I figure I’ll just get this train rolling and we’ll see how it turns out.

It’s a bit ambiguous which is the second episode of Star Trek. The first is “The Cage,” but I’m pushing that one back until 1x15/1x16, “The Menagerie,” which was a sort of clip show of “The Cage.”

“Where No Man Has Gone Before” was intended to be the second pilot of Star Trek, but supposedly the studio thought it was too cerebral for television audiences, so they reordered the episodes and aired “The Man Trap” first. I’ll be following the ordering on Memory Alpha, which puts “The Man Trap” as episode 1x05. How things will be ordered with your streaming service or DVD collection, who knows.

With this out of the way, let’s get to “Where No Man Has Gone Before.”

Synopsis

Space stuff happens, and two crew members start to gain extraordinary psychic powers. It’s implied here that minor psychic powers aren’t that uncommon among humans, though this element would not remain in the series. This is something that the franchise will continue to waffle on: what powers do the vulcans possess, or the betazeds? But for today, some humans can predict playing cards, but Spock cannot yet mind meld.

They find that similar space stuff happened to the Valiant, and that the exponential growth of psychic powers among a few crew members led the captain of the Valiant to use the ship’s self-destruct. Meanwhile, an Enterprise crew member, Mitchell, has his eyes turn silver and he quickly discovers the enormous power he has at his disposal.

The space stuff also knocked out the warp drive of the Enterprise, so Kirk takes the ship to an autonomous mining planet to refuel—and to maroon Mitchell. Mitchell’s powers grow beyond what any of them can contain, and the same powers awaken in the ship’s psychologist, Dehner. Kirk orders everyone back to the ship, while he goes in pursuit of Mitchell and Dehner.

Kirk succeeds in turning them against each other, by asking Dehner to act like a psychologist for only a moment longer: how would she expect a man with unlimited power to act? After all, his psychic powers haven’t changed his nature; if anything, the powers have only worsened him. This gives Kirk enough time to beat up Mitchell, while Dehner dies from injuries sustained during her fight with Mitchell.

Commentary

Dehner becomes infatuated with Mitchell, or at least his power, and she comments to Kirk: “Don’t you understand? A mutated superior man could also be a wonderful thing, a forerunner of a new and better kind of human being!” For his part, Mitchell says to Kirk, “Command and compassion is a fool’s mixture.”

There are really two things that jump out at me about this story.

First, Roddenberry had a major preoccupation with the nature of God. This gets played with a lot throughout Star Trek, as we may eventually see—particularly with “The Squire of Gothos,” where God is a rambunctious child, and much later in “Encounter at Farpoint,” where God is a capricious dick. Q is more memorable than Trelaine, which is entirely down to a long series of fantastic performances by John de Lancie—but hopefully we’ll be able to get back to that in a hundred years.

Second, Roddenberry also seems to have been preoccupied with the way Nazis interpreted the übermensch. Nietzsche viewed the overman as one who can create morality, as a light of hope for humanity in an atheistic world. Hitler viewed the overman as one who can eradicate his imagined enemies. The paucity of Hitler’s views is another thing that will come up later, particularly with “Space Seed” and The Wrath of Khan. After all, creatures like Mitchell and Khan can’t create, they can only destroy—and in that sense, they should be viewed with contempt.

Interestingly, “Where No Man Has Gone Before” and “Space Seed” share one big element: Mitchell and Khan both corrupt a woman, Dehner and McGivers, and both men are undermined by the mercurial nature of both women. Dehner is far more sympathetic on this front, since Kirk appeals to her training as a psychologist, while McGivers just sorta seems unable to control her emotions.

This is one of the great contradictions of the original series: it’s incredibly progressive for a 60s show, but it’s still a 60s show.

I feel like I’ve rambled on long enough, so what do you think of the episode? If you haven’t seen it, track it down and give it a go: it’s definitely a fascinating start to the franchise. And if you think I’m a dumb idiot, feel free to say so in the comments.