In "Errand of Mercy," war between the Klingons and the Federation is imminent, and it's up to Captain Kirk (William Shatner) to persuade the peaceful, agrarian planet Organia to sign on with the good guys before the Klingons overwhelm the place. Organia is in a strategically valuable position for whichever warring side claims it first, but the Organians don't seem to care. Kirk and First Officer Spock (Leonard Nimoy) make an awfully good pitch for Federation protection, but Organian leaders reject the offer as a tacit invitation to violence, taking little heed of a Klingon invasion and earning the enmity of both Kirk and Klingon Commander Kor (John Colicos). Essentially a Cold War satire disguised as a Federation-Klingon showdown, "Errand of Mercy" is the brainchild of producer-writer Gene L. Coon, who makes a wonderfully convincing case for the absurdity of each side's claim to moral superiority. Highlights include the Butch-and-Sundance banter between Kirk and Spock as they form a two-man Resistance movement. The episode is directed by John Newland, best known as the host of the supernatural television series, One Step Beyond.
"The City on the Edge of Forever"
begins with a medical accident that leaves Dr. McCoy (DeForest Kelley) a
paranoid madman. Leaping through a time portal to Earth's Great Depression of
the 1930s, McCoy causes disastrous changes to history, forcing Kirk and Spock
to follow him and undo whatever disruptive action he took centuries before.
There, Kirk meets a kindly social worker, Edith Keeler (Joan Collins), with
whom he falls in love before realizing her fate is the key to a restored
future. A shattering drama, "City" brings out the best in the cast
and production teams, looking like a feature film that found its way onto
television. The background on this show is equally compelling and sometimes
hysterically funny, beginning with a highly fanciful script by Harlan Ellison
(including a scene with cast members riding a carousel that passes in and out
the side of a mountain) that was either rewritten by series creator Gene
Roddenberry or producer Gene L. Coon, depending on who's telling the story.
Ironically, Ellison's original version won a Writer's Guild award while the
revision captured a Hugo, but the real prize is the episode itself. --Tom
Keogh
