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cimorenethis is, i think i can confidently say, the single most famous, widely-shown and widely-loved star trek episode. the script was written by the brilliant but reputedly assholish harlan ellison, and of course, it takes place not in space, but in the great depression. (even sf fans seem to be more interested in going back to earth--that is, to the subject matter that's covered by non-science fiction--than in space opera--that is, futuristic and speculative fiction.) there's no denying that the script is good and hilarious. it's an excellent episode, one of my favourites.
it isn't very slashy at all, though; it's set in a universe in which spock is pretty clearly kirk's loving, supportive, loyal and completely platonic best friend. not that the writers of other episodes didn't intend to set theirs in such a universe, too. perhaps ellison is more skilled, or perhaps it's because kirk falls in love at first sight with a girrrrrl--an intelligent, prescient, girl scoutish spunky social worker played by joan collins. this is daring on ellison's part, i feel, because it's very, very rare that the regulars of the enterprise form any really note-worthy attachments. it potentially violates the continuous episodic nature of the show--that is, that you can watch the episodes in any order you like and skip as many as you like and it won't make the least difference to your understanding. it also simply goes against the predominant themes-characterisations of the show, which are all about how the most important bonds to all the characters are the bonds of friendship, love and loyalty which unite them with each other; no other woman, or society, or whatever, is supposed to be able to compete. (in next generation, which pretty much lifted everything but the pulp dialogue and poor special effects of tos wholesale, this theme is spread out over the whole ensemble cast, including the equivalents of what are in tos only secondary characters.) the differences are exactly what make this episode great.
of course, it poses a problem to the adherent of the kirk-and-spock-are-boyfriends theory in a way that, in my opinion, no single other episode does. personally, i reconcile it by setting it early in the timeline (you can pretty much imagine the tos episodes in almost any order you like--they didn't follow any actual system with the star dates until tng came along. people have tied themselves in very elaborate knots trying to make sense out of it all and still failed), say between the naked time (1x07) and charlie x (1x08). definitely i place it before shore leave (1x17) and most of the ones after that.
anyway, here are one and a half annotated scenes,
KIRK has stolen an armful of clothes and is carrying it away from a balcony.
KIRK: i think i'm going to like this century. simple. easier to manage. we're not gonna have any difficulty explaining--[he nods to SPOCK's ears]
A POLICEMAN clears his throat. KIRK and SPOCK stop since he is blocking their way. there is an awkward silence.
POLICEMAN: well?
KIRK: ...you're a policeman. i, er, recognise the traditional accoutrements.
SPOCK makes the impassive-ish frown of "at least i don't have to come up with the explanation".
KIRK and SPOCK turn to look at each other.
SPOCK: you were saying you'll have no trouble explaining it.
KIRK: my friend is obviously chinese.
POLICEMAN looks unimpressed.
KIRK: i see you've noticed the ears. they're actually easy to explain-- [he looks at SPOCK again]
SPOCK: perhaps the unfortunate accident i had as a child...
KIRK: the unfortunate accident he had as a child. he caught his head in...
(does anyone else think spock looks kind of like selma blair in legally blonde here?)
SPOCK slightly quirks one eyebrow.
KIRK: a mechanical... rice-picker.
SPOCK turns to stare at KIRK.
KIRK: but... fortunately there was an american missionary living close by who was actually... a... uh... skilled plastic surgeon in civilian life...
POLICEMAN: all right, drop those bundles and put your hands on that wall over there. come on!
and
EDITH: don't give me that 'questions about lil' ol' us?' look. you know as well as i do how out of place you two are around here.
SPOCK: interesting. where would you estimate we belong, ms. keeler?
EDITH: you? at his side, as if you've always been there and always will.
EDITH: [turning to KIRK] and you! you... belong... in another place... i don't know where or how. i'll figure it out eventually.
EDITH looks charmingly plucky and confused; SPOCK looks worried; KIRK looks slightly insane.
sequence:
bonus:
zombie!mccoy.
that's the edith-is-dead face, and that's mccoy he's holding (he grabbed him to keep him there--not a hug by intention).
it isn't very slashy at all, though; it's set in a universe in which spock is pretty clearly kirk's loving, supportive, loyal and completely platonic best friend. not that the writers of other episodes didn't intend to set theirs in such a universe, too. perhaps ellison is more skilled, or perhaps it's because kirk falls in love at first sight with a girrrrrl--an intelligent, prescient, girl scoutish spunky social worker played by joan collins. this is daring on ellison's part, i feel, because it's very, very rare that the regulars of the enterprise form any really note-worthy attachments. it potentially violates the continuous episodic nature of the show--that is, that you can watch the episodes in any order you like and skip as many as you like and it won't make the least difference to your understanding. it also simply goes against the predominant themes-characterisations of the show, which are all about how the most important bonds to all the characters are the bonds of friendship, love and loyalty which unite them with each other; no other woman, or society, or whatever, is supposed to be able to compete. (in next generation, which pretty much lifted everything but the pulp dialogue and poor special effects of tos wholesale, this theme is spread out over the whole ensemble cast, including the equivalents of what are in tos only secondary characters.) the differences are exactly what make this episode great.
of course, it poses a problem to the adherent of the kirk-and-spock-are-boyfriends theory in a way that, in my opinion, no single other episode does. personally, i reconcile it by setting it early in the timeline (you can pretty much imagine the tos episodes in almost any order you like--they didn't follow any actual system with the star dates until tng came along. people have tied themselves in very elaborate knots trying to make sense out of it all and still failed), say between the naked time (1x07) and charlie x (1x08). definitely i place it before shore leave (1x17) and most of the ones after that.
anyway, here are one and a half annotated scenes,
KIRK has stolen an armful of clothes and is carrying it away from a balcony.
KIRK: i think i'm going to like this century. simple. easier to manage. we're not gonna have any difficulty explaining--[he nods to SPOCK's ears]
A POLICEMAN clears his throat. KIRK and SPOCK stop since he is blocking their way. there is an awkward silence.
POLICEMAN: well?
KIRK: ...you're a policeman. i, er, recognise the traditional accoutrements.
SPOCK makes the impassive-ish frown of "at least i don't have to come up with the explanation".
KIRK and SPOCK turn to look at each other.
SPOCK: you were saying you'll have no trouble explaining it.
KIRK: my friend is obviously chinese.
POLICEMAN looks unimpressed.
KIRK: i see you've noticed the ears. they're actually easy to explain-- [he looks at SPOCK again]
SPOCK: perhaps the unfortunate accident i had as a child...
KIRK: the unfortunate accident he had as a child. he caught his head in...
(does anyone else think spock looks kind of like selma blair in legally blonde here?)
SPOCK slightly quirks one eyebrow.
KIRK: a mechanical... rice-picker.
SPOCK turns to stare at KIRK.
KIRK: but... fortunately there was an american missionary living close by who was actually... a... uh... skilled plastic surgeon in civilian life...
POLICEMAN: all right, drop those bundles and put your hands on that wall over there. come on!
and
EDITH: don't give me that 'questions about lil' ol' us?' look. you know as well as i do how out of place you two are around here.
SPOCK: interesting. where would you estimate we belong, ms. keeler?
EDITH: you? at his side, as if you've always been there and always will.
EDITH: [turning to KIRK] and you! you... belong... in another place... i don't know where or how. i'll figure it out eventually.
EDITH looks charmingly plucky and confused; SPOCK looks worried; KIRK looks slightly insane.
sequence:
bonus:
zombie!mccoy.
that's the edith-is-dead face, and that's mccoy he's holding (he grabbed him to keep him there--not a hug by intention).
