"The Apple"

"The Apple"

Kirk and crew beam down to Gamma Trianguli VI, encountering exploding rocks and killer plants before meeting the natives, who call themselves "The Feeders of Vaal." It turns out Vaal is a computer which sustains itself by using the food given it by the people. Vaal has trapped the Enterprise in a tractor beam and is pulling it down to the planet, and Kirk is forced to intervene. He orders Scotty to blast the computer with the Enterprise's phasers, destroying it. The people of GT VI are now free to live without the machinations of Vaal, but Spock wonders if Kirk's actions were not unlike those of a certain serpent entering a well-known garden and spreading chaos.

Story

"The Apple" has a story that is not new to sci-fi nor to Trek. At this point in the series, we've already seen the controlling computer as enemy twice, in "The Return of the Archons" and "A Taste of Armageddon." "Archons" was extremely weak, whereas "Armageddon" succeeded in using the "master computer" scenario to great effect. Thus, "The Apple" is a waste of an episode that really has very little to offer. One wonders why this episode was made.

Action

There's plenty of action in "The Apple," from exploding rocks and killer plants to phaser barrages on unsuspecting computer deities to lethal lightning strikes. Yet none of it saves the episode from being lackluster and downright odd.

Trektastic Moments

I have to talk about a few moments in "The Apple" that are at least interesting in terms of this year-long odyssey. Not one but FOUR Redshirts buy it in this episode, and I have to think that this was the episode that gave birth to the Redshirt tradition. The first Redshirt is poisoned and killed by a lethal plant, the second is blown to bits by an exploding rock, the third is reduced to a smoldering pile of ash by a lightning bolt, and the fourth is bludgeoned with a large tree branch by a Feeder. It's downright funny to watch these poor bastards get wiped out, and unlike the first crew deaths in the early part of the series, we just can't sympathize with Kirk's sorrow over losing these guys. I laughed out loud each time one of the Reddies bit the dust, and I know that wasn't the intent.

There's also the fact that the writer of this episode must have thought Spock was from Krypton, not Vulcan. Spock gets shot by the killer plant, blasted by Vaal's forcefield, and a jolt from lightning, leading to second-degree burns. The man gets tossed around like a sock puppet. Or would be a "Spock puppet." This was the strangest treatment of Spock's alien nature in the series.

We also have Kirk's dilemma with The Prime Directive. On one hand, he could have asked the Feeders what they wanted, but on the other hand, he had to save his ship. In my opinion, Kirk was left with no other choice than to destroy Vaal, if only to save the Enterprise and the four hundred plus crew aboard her. But he maybe should have asked the Feeders if they would want to be free before ordering the firing to start.

Overall

"The Apple" is weak but has some amusing Redshirt deaths and a few one liners from Spock and Kirk. Outside of that, it's a miss. C-

The episode's title card.


Redshirt #1 gets the point.


Reshirt #2 gets a charge.


Redshirt #3 is blown away. Trust me, that's pieces of him. Somewhere.


Redshirt #4 gets ahead.

"Mirror, Mirror"

"Mirror, Mirror"

Captain's Log 01150.7. 0742 hrs. The Trektastic Voyage continues, although a week off its mission schedule, with this week's episodes, "Mirror, Mirror" and "The Apple."

Kirk, McCoy, Scotty, and Uhura are transported into a sinister parallel dimension courtesy of a transporter accident. In this "mirror" universe, they encounter evil versions of their well-known crewmates. Sulu and Chekov are ruthless and power hungry and Spock is brutal and cruel, sporting a goatee. While Scotty works towards getting everyone home, Kirk meets "the captain's woman," Marlena, and learns that Mirror-Kirk used a powerful device called The Tantalus Field to gain captaincy of the Enterprise. Scotty finds a way to get the party home, and Kirk plants seeds of doubt and uncertainty in Mirror-Spock's mind, hoping to convince Spock to overthrow the tyrrany of the Empire and change the savage and evil alternate universe.

Story

I don't need to get into much of the story of "Mirror, Mirror" because this episode is more character-driven than plot-driven. The concerns of the show are the differences between "our" crewmembers and their sinister doppelgangers. There is some plot drive in trying to get the landing party back, but that takes a back seat to showing how our beloved Trek heroes could be if they were not the moral and noble characters we know them to be. This is the greatest strength of "Mirror, Mirror," and it is the core of the episode's appeal.

Action

There's plenty of action in "Mirror, Mirror." There's a fight between Kirk and Chekov's men, leading to some phaser blasting. There's Chekov's torture in the Agony Booth, the free-for-all between the landing party and Mirror-Spock, and a brief fight between Kirk and Mirror-Sulu, which is a little too absurd in its brevity. The deadly creepiness of Mirror-Sulu is lost when he's bested by Kirk in a matter of minutes. Despite these set pieces, this is an episode about characterization, not action. But the episode still manages to keep things rolling forward.

Performances

Most actors agree that they prefer playing villains, and it's been the consistent comment of the original Trek cast as well as the other Trek series cast members who played evil versions of themselves that doing so is great fun. This is evident here in the performances of all involved. Nimoy takes our noble and beloved Spock and makes him terrifying, and Takei does the same with Sulu. Chekov is still fairly harmless, and it's clear that the writers were still figuring out their new regular navigator. Shatner and the rest of the actors in the landing party don't get to do much with their evil selves, but they shine in their roles in the Mirror universe. This episode manages to utilize every main cast member and this is another reason why it is one of the most beloved of original Trek episodes.

Trektastic Moments

"Mirror, Mirror" is itself one big Trektastic moment. Highlights:

1-McCoy: "I'm a doctor, not an engineer."

2-Mirror Spock and Kirk's interaction.

3-Uhura and Mirror Sulu's deadly game on the bridge.

4-McCoy's noble desire to save Mirror Spock.

5-The Mirrorverse uniforms and set design.

Overall

This is classic Star Trek at its finest and is a must see episode. Highest possible recommendation.

The episode's title card.


The landing party arrives in the Mirror Universe, and is shocked by the fashion trends.


The sinister Mirror-Spock.


Only if you're Captain James T. Kirk can you walk into your room and find a hot chick wearing very little laying in your bed. Behold "the Captain's woman," the lovely Marlena Moreau.

"The Changeling"

The Enterprise is investigating the mysterious and catastrophic loss of all life in the Mallurian system when it's subject to an intense attack from an alien craft. The Enterprise hails the craft and in doing so stops the attack. Kirk has the craft brought aboard, and the crew learns that it is in fact Nomad, a space probe launched from Earth in the early years of the 21st century. Spock is perplexed, since it's original mission was to seek out new life forms. Nomad informs Kirk that its mission is to eradicate inferior biological lifeforms, and that it believes he is its creator. Spock learns from the ship's computers that Nomad thinks James Kirk is Nomad creator Jackson Roykirk, a fact that has spared the lives of the Enterprise crew thus far. Nomad tours the Enterprise, and intrigued by Uhura's singing, asks her what singing is. Her answer is less than satisfactory, and Nomad erases her mind. Scotty intervenes at the last minute but is killed by Nomad. Spock mind melds with Nomad and learns that Nomad was badly damaged but merged with an alien probe named Tan-Ru, whose mission was to seek out and sterilize soil samples as a prelude to colonization. Nomad and Tan-Ru's missions were merged into its current destructive purpose. Nomad "repairs" Scotty by bringing him back to life while McCoy and Chapel re-educate Uhura. When Nomad realizes Kirk isn't who it believed him to be, Nomad prepares to wipe out the crew and adapt the ship for its mission. Kirk uses Nomad's programming and logic against it, causing it to malfunction when it realizes it was in error when it didn't recognize who Kirk really was. Kirk has Nomad beamed into space, where it self-destructs, and Spock laments the loss of the scientific knowledge it has amassed in its lifetime.

Story

"The Changeling" is a classic Trek story and is beloved by fans of the original series. The story of a rogue machine intelligence seeking its creator would resurface in the first Star Trek feature film, "Star Trek: The Motion Picture," with an old Voyager probe standing in for Nomad. The story here is faced paced and keeps the viewer of the edge of his seat, wondering how the Enterprise crew will survive the threat of Nomad. The only issue I take with "The Changeling" is the way in which Uhura's re-education is portrayed after Nomad mindwipes her. It seems sexist and must have been slightly degrading to Nichelle Nichols, and it's hard to believe that re-educating an adult could be so easy even in the 23rd century. It seems to me that this plot point should have been dropped altogether or handled much differently. There are also some odd references in this episode, which show that apparently, the writing staff was still fleshing elements of the Trekverse out. For example, the Enterprise's shields withstand Nomad's attack, described as the equivalent of "99 of our photon torpedoes." This seems a little far-fetched. Are we to believe that the Enterprise can hang around in a firefight after such a beating? Surely there'd be no enemies to give them a run for their money, unless a whole bunch of folks ganged up on the ship. And then Scotty states that Nomad has accelerated the Enterprise to "Warp 15," a number later established to be impossible to reach. Later episodes of other Trek series would establish that warp 9.99 is the ultimate threshold of warp velocity. These are minor points, but for Trek fans, these details add to the texture of the Trek mythology and so they stand out.

Action

"The Changeling"starts off with action: the Enterprise under a fearsome attack from an unknown and deadly foe. That action only increases as the episode goes on, and we're treated to the death of a few Redshirts, the mindwipe of Uhura, the blasting of Scotty, and the peril of the Enterprise being propelled to tremendous speeds by Nomad. There's not a whole lot of talking in this episode and the suspense never lets up. This is one of Trek's best action episodes.

Performances

The cast really does a great job reacting to a large prop in the form of Nomad. The interaction between the Big 3 is well done here, and Doohan gets to shine here as Scotty.

Trektastic Moments

"The Changeling" is itself a Trektastic moment, due to a classic Trek story and great interactions between the crew of the Enterprise. They also face a dire threat to the galaxy and manage to defeat it, no small feat but something that would become part of the job for the crew of the Enterprise as time went on. There's also the death of a few Redshirts, which is the nickname given to the red-shirt wearing security agents who often meet horrid deaths in episodes of classic Star Trek. Nomad blasts four of these poor bastards in this episode alone.

Overall

A solid story, suspense, and great action. Another classic Trek episode in the excellent second series of the show. A+

The episode's title card.


Nomad beams aboard the Enterprise for a visit.


Nomad offs a few Redshirts, a Trek staple beloved by fans.

"Who Mourns for Adonais?"

"Who Mourns for Adonais?"

Captain's Log: 01070.7.

The Trektastic Voyage continues despite being a week behind with "Who Mourns for Adonais" and "The Changeling."

"Who Mourns for Adonais"

The Enterprise is investigating the unremarkable planet Pollux IV when a large green hand materializes directly ahead of the ship and grabs it. Spock quickly confirms that the "hand" is an extremely powerful energy field, which seems to have its origins on the planet below. Kirk leaves Spock in command and beams down Bones, Scotty, Checkov, and the lovely Carolyn Palamas, who is the object of Scotty's affections. The landing party encounters a being enthroned in a Greek temple who claims to be the god Apollo. Kirk demands that the Enterprise be released, but "Apollo" won't allow it, and demonstrates his powers against the crew as they attempt to protect Palamas from Apollo's overtures. Eventually, Kirk realizes that Apollo is indeed who he says he is, one of many powerful alien beings who visited ancient Earth and were worshiped by humans as the Greek pantheon of gods. Apollo laments that the love of men has grown cold, and demands that Kirk and his crew become new devotees to the cult of Apollo. Spock is able to cut through the forcefield and fire phasers, destroying the temple, Apollo's source of power. Apollo uses his last remaining godly ability to disappear into the nothingness where his other godly peers went before him. Bones expresses sorrow that Apollo couldn't be reasoned with, and Kirk agrees, realizing that all of humanity is greatly indebted for the beings who inspired the flourishing of western civilization on Earth.

Story

"Who Mourns for Adonais?" is one of those Trek episodes that has lived on in infamy to the casual fan. It's become a bit of a joke that the Enterprise always ran into gods, and while it is true that the crew often encountered super-powerful beings, they didn't meet gods every episode. The central conceit of this episode, that gods and other divine beings were simply powerful aliens worshipped as deities, is certainly not a new one, though it remains interesting in a science fiction context. Some detractors of Roddenberry's secular humanism and seeming atheism have often cited this episode as proof that Roddenberry hated the idea of gods and God in general, even so much so as to render them simply alien intelligences whose vast powers greatly overshadow human ability. Yet the truth is, Roddenberry criticized the flaws of organized religion more than faith or devotion, and was probably more of an agnostic than an atheist. In fact, Kirk says "We have no use for gods...we find the One quite satisfactory," suggesting that Roddenberry didn't frown on religious belief or belief in an all-powerful being. Regardless, the idea that gods and supernatural beings were really aliens is an intriguing one, explored in various stories throughout science fiction history.

Action

"Who Mourns for Adonais?" has some great action. There's Apollo's growth to titanic proportions, his blasting of Scotty and Kirk, the storm he whips up to frighten Palamas, and of course, the energy construct that holds the Enterprise fast in space. These elements manage never to be hokey and the episode keeps a sense of forward motion and momentum.

Performances

There are great performances all around from the Trek cast, especially James Doohan as a worried, lovestruck Scotty. The actor portraying Apollo, Michael Forest, does a great job as the forgotten god.

Trektastic Moments

We've got plenty here. Chekov drops a few lines suggesting his patriotism for his Russian roots, Kirk dresses Scotty down after he attacks Apollo twice over Palamas, and Kirk gives Palamas a lecture on duty and humanity that is classic to his character and the series. Spock shines in command of the Enterprise as he tries to find the source of Apollo's power, and Lt. Kyle gets a significant role standing in for Scotty.

Overall

"Who Mourns for Adonais?" is thought-provoking, engaging, exciting, and features dynamic action and character interaction, all hallmarks of Star Trek. A solid A+ episode.

The episode's title card.


The giant "hand" that grabs hold of the Starship Enterprise, a classic image in The Original Series.


Apollo shows his power as he towers above the Enterprise landing party.


The lovely Lt. Carolyn Palamas, apple of Scotty and Apollo's eyes.

"Amok Time"

The Trektastic Voyage reaches the second season mark of Star Trek: The Original Series with "Amok Time," among the finest hours of Trek ever filmed.

The episode opens as McCoy is trying to convince Kirk that Spock hasn't been himself lately. Kirk doesn't buy it until he sees Spock toss a bowl of food out of his quarters and yell at Nurse Chapel. An embarrassed Spock asks Kirk for an immediate leave of absence on Vulcan but offers no reason for his demand. Kirk agrees, but diplomatic responsibilities require the Enterprise to deviate from Vulcan to another location first. Spock orders a course correction without Kirk's permission, and when confronted, Spock admits he doesn't remember making the correction to Vulcan. Spock explains that he's under a period of extreme stress unique to his people, and that he must get to Vulcan. McCoy examines Spock and informs Kirk that if Spock doesn't go to Vulcan, he'll die within days. Kirk disobeys direct orders to get to Vulcan, and en route, Spock explains that he's suffering the Pon Farr, a time of burning and desire that occurs every seven years when Vulcans are to mate. Once on Vulcan, Spock begins the ceremony that will unite him with T'Pring, his arranged wife, and is forced by ritualistic law to fight Kirk to the death. Spock seemingly kills Kirk, and then shakes off the fever of his desire. His wife to be has arranged the battle so that she could end up with Stonn, her lover in Spock's decades of absence from Vulcan. Spock permits T'Pring to be freed from their bond, and returns to the ship, ready to turn himself over to court martial. He arrives to Sickbay and is surprised by a very much alive Kirk, who faked his death with McCoy's help. Spock has an outburst of pure joy at seeing his friend alive and well, and the episode ends with Spock refusing to admit his emotional outburst to a bemused Kirk and McCoy.

Story

"Amok Time" is the kind of story that manages to be both character and plot-driven. Spock's life or death plight never supercedes his characterization in the story. This is what every episode of television should hope for, a mixture of plot movement and conflict with deep characterization and character development.

Action

The central action in this classic Trek episode revolves around Kirk and Spock's duel to the death on Vulcan, a beautifully-choreographed fight scene with a piece of classic fight music that has gone on to great fame in Trek fandom.

Performances

"Amok Time" is an episode that would not have worked without the strength of the Trek cast. Nimoy's portrayal of a conflicted Spock in the throes of a passion he does not want is classic and holds up to this day. Shatner and Kelley also give great performances here, as well as Arlene Martel's performance as Vulcan matriarch T'Pau.

Trektastic Moments

"Amok Time" is one big Trektastic Moment. We have banter between McCoy, Kirk, and Spock, we have revelations about Spock's people and his world, and we have a visit to Vulcan itself. The battle between Kirk and Spock, especially with the wonderful fight music and the earlier bass Vulcan theme, is classic stuff that even the most die-hard fans of later Trek have to acknowledge as cool. This is one of the many episodes I would show to a person whose never watched TOS to give them an idea of what Star Trek is all about. Especially important here is the theme of friendship, as Kirk is willing to risk his career and even in his own life in a court martial to save Spock from death. This theme would be the thread that would tie the entire series together, throughout the seventy-nine episodes and the six films.

Overall

Must-see Trek at its finest. Highest possible recommendation.

The episode's title card.


The debut of Ensign Pavel Checkov, the Enterprise's newest and finally permanent navigator.


Spock's wife, the lovely T'Pring.


The regal Vulcan matriarch T'Pau, whose name would later be used by an 80s female rock band.


Spock deep in plak tow, the Vulcan blood fever.


Spock and Kirk battle to the death. A classic Trek scene.


"Jim!" A rare emotional outburst from our Vulcan friend, relieved that his captain and friend is alive and well.

"Operation-- Annihilate!"

The story begins with the Enterprise witnessing a Denevan colonist's suicide as he flies his vessel into the Denevan sun, crying in his last moments "I'm finally free!" The Enterprise moves to Deneva to investigate, and we learn that Kirk's brother George and his wife and son also live on Deneva. The landing party arrives to Deneva and is greeted by three men, armed with clubs, who attempt to warn them off the planet. The landing party stuns the men, then investigates further. Kirk finds his brother George dead and his wife and son affected by the same ailment that affected the men who confronted the Enterprise crew when they beamed down. The area of the galaxy where Deneva is located is directly in the path of an epidemic of mass insanity, which Spock believes is caused by creatures found in a Denevan building. Kirk's sister-in-law Areelan dies, leaving Kirk's nephew Peter in his uncle's care. One of the creatures attacks Spock, briefly taking over his body and forcing him into attempting to commandeer the Enterprise. Spock is subdued and reveals that the creatures are giant single-celled organisms, part of a larger group mind. Kirk, Spock, and McCoy race to find a way to destroy the creatures, eventually discovering that their only weakness is ultraviolet light. The Enterprise bombards Deneva with light, freeing the millions of colonists, and leaves for its next mission.

Story

"Operation: Annilate!" is an extremely well-written episode, with tight plotting and an engaging story. It remains one of the best in any season of any Trek series.

Action

There's plenty of action to go around in "Operation: Annihilate!," which is to be expected with such a cool title. There's the blasting of the creatures and Spock's "possession" by one of the creatures, leading to a great battle between Spock and the bridge crew for control of the Enterprise.

Performances

Everyone in the episode give great performances, especially Leonard Nimoy, showing the physical pain of the creature's influence, and William Shatner's depiction of Kirk's feelings of pain and loss over the deaths of his brother and sister-in-law.


Trektastic Moments

We have some great banter between McCoy and Spock in this episode, and the humorous scene at the end when McCoy comments under his breath that it's no surprise that Spock would manage to have an extra set of eyelids to protect himself from blindness.

Overall

"Operation: Annihilate!" is a great episode filled with pathos, action, drama, and suspense. Another classic Trek episode from the first season of the show. A+

The episode's title card.

The body of James Kirk's brother, George, also played in this scene by William Shatner.


Spock attacked by one of the organisms.

"The City on the Edge of Forever"

The Enterprise is investigating what Mr. Spock calls “ripples in time” when a console explodes on the bridge, injuring Mr. Sulu. McCoy gives Sulu a hypospray filled with cordrazine, a powerful drug that is deadly in large amounts. Ripples of turbulence shake the Enterprise, throwing McCoy forward, onto the hypospray. McCoy becomes delirious and escapes to the planet below. Kirk and Spock beam down to find him, instead finding The Guardian of Forever, an ancient rock-like machine and living being in one that can access any and all points in the space-time continuum. The Guardian informs Kirk and Spock that McCoy has jumped through the portal and is now lost in time. Spock uses his tricorder to determine McCoy’s exact location in time. The landing party then learns that the Enterprise has ceased to exist, due to something McCoy did in the past. Kirk and Spock enter the Guardian to find McCoy. The arrive in 1930s Earth, and there work menial tasks for Edith Keeler, a social worker. Kirk falls in love with Edith, but there love is doomed, as Spock informs Kirk that “Edith Keeler must die” for history to be restored. Kirk and Spock find McCoy, and when Edith moves to catch up with Kirk, she’s struck dead by an automobile. The trio return to the future, now restored, and a haunted Kirk’s only explanation for where and when they’ve been is to say “let’s get the hell out of here.”

Story

“The City on the Edge of Forever” is a classic Trek episode, considered by many fans to be the absolute best. I don’t know that I think it’s the best, as there are other stories out there like “Space Seed” and “Balance of Terror” that I like more, but certainly, “Forever” is an amazing tale, written by famed science fiction author Harlan Ellison. The story is an intimate one and yet manages to have action, suspense, and drama. At the core of the story is the star-crossed love of Kirk and Edith, which makes this episode so haunting and so powerful.

Action

There isn’t much in the way of classic Trek action, like flying kicks and phaser fights and ship to ship battles, but “Forever” is a love story crossed with a time travel story. Still, we thrill to Kirk and Spock’s leap into the time stream, their run from the law, and the shocking death of Edith. This is an episode about people and relationships more than action set pieces, and anything more would have been out of place.

Performances

Performances are what make “City on the Edge of Forever” so successful and timeless. It’s become fashionable to bash William Shatner’s acting style, but I personally love to mention this episode as proof that he can indeed act and act superbly. Shatner’s classical training in the Shakespearean tradition is brought to the fore here in a performance that manages to tap into every human emotion. We feel for Kirk and with Kirk, and though we know from the start he and Edith can’t work as a couple, we still want them to as desperately as he does. Joan Collins also gives a powerful performance as Edith Keeler, and she and Shatner share a wonderful chemistry that would have destroyed this episode had it been lacking. Finally, DeForrest Kelley knocks the proverbial ball out of the park as a crazed, drugged McCoy, who is frightened and paranoid but also a little frightening as well. Stellar performances in a superbly written episode.

Trektastic Moments

“The City on the Edge of Forever” is filled with Trektastic Moments. Kirk and Spock’s interaction here is classic, from there attempts to get clothing upon arriving in 1930s New York, to their banter about the device Spock is building and Edith’s fate. We also have the wonderful but sad moment when the bum pockets McCoy’s phaser after the doctor passes out and vaporizes himself. Finally, Kirk, Spock, and McCoy’s haunted return to the future is among the classic images in all of Trek, alongside the wonderful scene at the beginning of the episode when Kirk looks up to the heavens in search of an Enterprise-and a history-that no longer exists.

Overall

Overall, “The City on the Edge of Forever” is some of the best Star Trek ever produced and consequently, some of the best television and storytelling ever produced. A must see episode for any Trek fan, casual or otherwise. Highest possible rating.

The episode's title card.



McCoy, driven mad by an accidental overdose of the experimental drug cordrazine.


Kirk's love interest, the beautiful Edith Keeler, played by a young Joan Collins.


Kirk after returning to the future he bought at the cost of his love. "Let's get the hell out of here."

“The Alternative Factor”

Captain’s Log, 01020.7. 0826 hrs.

Sadly, I’ve been backed up and haven’t put up these episodes, which would have constituted the last episodes of 2006. Such is life. Nevertheless, The Trektastic Voyage continues to boldly go…

The Enterprise detects a moment of “nonexistence,” and is ordered to investigate the planet which is the source by Starfleet Command. There, they meet the strange man known as Lazarus, who explains he is from another dimension and is battling his counterpart self in “our” universe. After arguing with Kirk and battling his other self numerous times, the “good” Lazarus asks Kirk to help defeat the “bad” Lazarus by sealing both away in the space between universes, eternally locked in combat. Kirk and good Lazarus are successful, and Kirk asks his crew to never forget the sacrifice made by Lazarus.

Story

This is a first for The Trektastic Voyage. This episode is utter garbage. From a poorly written story to a terribly edited episode replete with cheesy, uninspiring SFX, “The Alternative Factor” is a waste of time and doesn’t belong in the stellar lineup of episodes that the first season of Trek brought. I’m amazed it was ever made. And what’s sadder is that alternative/parallel world and dimension stories are so easy to do and are often compelling. Trek would get this right when it would show us parallel versions of the Enterprise crew in Season Two’s “Mirror, Mirror,” a classic Trek episode.

Action

The only action here is “Lazarus-1” vs. “Lazarus-2,” to cop a phrase from the old DC comics of the Silver Age. The action is repetitive and not at all interesting, and other than a few other times when we see Lazarus fall off a cliff or knock someone out on the Enterprise, this episode is a bore in the action department.

Performances

The guy playing Lazarus isn’t all bad in the role, but poor bastard, he just wasn’t given much to play with. Had the script been better, we might have actually cared for this conflicted character and his struggle against his darker self.

Trektastic Moments

Sadly, there aren’t any Trektastic moments in “The Alternative Factor.” In fact, Kirk is out of character a few times and so is McCoy.

Overall

Overall, this is one of the worst episodes of any Star Trek incarnation. If you’re just discovering Star Trek through the re-released, re-mastered episodes, I recommend avoiding this one when CBS gets to it. Grade: F

The episode's title card.



Lazarus-1 or Lazarus-2. Take your pick. One of the many failings of the episode is that you can't tell the difference.



Lazarus-1 and Lazarus-2 in combat in the "doorway" between universes.