much as he may protest to the constant bombardment of emotions, humans have helped him to understand aspects to life that "flawless logic" has not.

"In a pig's eye!"

So often it seems that people run from one new thing to another because those things offer them something they "want," but in the end, they do not stay with them for long because they become so easily distracted by the next new want to come along.  I don't know if Vulcan society has divorce, but I wonder how long T'Pring and Stonn's relationship lasted before some new want (whether it be a person or a thing) stepped up to distract them from each other.  Maybe they worked it out logically, but I am left to wonder about any possible repercussions.  When Spock finds that Kirk is still alive, this causes an emotional outburst that must be quickly explained away and papered over.  Although McCoy may feel that he seldom gets the last word, he gets it in spades when he mutters, "In a pig's eye," as Kirk and Spock prepare to leave the sickbay. :)

 

Now you know the "bottom" 5 of my top 10 list.  Five episodes rank higher.  I will reveal them in my next post to satisfy your understandably insatiable curiosity. ;)