James T. Kirk: The Anti Womanizer, Season 1 (Part 2)
James T. Kirk: The Anti Womanizer, Season 1 (Part 2)
by dark_orion
Season 1, Part 1
"The Conscience of the King"
Lady of the Hour: Lenore Karidian
--In this episode, we see Kirk take the device he used against Andrea in "What Are Little Girls Made Of?" and expand it and increase its complexity. A very good friend of Kirk's, Dr. Tom Leighton, with whom Kirk experienced the profound trauma of Tarsus IV, believes that the actor Karidian is in actuality Kodos the Executioner. Kirk takes the accusation seriously, not only because of his friend's word, not only because of his own psychological trauma, but because someone responsible for the deaths of thousands of people should not be allowed to roam free (after all, he would maroon Kahn on a harsh planet in "Space Seed" for this reason, too).
Because of this trifecta of reasons, Kirk uses those means at his disposal to discover the truth about Karidian/Kodos. Kirk attends Dr. Leighton's cocktail party for the actor troupe, hoping to meet Karidian himself--instead he meets Lenore Karidian:
(Lenore enters.)
KIRK: The others are on the patio.
LENORE: I take it you're the welcoming committee. (referring to his glass) Is that for me?
KIRK: Why not? I saw your performance today. May I extend my appreciation?
LENORE: My father will be delighted, Mister... Mister?
KIRK: Captain James Kirk, Starship Enterprise.
LENORE: We are honored.
KIRK: I had hoped to meet your father here, tonight, personally.
LENORE: I'm sorry, Captain Kirk. He has a rigid rule about that. He never sees anyone personally, and he never attends parties.
KIRK: An actor turning away his admirers? Very unusual.
LENORE: Karidian is a most unusual man. You saw Macbeth. That was my father.
KIRK: Then I'll talk to Lady Macbeth.
(They sit.)
LENORE: So...captain of the Enterprise. Interesting.
KIRK: So, Lady Macbeth. Interesting. What's your next move?
LENORE: We play two performances at Benecia, if the AstraI Queen can get us there.
KIRK: She's a good ship. (takes a glass from a passing tray) Thank you. You were very impressive as Lady Macbeth.
LENORE: Thank you. And as Lenore Karidian?
KIRK: Very impressive. Lenore. I'd like to see you again.
LENORE: You mean professionally?
KIRK: Not necessarily.
LENORE: I think I'd like that. Unfortunately, we must keep a schedule.
KIRK: You don't have a schedule now, do you?
LENORE: You mean leave? But I've only just arrived.
KIRK; So have I.
LENORE: And you hate to overstay a welcome.
KIRK: Exactly.
LENORE: Why not?
KIRK: Good. I'll make our apologies to our hostess. I'll meet you outside.
There is a great deal to unpack in this conversation. Kirk has already done research on Karidian--it's safe to assume that he already knows that Lenore is his daughter. As such, Kirk identifies Lenore as an avenue to her father and turns on the charm from the get-go; however, it is only after he learns that Karidian has not and will not make an appearance at the party that he turns his full attention to Lenore; he says it himself after Lenore mentions Karidian's hermitic lifestyle: "Then I'll talk to Lady Macbeth." Only after that do they sit down and does Kirk actively start to romance Lenore, because he now knows that through Lenore is the only way to get to Karidian.
Even after the seduction has started, it is clear Kirk's attention is more on an eventual meeting with Karidian, as he turns the conversation back onto Lenore after she tries to do the same to him ("So...captain of the Enterprise. Interesting." "So, Lady Macbeth. Interesting. What's your next move?"). Kirk's already building his plan in his mind, a plan that involves using Lenore as bait to reel in Karidian.
--Even though Kirk is in active seduction mode with Lenore, they are merely taking a stroll outside, not humping against the closest rock--it's one of many indications we have that Kirk is actually pretty old-fashioned as far as his methods of pursing women. He's every inch the gentleman caller, with Lenore's hand in the crook of his elbow.
It is, in fact, Lenore who takes things up a notch. When they stopped to speak, the two of them stood apart, Kirk's hands to himself. It is only after Lenore puts a hand on his chest and starts to lean in that Kirk seems to realize he's going to have to reciprocate and rather abruptly brings his hands up to her shoulders to pull her in, though his expression still seems more reluctant than anything.
--It must come as no surprise to anyone at this point that Kirk manipulates the situation with the Astral Queen so that he can get Karidian onto the Enterprise. The death of his friend would only make Kirk that much more determined to find the truth. If there's any doubt as to Kirk's true reason behind getting the company onboard, observe Kirk's change of expression when Lenore leaves the bridge. As soon as she's gone, Kirk's charm is gone, like someone flicked a switch, like he's turning it off and on when it suits his purposes.
--What is important to note is that this is atypical behavior for Kirk, mechanically and rather coldly seducing a woman. We know this because Spock, closer to the captain than anyone, thinks Kirk is acting strangely and is so disturbed by it he seeks advice from McCoy:
SPOCK: The captain is acting strangely. I'm asking if you've noticed.
MCCOY: Negative. [...] What are you so worried about, anyway? I find Jim generally knows what he's doing.
KIRK: It was illogical for him to bring those players aboard.
MCCOY: Illogical? Did you get a look at that Juliet? That's a pretty exciting creature. Of course, your personal chemistry would prevent you from seeing that. Did it ever occur to you that he simply might like the girl?
SPOCK: It occurred. I dismissed it.
It is shown in several different ways over the course of the series that Spock knows Kirk better than anyone--it's even outright said in "Turnabout Intruder." Therefore, if Spock dismissed the idea that Kirk brought Lenore aboard simply because he likes her, so should we.
--One could ask why Kirk continued to romance Lenore after Karidian was on his ship. Why not simply beard the lion when Kirk has the advantage of being in his own den? Remember, at this point, Kirk has no real evidence of an association between Karidian and Kodos other than coincidence and his own suspicions. Barging into Karidian's quarters without being invited at this point could actually get Kirk in trouble with command if Karidian chose to make a complaint; therefore, Kirk must continue to work through Lenore to try to get to Karidian, up until the point attempted murder occurs on his ship and provides Kirk with probable cause.
--In the conversation from Kirk and Lenore's second interlude, there is again a great deal to unpack. Let's take this a bit at a time:
KIRK: This is the observation deck. That's the flight deck down there with the shuttlecraft.
LENORE: Interesting.
KIRK: Isn't it?
LENORE: Tell me, Captain Kirk...
KIRK: Anything.
LENORE: Did you order the soft lights especially for the occasion?
KIRK: If I had ordered soft lights, I'd also have arranged for music and flowers. Unfortunately, it isn't so. On the Enterprise, we try to duplicate Earth conditions of night and day as closely as possible.
(Does it strike anyone else as funny that Kirk's idea of a romantic encounter includes a tour of the Enterprise?) Anyway, Kirk continues being his genuinely charming self, his "seduction" of Lenore lacking the harsh notes of his "seduction" of the android Andrea, and for very good reason. Kirk does not know at this point that Lenore is a murdering nutcase or is even aware of her father's past. All Kirk knows is that Lenore seems to be a nice young woman who likes him and who he has to use as a means to an end.
LENORE: Star light, star bright. I wish I may, I wish I might. Do you remember that, Captain?
KIRK: It's very old.
LENORE: Almost as old as the stars themselves. And this ship. All this power, surging and throbbing, yet under control. Are you like that, Captain? All this power at your command, yet the decisions that you have to make...
KIRK: Come from a very human source.
LENORE: Are you, Captain? Human?
KIRK: You can count on it.
Kirk's romancing of Lenore has been just that--romancing. He moves slowly with her, attentive and understated. It is Lenore who is making the double entendres in this scene--she is the one moving the relationship forward, not Kirk, which is a situation that will occur again and again for our captain.
LENORE: Tell me about the women in your world, Captain.
KIRK: I'd rather talk about you. You must have wanted to perform since you first saw your father act. When was that?
LENORE: In the beginning.
KIRK: Tell me about it.
LENORE: That's not fair. You haven't answered my question about the women.
KIRK: What would you like to know?
LENORE: Has the machine changed them? Made them just people instead of women?
KIRK: Worlds may change, galaxies disintegrate, but a woman always remains a woman.
LENORE: All this and power, too. The Caesar of the stars and the Cleopatra to worship him.
First of all, here's another instance of Kirk trying to turn the conversation obliquely back to Karidian and his past, lest we forget that Kirk's here with a purpose.
There is also Kirk's answer to Lenore's question about women. Lenore is not asking about Kirk's perception of women--she is asking if women themselves have been changed by the service, implying that this change would devalue them in some way, force them to give something up. Kirk's response is a beautiful defense of the women under his command, saying that no matter what profession a woman chooses to pursue, what makes her special remains intact.
Finally, Kirk never asked for a Cleopatra to worship him--he gets downright snippy with Rand in "The Corbomite Maneuver" for attempting to wait on him hand and foot, and in "Mirror, Mirror," he encourages Lt. Marlena Moreau to explore her full potential independent of being "the captain's woman."
--Side note: We get a little background on Kirk here regarding events on Tarsus IV. Something that I've seen in fanfic a lot is that Kirk was one of the ones selected to survive but that he hid from Kodos soldiers because he was trying to protect children who'd been selected to die. However, after rewatching the episode, I think Kirk was actually one of the ones selected to die:
SPOCK: There were nine eyewitnesses who survived the massacre, who'd actually seen Kodos with their own eyes. Jim Kirk was one of them.
The massacre took place after the people were separated into who would live and who would die; therefore, if one were to survive the massacre, one would have had to have been part of the group selected to die. For me, this just ratchets up the trauma Kirk must feel from Tarsus IV and makes his use of Lenore much more understandable. /side note
--After confronting Karidian and coming clean with Lenore, Kirk mentions that he was using her at first, though later grew to want more:
LENORE: There's a stain of cruelty on your shining armor, Captain. You could have spared him, and me. You talked of using tools. I was a tool, wasn't l? A tool to use against my father.
KIRK: In the beginning perhaps. But later, I wanted it to be more than that.
I think perhaps Kirk is mostly attempting to spare Lenore's feelings here, since we saw in each of their interactions that Kirk was truly more interested in finding out about Karidian, in trying to get to her father. Also, Kirk is an excellent judge of character, so I find it slightly suspect that he would find himself genuinely attracted to someone as insane as Lenore Karidian (though she has managed to pull the wool over her own father's eyes, so...whatever). However, it does remain possible that after spending time with her, Kirk has come to like Lenore, whether platonically or romantically. Regardless, he clearly regrets having had to hurt her.
--Even after finding out the truth about Lenore, Kirk is still concerned about her. Had he just wanted to get in her pants (rather, sparkly silver tights), once she proved unavailable, his attention would turn elsewhere--if you just wanted to bang someone, you wouldn't really care if they would be getting the finest treatment for their crazies after they almost killed you and your lieutenant, and did kill seven other people.
"Balance of Terror"
Lady of the Hour: none
Not a lot here to talk about save for three quick beats:
--Rand is the one who initiates physical contact with Kirk on the bridge by invading his personal bubble in a way that would make my skin crawl. Kirk draws her into an embrace, a gesture of comfort, as a result--they're all pretty much preparing to die at this point. After the danger has passed, the contact breaks (though Rand remains well within Kirk's personal space), and there is no further indication of any kind of interest.
--Later in the episode, Rand walks into Kirk's quarters uninvited to find Kirk on his bed. Perfect opportunity for some we-may-die-soon sexytimes. Instead Kirk looks less than pleased about the intrusion and tells Rand to GTFO in the absolute politest way possible:
RAND: Can I get you something from the galley, sir? Coffee, at least?
KIRK: Thank you, Yeoman. Bring it to the bridge. I'll be there in a moment.
RAND: Yes, sir.
This is also another instance of Kirk correcting a crewman's mistake (Rand's uninvited intrusion into his quarters) by not calling direct attention to it and outright chastising them but by suggesting a future course of action.
If there's any doubt that Kirk was less than glad to see Rand, compare his reaction to her presence with his reaction when McCoy enters his quarters unannounced. (People do seem to feel free to just waltz into their captain's quarters, don't they?) McCoy's mere presence is enough to pull a smile from Kirk, and Kirk's overall bearing becomes friendlier and more inviting (because it's one thing for an old friend to come over unannounced and quite another for a subordinate to be too presumptuous).
--Finally, just because it has to be put out there, Kirk WAS NOT HITTING ON THE DEAD MAN'S FIANCÉE. Kirk takes the death of any crewmember very personally, allotting the blame to himself, and as such, he will deal with the fallout--in this case, it happened to be a fiancée left behind. Kirk comforts her after she initiates the hug.
"Shore Leave"
Ladies of the Hour: Yeoman Tonia Barrows, Ruth
--I do believe we're all very well acquainted with "the backrub scene" from this episode:
SPOCK: Something wrong?
KIRK: A kink in my back. (Out of Kirk's sight, Barrows starts to massage it.) That's it. A little higher, please. Push. Push hard. Dig it in there, Mister Spo--
(Spock steps forward, and Kirk realizes who is massaging his back.)
KIRK: Thank you, Yeoman. That's sufficient.
TONIA: You need sleep, Captain. If it's not out of line--
KIRK: I have enough of that from Doctor McCoy, Yeoman. Thank you.
Kirk never asked the yeoman, or anyone, to do anything about the kink in his back--he was simply making a statement of fact. Barrows took the initiative to start the massage. As soon as Kirk realizes it is Barrows rubbing his back, he immediately puts a stop to it. Never mind the fact that the very pretty lady was quite willing to lend him a hand, Kirk lets it be known that unless it's Spock handing out the backrubs, he's not interested.
We also have another indication that Kirk strongly dislikes mothering from his yeomen. As soon as Barrows starts in with the helpful suggestions, Kirk interrupts her and deflects.
--Kirk remains completely professional with Barrows on the planet. He has ample opportunity to place a seemingly innocent guiding hand on the small of her back as they walk along (as Sulu does after they all part ways after his discover of the gun),
but Kirk remains hands off. There is no indication of interest at all in Barrows, someone I consider to be one of the most attractive women ever to appear on TOS.
--We get a glimpse into Kirk's past at the Academy and find out that Kirk was anything but a playboy in his younger days.
MCCOY: And you being the very serious young--
KIRK: 'Serious'? I'll make a confession, Bones. I was absolutely grim, which delighted Finnegan no end. He's the kind of guy to put a bowl of cold soup in your bed or a bucket of water propped on a half-open door. You never knew where he'd strike next.
Together with what we learned from "Where No Man Had Gone Before," we know that Kirk was a very serious student and instructor, endlessly studious and scholarly--sounds a lot like Spock, actually. Never once do we hear about his sowing of any wild oats, and from what we do know about Kirk's Academy days, it seems he had neither the time nor the inclination to go skirt chasing.
--Ruth also comes from Jim's Academy days. I would say that she's a candidate for the blonde lab technician from "WNMHGB," except that Kirk doesn't treat Ruth as someone with whom he once had a passionate love affair, a relationship serious enough that he almost married her. Instead he looks on her as if he idolized her, revered her. It's possible that just as Kirk's mind conjured Finnegan because he never got a chance to get vengeance upon him, he conjured Ruth because he had never acted upon his feelings for her, like she was that unattainable crush that he as a grim young man never thought to get.
Whatever their past relationship, though, all that really happens between them is that they sit and stare at one another, Kirk with wonder in his eyes. He never even attempts to initiate more intimate contact with her.
--The way Kirk gets through to Barrows when she becomes hysterical after McCoy's death is appealing to her sense of duty:
TONIA: It's my fault! It never would have happened... It's my fault!
KIRK: No.
TONIA: It is, it is! I'm to blame!
KIRK: Yeoman! We're in trouble. I need every crewman alert and thinking.
TONIA: Aye, aye, sir.
He does not try to coddle her or patronize her because she's a "hysterical woman," like would have been done in many other shows at the time (and is still done in some modern shows). He expects Barrows to be able to perform as a crewmember regardless of gender, indicates that her input is valuable to him--just as he did with Dr. Dehner in "WNMHGB."
--We are given a direct comparison between McCoy's and Kirk's choices of fantasy: McCoy conjures up two scantily clothed girls from a chorus line on Rigel 2. Kirk conjures up someone who appears to be a long-lost love of some kind--demurely clothed, even. Were Kirk the type to look for a quick fling, he would have done the same as McCoy, especially now that he knows the purpose of the planet, but no, once again, he summons forth Ruth.
--K/S Side note (because I've got my book right here): From Captain's Logs: The Complete Trek Voyages, here's a little something episode writer Theodore Sturgeon had to say about Kirk:
I didn't see a tremendous originality in the concept of Kirk. I don't mean that we had done this before, but that kind of protagonist, as conceived, had been around before. But then Shatner did it as well as it could possibly be done. He was just right for it. He was awfully good at what he did. And then he began to put more into it. There were things like the emotional quality, and the humor, and the relationship with Spock, the protectiveness of each other, say. That came out of Bill's character. (emphasis in original)
"The Galileo Seven"
Lady of the Hour: none
--The only female with whom Kirk interacts in this episode is Lieutenant Uhura, and the contact is completely professional and respectful. The only time he gets snippy with Uhura is when Commissioner Ferris is hanging over his shoulder and has been for over a day.
"The Squire of Gothos"
Lady of the Hour: none
--Kirk obviously respects and values the women under his command, a view reinforced by this exchange:
TRELANE: Women? Do you mean that you actually have members of the fairer sex among your crew? Oh, how charming. And they must be all very beautiful. And I shall be so very gallant to them. Here, let me fetch them down at once.
KIRK: (grabbing his arm) No.
TRELANE: No?
KIRK: This game has gone on long enough. Those are crucial operating personnel.
Kirk does not see the women on the ship the same way Trelane does, as charming eye candy, but rather as important members of his crew, and seems rather affronted in general at Trelane's attitude towards women.
--After the bridge crew is transported to the planet, Kirk trusts Lieutenant Uhura and Yeoman Teresa Ross to be able to handle themselves with Trelane, to be able to distract him so that Kirk can confer with Spock on a plan of attack. (BTW, Uhura's delight at suddenly being able to play a new instrument is absolutely adorable.)
--Kirk puts his plan into action by challenging Trelane over Yeoman Ross:
KIRK: I want you to leave my crewmen alone. I want you to leave my crewwomen alone, too. (to Ross) You're not to dance with him. I don't like it.
TRELANE: Does it actually make you angry, Captain?
KIRK: (removing one of Ross's gloves) I don't want you accepting his gifts either.
ROSS: Captain, please don't do this.
TRELANE: Well, I do believe the dear captain is jealous of me.
KIRK: I don't care what you believe--just keep your hands off her!
TRELANE: Oh, how curiously human. How wonderfully barbaric!
KIRK: I've had enough of your insulting attentions to her.
TRELANE: Of course you have. After all, that's the root of the matter, isn't it? You fight for the attention, the admiration, the possession of women.
KIRK: If it's fighting that you want, (slaps Trelane) you may have it.
TRELANE: Are you challenging me to a duel?
KIRK: If you have the courage.
Kirk has made note of Trelane's attitude towards women, of Trelane's bearing in general and the mannerisms he has adopted, and appeals directly to them. Kirk does not, in reality, have any designs on Ross; she is the catalyst by which Kirk can challenge Trelane to a duel and destroy the mirror, what Kirk guesses is the source of his power.
--In light of the fact that Kirk challenged Trelane over Ross, it's particularly interesting that Trelane does not threaten her in order to force Kirk's compliance in the duel. Instead he somehow seems to realize that she is not Kirk's soft spot, but rather his first officer is. Granted, Trelane could be threatening Spock because he just doesn't like him and would like to keep the ladies for himself, but it's still interesting. Kirk caves quickly when Spock is threatened, but to give credit where credit's due, Kirk would have responded similarly had any member of his crew been threatened.
--When the crew returns to the ship, after the following exchange takes place,
ROSS: May I take a moment to change?
KIRK: Yes, I think you might. Turn in your glass slippers. The ball is over.
ROSS: Gladly, Captain.
KIRK: Hard to believe it ever happened.
Kirk follows after Ross with his eyes. While Kirk's reputation in pop culture might have us believe he is checking her out, it's actually more likely that he's focusing on her before he says the last line because the dress she is wearing and just referred to is the only visible evidence that the situation on Gothos ever occurred.
"Arena"
Lady of the hour: none
Other than normal interaction with Uhura, Kirk has no contact with any woman during the episode.
"Tomorrow Is Yesterday"
Lady of the Hour: Captain John Christopher none
--Something to keep in mind when considering Kirk's "seductions" of women: Kirk makes more eyes at Captain Christopher than he does at many of the ladies of the hour, giving the newly arrived captain a super obvious once-over in the transporter room.
--A precise summation of Kirk's feelings about the women serving on his ship:
CREWWOMAN: Good morning, Captain.
KIRK: Morning. (pulls Captain Christopher on) Captain.
CHRISTOPHER: A woman?
KIRK: Crewman.
Kirk does not make a distinction between male and female when it comes to his crew. He treats all equally and expects the same attention to duty of all of them.
--Flirting is Kirk's natural response when trying to lighten a situation:
COLONEL FELLINI: What is that? Is that a uniform of some kind?
KIRK: This little thing? Just something I slipped on.
This time, it just happens to be with a man. Kirk is an equal opportunity flirter, and just because he does flirt, it doesn't mean that he wants to jump in bed with someone.
"Court Martial"
Lady of the Hour: Lieutenant Areel Shaw
--Let's kick this one off with a backstory side note: During the first bar scene, Kirk mentions that his graduating class is well represented. These guys, who have a history with Kirk, do not like him very much--they think he murdered Finney, no question, and the entire encounter, even before the accusations start flying, is tense. Isn't it interesting that everyone whose sleeves I see is a lieutenant, and then we've got Kirk walking around with captain's braids? Methinks this dislike of Kirk arises from a sense of jealousy, maybe going all the way back to their Academy days.
--When McCoy says that all Jim's old friends look like Shaw, I think he's implying "girlfriends," which wouldn't be too surprising. Kirk does seem to have something of a type, if we go by those women with whom we either suspect or know he had a romantic relationship--blonde and rather petite--although obviously it's not something he rigorously sticks to.
--Another indication that Jim's something of an old-fashioned guy when it comes to courting women: he kisses Areel's hand in greeting.
--Kirk is more than willing to trust Areel's judgment regarding his case, even before he finds out that she will be the prosecuting attorney. That she is a woman makes no difference as far as his respect for her abilities--in fact, he respects them enough that he implies he'd like her to take his case.
SHAW: The prosecution will build its case on the basis of Kirk versus the computer. Now, if your attorney tries to defend on that basis, you won't have a chance.
KIRK: What other choice is there?
SHAW: That's up to your attorney, and that's why he's got to be a good one.
KIRK: You, perhaps?
SHAW: No, I'm busy.
KIRK: Well, a girl with your ability should be able to handle two cases at once.
--Areel calls Jim her "dear old love," which would be a funny thing to call him if their past relationship was just a fling (because she doesn't seem to be saying it with irony either). This is another indication that Kirk tends towards longer, more serious relationships rather than short affairs.
--Areel initiates the kiss with Kirk at the end of the episode,
SHAW: Do you think it would cause a complete breakdown of discipline if a lowly lieutenant kissed a starship captain on the bridge of his ship?
and the contact is brief and very chaste, a fond goodbye, not a yearning for sexytimes.
"The Return of the Archons"
Lady of the Hour: none
--Only one thing of note, since the female presence in this episode is practically nil: Once the Red Hour hits, a woman jumps on Kirk and kisses him. Kirk pushes her off of him very quickly without reciprocating, and he and his men run for cover.
"Space Seed"
Lady of the Hour: Lieutenant Marla McGivers (anyone else think of MacGyver anytime anyone says her name?)
--As always, Kirk sees McGivers not as an object of lust but as a valuable member of his crew, and he expects her to behave in a professional manner while on duty. As such, Kirk calls her to the carpet after the incident on the SS Botany Bay:
KIRK: If I were to rate your performance as a member of the landing party today, I--
MARLA: I know, sir. I'm sorry.
KIRK: Lieutenant, at any one time, the safety of this entire vessel might depend upon the performance of a single crewman, and the fact that you find a man strangely compelling to you personally--
MARLA: Not personally, Captain. Professionally. My profession is historian, and when I find a specimen from the past alive, I'm in the sheer delight of examining his mind.
KIRK: And men were more adventuresome then. Bolder, more colorful.
MARLA: Yes, sir, I think they were.
KIRK: Good. If I can have honesty, it's easier to overlook mistakes. That's all.
Kirk admonishes McGivers for allowing her attraction to a man to distract her from her duty, a recurring situation in the series. He expects discipline out of his crew, regardless of gender, and implies that all personnel contribute to the safe running of the Enterprise. Also, Kirk's masculine pride is not hurt when McGivers pretty much comes right out and calls him less of a man than not only Khan, but less than any man from earlier centuries. Kirk simply appreciates her honesty.
--At the end of the episode, Kirk offers McGivers the same opportunity he offers Khan, without making any concessions to any kind of feminine "weakness."
"A Taste of Armageddon"
Lady of the Hour: Mea 3
--At first meeting, Kirk treats Mea as the envoy she is and with the respect she deserves as the representative of her people, although the music would have us believe that he's undressing her with his eyes. This is a common situation throughout the series--Kirk does not show any sexual interest in a woman, running contradictory to the nondiegetic musical theme.
--Kirk prevents Mea from going to the disintegration chamber because he's a human being possessing of compassion, not because he wants to make sure she's around to have sex with later. After all, he's on a saving-people spree at the moment, destroying disintegration chambers--does he want to sleep with all those people waiting in line, too?
--Kirk appeals to Mea for help after returning to their original holding room:
KIRK: Mea, I want you to give me a complete layout of this building complex. How do I get to the War Room?
MEA: No!
KIRK: Now listen to me. I'm trying to help you, to save your life and the lives of millions like you. If you help me, maybe I can do it. If you don't, you'll die, we'll die, and the killing will go on. Or are you that fond of the war?
MEA: What are you going to do?
KIRK: We're going to try and stop the killing. We're trying to help. Believe me.
MEA: I believe you, but--
KIRK: Tell me what I want to know. Please.
Kirk tries to access Mea's own sense of compassion, her feeling of responsibility for her people, and reaches her not because he's turning on the sexy, but because he makes sense, because he appeals to her reason and ultimate duty to her world.
"This Side of Paradise"
Lady of the Hour: Leila Kalomi
--It's rather unlikely that the assessing eye Kirk gives Leila upon introduction has anything to do with her gender, but rather seems to be in response to learning she has a past with Spock.
--Side note 1: I've made mention in previous essays that there is a strong parallel between the Kirk/Spock fight in "Amok Time" and the fight in XI. There is also a strong parallel between that XI> fight and the one in this episode. Kirk deliberately goads Spock into anger because it's necessary to the success of the mission.
--Side note 2: When Kirk says "and you've got the gall to make love to that girl," more than likely, he does not mean that Spock had sex with Leila. Rather, because this is the 1960s, he means the more archaic "make love," which would refer to flirting and romancing.
"The Devil in the Dark"
Lady of the Hour: the Horta
--Kirk shows basic human compassion for the Horta, just as he's done for Mea 3, Miri, Eve, and Dr. Dehner--does that mean that he's hitting on the Horta, too, just because it's female?
--Besides the Horta, there is nothing in the way of female presence, just a heaping mountain of gay, which means I don't get to talk about this ep, which makes me sad because it's my very favorite. Still, I'll relate an anecdote regarding the filming of the episode that y'all've probably heard before but makes me gooey inside:
During the second day of filming of the episode, Bill Shatner got word that his father had passed away. Shatner's flight out to Miami, where his father had died, was scheduled for the evening, and because he's a sure 'nuff professional and because he didn't know what he'd do with himself if he weren't working, Shatner asked that filming continue. From Shatner's Star Trek Memories, from the chapter entitled "My Favorite Episode":
And even though I really can't remember most of the day's details anymore, the one thing that I recall perfectly and that I'll never forget is the closeness that my friend Leonard had toward me. Not just emotionally, but physically as well. I mean I've seen film of elephants that support the sick and the dying with their bodies, and Leonard somehow always seemed physically close to me. (emphasis in original)
And Joseph Pevney, the director of the episode, from Captain's Logs: The Complete Trek Voyages:
It was a tough show to do, because William Shatner's father died during the filming of it. They were very close, but he managed....He was very shaken then and Leonard was very good to him. They were together all the time and Leonard was able to provide him with a great deal of comfort.
The most adorable thing you've ever heard, Y/Y?
"Errand of Mercy"
Lady of the Hour: Captain James T. Kirk none
--Heh, Kor says Kirk will be taught how to use his tongue. Kor totally wants to make Kirk his sex slave.
--Again, pretty much zero in the way of female presence.
"The Alternative Factor"
Lady of the Hour: Lieutenant Charlene Masters
--Kirk's brief interaction with the guest lady, Lieutenant Masters, is strictly professional. Other than that, there is no notable interaction between Kirk and a female this episode. That makes this, what, four in a row now?
--(Also, did they forget to give Lt. Masters her braids? Why is she wearing a yeoman's uniform?)
"The City on the Edge of Forever"
Lady of the Hour: Edith Keeler
--Before I get started, does anyone know the significance of the black band around Uhura's arm during the introductory bridge scene? Is this something I'm going to feel like an idiot for not knowing?
--What seems to strike Kirk first about Edith Keeler is her kindness and willingness to trust evidenced in her giving Spock and him jobs, and then later he is completely taken in by her "gifted insight," in fact, in the mission's mess, harshly interrupts a man who makes the kind of comments the uninformed might think would come from Kirk:
MAN: You expect to eat for free or something? You got to listen to Goody Two-shoes.
EDITH: (on stage) Now, as I'm sure somebody out there has said, it's time to pay for the soup.
MAN: Not that she's a bad-looking broad, but if she really wanted to help out a fella in need--
KIRK: Shut up. Shut up.
To anyone of her time, Edith's speculations about space travel and its effect on the future would make her sound like a crackpot, but to Kirk, who realizes all this will in fact come true, she is one hell of a woman to be able to have that kind of optimism (and be so correct in her predictions) in the depths of the Great Depression.
--For the majority of the episode, it is Edith who is responsible for the escalations in her and Kirk's relationship, which makes sense. Jim would not want to get too involved with anyone of this time period because he knows he can't stay, so there's no point--another indication that he prefers long-term, serious relationships, because there's nothing really stopping him from going out and screwing anything that moves, so long as he doesn't tell anyone his origin, and we see no indication of that.
It is Edith who secures Kirk and Spock a room in the same building in which she lives. Edith makes her forgiveness of Spock (after his borrowing of the tools) playfully conditional on Kirk walking her home. This is not to say that she's necessarily looking for a romantic relationship with Kirk, not at first--she simply likes him and wishes to spend time with him. It is over a relatively long period of time that their attraction to one another grows.
--K/S Side note: It is explicitly stated that Edith has uncommonly gifted insight, is right on the money as far as the development of atomic power and space travel. And then there's this:
SPOCK: Where would you estimate we belong, Miss Keeler?
EDITH: You? At his side, as if you've always been there and always will. And you? (to Kirk) You belong in another place. I don't know where or how. I'll figure it out eventually.
If Edith was so right about everything else, why should we doubt her insight here?
--Kirk's courting of Edith is easy and slow. Kirk obviously finds her interesting and easy to talk to. After all, Edith has the kind of optimism that would normally come from Kirk's century, which means, outside of being with Spock, talking with Edith is the closest he's able to get to being home while stranded in the 1930s. It's no wonder Kirk likes Edith; she's pretty damn extraordinary.
--After finding out that Edith must die in order to set the future to rights, Kirk confesses:
KIRK: Spock, I believe I'm in love with Edith Keeler.
I do not doubt him, and find his phrasing of the declaration particularly in character. For Kirk, the opportunity for real love does not seem to come that often, and as such, he might be a little hesitant to name the emotion, hence the qualifier "believe."
What is important to note is that at this juncture, Kirk and Edith's relationship has not become physical. They've held hands, but even when Kirk saves Edith from falling down the stairs later, she gives him only a chaste kiss on the lips. Kirk has been constantly respectful of Edith and her century, but also true to what seems to be the norm for Kirk, that sex be a result of relationship, not the catalyst for one.
Kirk and Spock are stuck in the 1930s for a significant period of time, and Kirk has used all of it just to get to know Edith. Kirk has not rushed into any kind of a relationship, and was in fact probably trying to resist the emotions she stirred in him, because he knew he'd have to leave her behind when the time came.
"Operation--Annihilate!"
Lady of the Hour: none
--Jim takes hold of Aurelan when down on the planet simply to break her out of her hysteria, not because he's trying to make it with THE WIFE OF HIS DEAD BROTHER. There. Just had to be said.
~~~~
Essays on the rest of the seasons and films are upcoming. I've got the notes already--it's just a matter of writing things up.
by dark_orion
Season 1, Part 1
"The Conscience of the King"
Lady of the Hour: Lenore Karidian
--In this episode, we see Kirk take the device he used against Andrea in "What Are Little Girls Made Of?" and expand it and increase its complexity. A very good friend of Kirk's, Dr. Tom Leighton, with whom Kirk experienced the profound trauma of Tarsus IV, believes that the actor Karidian is in actuality Kodos the Executioner. Kirk takes the accusation seriously, not only because of his friend's word, not only because of his own psychological trauma, but because someone responsible for the deaths of thousands of people should not be allowed to roam free (after all, he would maroon Kahn on a harsh planet in "Space Seed" for this reason, too).
Because of this trifecta of reasons, Kirk uses those means at his disposal to discover the truth about Karidian/Kodos. Kirk attends Dr. Leighton's cocktail party for the actor troupe, hoping to meet Karidian himself--instead he meets Lenore Karidian:
(Lenore enters.)
KIRK: The others are on the patio.
LENORE: I take it you're the welcoming committee. (referring to his glass) Is that for me?
KIRK: Why not? I saw your performance today. May I extend my appreciation?
LENORE: My father will be delighted, Mister... Mister?
KIRK: Captain James Kirk, Starship Enterprise.
LENORE: We are honored.
KIRK: I had hoped to meet your father here, tonight, personally.
LENORE: I'm sorry, Captain Kirk. He has a rigid rule about that. He never sees anyone personally, and he never attends parties.
KIRK: An actor turning away his admirers? Very unusual.
LENORE: Karidian is a most unusual man. You saw Macbeth. That was my father.
KIRK: Then I'll talk to Lady Macbeth.
(They sit.)
LENORE: So...captain of the Enterprise. Interesting.
KIRK: So, Lady Macbeth. Interesting. What's your next move?
LENORE: We play two performances at Benecia, if the AstraI Queen can get us there.
KIRK: She's a good ship. (takes a glass from a passing tray) Thank you. You were very impressive as Lady Macbeth.
LENORE: Thank you. And as Lenore Karidian?
KIRK: Very impressive. Lenore. I'd like to see you again.
LENORE: You mean professionally?
KIRK: Not necessarily.
LENORE: I think I'd like that. Unfortunately, we must keep a schedule.
KIRK: You don't have a schedule now, do you?
LENORE: You mean leave? But I've only just arrived.
KIRK; So have I.
LENORE: And you hate to overstay a welcome.
KIRK: Exactly.
LENORE: Why not?
KIRK: Good. I'll make our apologies to our hostess. I'll meet you outside.
There is a great deal to unpack in this conversation. Kirk has already done research on Karidian--it's safe to assume that he already knows that Lenore is his daughter. As such, Kirk identifies Lenore as an avenue to her father and turns on the charm from the get-go; however, it is only after he learns that Karidian has not and will not make an appearance at the party that he turns his full attention to Lenore; he says it himself after Lenore mentions Karidian's hermitic lifestyle: "Then I'll talk to Lady Macbeth." Only after that do they sit down and does Kirk actively start to romance Lenore, because he now knows that through Lenore is the only way to get to Karidian.
Even after the seduction has started, it is clear Kirk's attention is more on an eventual meeting with Karidian, as he turns the conversation back onto Lenore after she tries to do the same to him ("So...captain of the Enterprise. Interesting." "So, Lady Macbeth. Interesting. What's your next move?"). Kirk's already building his plan in his mind, a plan that involves using Lenore as bait to reel in Karidian.
--Even though Kirk is in active seduction mode with Lenore, they are merely taking a stroll outside, not humping against the closest rock--it's one of many indications we have that Kirk is actually pretty old-fashioned as far as his methods of pursing women. He's every inch the gentleman caller, with Lenore's hand in the crook of his elbow.
It is, in fact, Lenore who takes things up a notch. When they stopped to speak, the two of them stood apart, Kirk's hands to himself. It is only after Lenore puts a hand on his chest and starts to lean in that Kirk seems to realize he's going to have to reciprocate and rather abruptly brings his hands up to her shoulders to pull her in, though his expression still seems more reluctant than anything.
--It must come as no surprise to anyone at this point that Kirk manipulates the situation with the Astral Queen so that he can get Karidian onto the Enterprise. The death of his friend would only make Kirk that much more determined to find the truth. If there's any doubt as to Kirk's true reason behind getting the company onboard, observe Kirk's change of expression when Lenore leaves the bridge. As soon as she's gone, Kirk's charm is gone, like someone flicked a switch, like he's turning it off and on when it suits his purposes.
--What is important to note is that this is atypical behavior for Kirk, mechanically and rather coldly seducing a woman. We know this because Spock, closer to the captain than anyone, thinks Kirk is acting strangely and is so disturbed by it he seeks advice from McCoy:
SPOCK: The captain is acting strangely. I'm asking if you've noticed.
MCCOY: Negative. [...] What are you so worried about, anyway? I find Jim generally knows what he's doing.
KIRK: It was illogical for him to bring those players aboard.
MCCOY: Illogical? Did you get a look at that Juliet? That's a pretty exciting creature. Of course, your personal chemistry would prevent you from seeing that. Did it ever occur to you that he simply might like the girl?
SPOCK: It occurred. I dismissed it.
It is shown in several different ways over the course of the series that Spock knows Kirk better than anyone--it's even outright said in "Turnabout Intruder." Therefore, if Spock dismissed the idea that Kirk brought Lenore aboard simply because he likes her, so should we.
--One could ask why Kirk continued to romance Lenore after Karidian was on his ship. Why not simply beard the lion when Kirk has the advantage of being in his own den? Remember, at this point, Kirk has no real evidence of an association between Karidian and Kodos other than coincidence and his own suspicions. Barging into Karidian's quarters without being invited at this point could actually get Kirk in trouble with command if Karidian chose to make a complaint; therefore, Kirk must continue to work through Lenore to try to get to Karidian, up until the point attempted murder occurs on his ship and provides Kirk with probable cause.
--In the conversation from Kirk and Lenore's second interlude, there is again a great deal to unpack. Let's take this a bit at a time:
KIRK: This is the observation deck. That's the flight deck down there with the shuttlecraft.
LENORE: Interesting.
KIRK: Isn't it?
LENORE: Tell me, Captain Kirk...
KIRK: Anything.
LENORE: Did you order the soft lights especially for the occasion?
KIRK: If I had ordered soft lights, I'd also have arranged for music and flowers. Unfortunately, it isn't so. On the Enterprise, we try to duplicate Earth conditions of night and day as closely as possible.
(Does it strike anyone else as funny that Kirk's idea of a romantic encounter includes a tour of the Enterprise?) Anyway, Kirk continues being his genuinely charming self, his "seduction" of Lenore lacking the harsh notes of his "seduction" of the android Andrea, and for very good reason. Kirk does not know at this point that Lenore is a murdering nutcase or is even aware of her father's past. All Kirk knows is that Lenore seems to be a nice young woman who likes him and who he has to use as a means to an end.
LENORE: Star light, star bright. I wish I may, I wish I might. Do you remember that, Captain?
KIRK: It's very old.
LENORE: Almost as old as the stars themselves. And this ship. All this power, surging and throbbing, yet under control. Are you like that, Captain? All this power at your command, yet the decisions that you have to make...
KIRK: Come from a very human source.
LENORE: Are you, Captain? Human?
KIRK: You can count on it.
Kirk's romancing of Lenore has been just that--romancing. He moves slowly with her, attentive and understated. It is Lenore who is making the double entendres in this scene--she is the one moving the relationship forward, not Kirk, which is a situation that will occur again and again for our captain.
LENORE: Tell me about the women in your world, Captain.
KIRK: I'd rather talk about you. You must have wanted to perform since you first saw your father act. When was that?
LENORE: In the beginning.
KIRK: Tell me about it.
LENORE: That's not fair. You haven't answered my question about the women.
KIRK: What would you like to know?
LENORE: Has the machine changed them? Made them just people instead of women?
KIRK: Worlds may change, galaxies disintegrate, but a woman always remains a woman.
LENORE: All this and power, too. The Caesar of the stars and the Cleopatra to worship him.
First of all, here's another instance of Kirk trying to turn the conversation obliquely back to Karidian and his past, lest we forget that Kirk's here with a purpose.
There is also Kirk's answer to Lenore's question about women. Lenore is not asking about Kirk's perception of women--she is asking if women themselves have been changed by the service, implying that this change would devalue them in some way, force them to give something up. Kirk's response is a beautiful defense of the women under his command, saying that no matter what profession a woman chooses to pursue, what makes her special remains intact.
Finally, Kirk never asked for a Cleopatra to worship him--he gets downright snippy with Rand in "The Corbomite Maneuver" for attempting to wait on him hand and foot, and in "Mirror, Mirror," he encourages Lt. Marlena Moreau to explore her full potential independent of being "the captain's woman."
--Side note: We get a little background on Kirk here regarding events on Tarsus IV. Something that I've seen in fanfic a lot is that Kirk was one of the ones selected to survive but that he hid from Kodos soldiers because he was trying to protect children who'd been selected to die. However, after rewatching the episode, I think Kirk was actually one of the ones selected to die:
SPOCK: There were nine eyewitnesses who survived the massacre, who'd actually seen Kodos with their own eyes. Jim Kirk was one of them.
The massacre took place after the people were separated into who would live and who would die; therefore, if one were to survive the massacre, one would have had to have been part of the group selected to die. For me, this just ratchets up the trauma Kirk must feel from Tarsus IV and makes his use of Lenore much more understandable. /side note
--After confronting Karidian and coming clean with Lenore, Kirk mentions that he was using her at first, though later grew to want more:
LENORE: There's a stain of cruelty on your shining armor, Captain. You could have spared him, and me. You talked of using tools. I was a tool, wasn't l? A tool to use against my father.
KIRK: In the beginning perhaps. But later, I wanted it to be more than that.
I think perhaps Kirk is mostly attempting to spare Lenore's feelings here, since we saw in each of their interactions that Kirk was truly more interested in finding out about Karidian, in trying to get to her father. Also, Kirk is an excellent judge of character, so I find it slightly suspect that he would find himself genuinely attracted to someone as insane as Lenore Karidian (though she has managed to pull the wool over her own father's eyes, so...whatever). However, it does remain possible that after spending time with her, Kirk has come to like Lenore, whether platonically or romantically. Regardless, he clearly regrets having had to hurt her.
--Even after finding out the truth about Lenore, Kirk is still concerned about her. Had he just wanted to get in her pants (rather, sparkly silver tights), once she proved unavailable, his attention would turn elsewhere--if you just wanted to bang someone, you wouldn't really care if they would be getting the finest treatment for their crazies after they almost killed you and your lieutenant, and did kill seven other people.
"Balance of Terror"
Lady of the Hour: none
Not a lot here to talk about save for three quick beats:
--Rand is the one who initiates physical contact with Kirk on the bridge by invading his personal bubble in a way that would make my skin crawl. Kirk draws her into an embrace, a gesture of comfort, as a result--they're all pretty much preparing to die at this point. After the danger has passed, the contact breaks (though Rand remains well within Kirk's personal space), and there is no further indication of any kind of interest.
--Later in the episode, Rand walks into Kirk's quarters uninvited to find Kirk on his bed. Perfect opportunity for some we-may-die-soon sexytimes. Instead Kirk looks less than pleased about the intrusion and tells Rand to GTFO in the absolute politest way possible:
RAND: Can I get you something from the galley, sir? Coffee, at least?
KIRK: Thank you, Yeoman. Bring it to the bridge. I'll be there in a moment.
RAND: Yes, sir.
This is also another instance of Kirk correcting a crewman's mistake (Rand's uninvited intrusion into his quarters) by not calling direct attention to it and outright chastising them but by suggesting a future course of action.
If there's any doubt that Kirk was less than glad to see Rand, compare his reaction to her presence with his reaction when McCoy enters his quarters unannounced. (People do seem to feel free to just waltz into their captain's quarters, don't they?) McCoy's mere presence is enough to pull a smile from Kirk, and Kirk's overall bearing becomes friendlier and more inviting (because it's one thing for an old friend to come over unannounced and quite another for a subordinate to be too presumptuous).
--Finally, just because it has to be put out there, Kirk WAS NOT HITTING ON THE DEAD MAN'S FIANCÉE. Kirk takes the death of any crewmember very personally, allotting the blame to himself, and as such, he will deal with the fallout--in this case, it happened to be a fiancée left behind. Kirk comforts her after she initiates the hug.
"Shore Leave"
Ladies of the Hour: Yeoman Tonia Barrows, Ruth
--I do believe we're all very well acquainted with "the backrub scene" from this episode:
SPOCK: Something wrong?
KIRK: A kink in my back. (Out of Kirk's sight, Barrows starts to massage it.) That's it. A little higher, please. Push. Push hard. Dig it in there, Mister Spo--
(Spock steps forward, and Kirk realizes who is massaging his back.)
KIRK: Thank you, Yeoman. That's sufficient.
TONIA: You need sleep, Captain. If it's not out of line--
KIRK: I have enough of that from Doctor McCoy, Yeoman. Thank you.
Kirk never asked the yeoman, or anyone, to do anything about the kink in his back--he was simply making a statement of fact. Barrows took the initiative to start the massage. As soon as Kirk realizes it is Barrows rubbing his back, he immediately puts a stop to it. Never mind the fact that the very pretty lady was quite willing to lend him a hand, Kirk lets it be known that unless it's Spock handing out the backrubs, he's not interested.
We also have another indication that Kirk strongly dislikes mothering from his yeomen. As soon as Barrows starts in with the helpful suggestions, Kirk interrupts her and deflects.
--Kirk remains completely professional with Barrows on the planet. He has ample opportunity to place a seemingly innocent guiding hand on the small of her back as they walk along (as Sulu does after they all part ways after his discover of the gun),
but Kirk remains hands off. There is no indication of interest at all in Barrows, someone I consider to be one of the most attractive women ever to appear on TOS.
--We get a glimpse into Kirk's past at the Academy and find out that Kirk was anything but a playboy in his younger days.
MCCOY: And you being the very serious young--
KIRK: 'Serious'? I'll make a confession, Bones. I was absolutely grim, which delighted Finnegan no end. He's the kind of guy to put a bowl of cold soup in your bed or a bucket of water propped on a half-open door. You never knew where he'd strike next.
Together with what we learned from "Where No Man Had Gone Before," we know that Kirk was a very serious student and instructor, endlessly studious and scholarly--sounds a lot like Spock, actually. Never once do we hear about his sowing of any wild oats, and from what we do know about Kirk's Academy days, it seems he had neither the time nor the inclination to go skirt chasing.
--Ruth also comes from Jim's Academy days. I would say that she's a candidate for the blonde lab technician from "WNMHGB," except that Kirk doesn't treat Ruth as someone with whom he once had a passionate love affair, a relationship serious enough that he almost married her. Instead he looks on her as if he idolized her, revered her. It's possible that just as Kirk's mind conjured Finnegan because he never got a chance to get vengeance upon him, he conjured Ruth because he had never acted upon his feelings for her, like she was that unattainable crush that he as a grim young man never thought to get.
Whatever their past relationship, though, all that really happens between them is that they sit and stare at one another, Kirk with wonder in his eyes. He never even attempts to initiate more intimate contact with her.
--The way Kirk gets through to Barrows when she becomes hysterical after McCoy's death is appealing to her sense of duty:
TONIA: It's my fault! It never would have happened... It's my fault!
KIRK: No.
TONIA: It is, it is! I'm to blame!
KIRK: Yeoman! We're in trouble. I need every crewman alert and thinking.
TONIA: Aye, aye, sir.
He does not try to coddle her or patronize her because she's a "hysterical woman," like would have been done in many other shows at the time (and is still done in some modern shows). He expects Barrows to be able to perform as a crewmember regardless of gender, indicates that her input is valuable to him--just as he did with Dr. Dehner in "WNMHGB."
--We are given a direct comparison between McCoy's and Kirk's choices of fantasy: McCoy conjures up two scantily clothed girls from a chorus line on Rigel 2. Kirk conjures up someone who appears to be a long-lost love of some kind--demurely clothed, even. Were Kirk the type to look for a quick fling, he would have done the same as McCoy, especially now that he knows the purpose of the planet, but no, once again, he summons forth Ruth.
--K/S Side note (because I've got my book right here): From Captain's Logs: The Complete Trek Voyages, here's a little something episode writer Theodore Sturgeon had to say about Kirk:
I didn't see a tremendous originality in the concept of Kirk. I don't mean that we had done this before, but that kind of protagonist, as conceived, had been around before. But then Shatner did it as well as it could possibly be done. He was just right for it. He was awfully good at what he did. And then he began to put more into it. There were things like the emotional quality, and the humor, and the relationship with Spock, the protectiveness of each other, say. That came out of Bill's character. (emphasis in original)
"The Galileo Seven"
Lady of the Hour: none
--The only female with whom Kirk interacts in this episode is Lieutenant Uhura, and the contact is completely professional and respectful. The only time he gets snippy with Uhura is when Commissioner Ferris is hanging over his shoulder and has been for over a day.
"The Squire of Gothos"
Lady of the Hour: none
--Kirk obviously respects and values the women under his command, a view reinforced by this exchange:
TRELANE: Women? Do you mean that you actually have members of the fairer sex among your crew? Oh, how charming. And they must be all very beautiful. And I shall be so very gallant to them. Here, let me fetch them down at once.
KIRK: (grabbing his arm) No.
TRELANE: No?
KIRK: This game has gone on long enough. Those are crucial operating personnel.
Kirk does not see the women on the ship the same way Trelane does, as charming eye candy, but rather as important members of his crew, and seems rather affronted in general at Trelane's attitude towards women.
--After the bridge crew is transported to the planet, Kirk trusts Lieutenant Uhura and Yeoman Teresa Ross to be able to handle themselves with Trelane, to be able to distract him so that Kirk can confer with Spock on a plan of attack. (BTW, Uhura's delight at suddenly being able to play a new instrument is absolutely adorable.)
--Kirk puts his plan into action by challenging Trelane over Yeoman Ross:
KIRK: I want you to leave my crewmen alone. I want you to leave my crewwomen alone, too. (to Ross) You're not to dance with him. I don't like it.
TRELANE: Does it actually make you angry, Captain?
KIRK: (removing one of Ross's gloves) I don't want you accepting his gifts either.
ROSS: Captain, please don't do this.
TRELANE: Well, I do believe the dear captain is jealous of me.
KIRK: I don't care what you believe--just keep your hands off her!
TRELANE: Oh, how curiously human. How wonderfully barbaric!
KIRK: I've had enough of your insulting attentions to her.
TRELANE: Of course you have. After all, that's the root of the matter, isn't it? You fight for the attention, the admiration, the possession of women.
KIRK: If it's fighting that you want, (slaps Trelane) you may have it.
TRELANE: Are you challenging me to a duel?
KIRK: If you have the courage.
Kirk has made note of Trelane's attitude towards women, of Trelane's bearing in general and the mannerisms he has adopted, and appeals directly to them. Kirk does not, in reality, have any designs on Ross; she is the catalyst by which Kirk can challenge Trelane to a duel and destroy the mirror, what Kirk guesses is the source of his power.
--In light of the fact that Kirk challenged Trelane over Ross, it's particularly interesting that Trelane does not threaten her in order to force Kirk's compliance in the duel. Instead he somehow seems to realize that she is not Kirk's soft spot, but rather his first officer is. Granted, Trelane could be threatening Spock because he just doesn't like him and would like to keep the ladies for himself, but it's still interesting. Kirk caves quickly when Spock is threatened, but to give credit where credit's due, Kirk would have responded similarly had any member of his crew been threatened.
--When the crew returns to the ship, after the following exchange takes place,
ROSS: May I take a moment to change?
KIRK: Yes, I think you might. Turn in your glass slippers. The ball is over.
ROSS: Gladly, Captain.
KIRK: Hard to believe it ever happened.
Kirk follows after Ross with his eyes. While Kirk's reputation in pop culture might have us believe he is checking her out, it's actually more likely that he's focusing on her before he says the last line because the dress she is wearing and just referred to is the only visible evidence that the situation on Gothos ever occurred.
"Arena"
Lady of the hour: none
Other than normal interaction with Uhura, Kirk has no contact with any woman during the episode.
"Tomorrow Is Yesterday"
Lady of the Hour: Captain John Christopher none
--Something to keep in mind when considering Kirk's "seductions" of women: Kirk makes more eyes at Captain Christopher than he does at many of the ladies of the hour, giving the newly arrived captain a super obvious once-over in the transporter room.
--A precise summation of Kirk's feelings about the women serving on his ship:
CREWWOMAN: Good morning, Captain.
KIRK: Morning. (pulls Captain Christopher on) Captain.
CHRISTOPHER: A woman?
KIRK: Crewman.
Kirk does not make a distinction between male and female when it comes to his crew. He treats all equally and expects the same attention to duty of all of them.
--Flirting is Kirk's natural response when trying to lighten a situation:
COLONEL FELLINI: What is that? Is that a uniform of some kind?
KIRK: This little thing? Just something I slipped on.
This time, it just happens to be with a man. Kirk is an equal opportunity flirter, and just because he does flirt, it doesn't mean that he wants to jump in bed with someone.
"Court Martial"
Lady of the Hour: Lieutenant Areel Shaw
--Let's kick this one off with a backstory side note: During the first bar scene, Kirk mentions that his graduating class is well represented. These guys, who have a history with Kirk, do not like him very much--they think he murdered Finney, no question, and the entire encounter, even before the accusations start flying, is tense. Isn't it interesting that everyone whose sleeves I see is a lieutenant, and then we've got Kirk walking around with captain's braids? Methinks this dislike of Kirk arises from a sense of jealousy, maybe going all the way back to their Academy days.
--When McCoy says that all Jim's old friends look like Shaw, I think he's implying "girlfriends," which wouldn't be too surprising. Kirk does seem to have something of a type, if we go by those women with whom we either suspect or know he had a romantic relationship--blonde and rather petite--although obviously it's not something he rigorously sticks to.
--Another indication that Jim's something of an old-fashioned guy when it comes to courting women: he kisses Areel's hand in greeting.
--Kirk is more than willing to trust Areel's judgment regarding his case, even before he finds out that she will be the prosecuting attorney. That she is a woman makes no difference as far as his respect for her abilities--in fact, he respects them enough that he implies he'd like her to take his case.
SHAW: The prosecution will build its case on the basis of Kirk versus the computer. Now, if your attorney tries to defend on that basis, you won't have a chance.
KIRK: What other choice is there?
SHAW: That's up to your attorney, and that's why he's got to be a good one.
KIRK: You, perhaps?
SHAW: No, I'm busy.
KIRK: Well, a girl with your ability should be able to handle two cases at once.
--Areel calls Jim her "dear old love," which would be a funny thing to call him if their past relationship was just a fling (because she doesn't seem to be saying it with irony either). This is another indication that Kirk tends towards longer, more serious relationships rather than short affairs.
--Areel initiates the kiss with Kirk at the end of the episode,
SHAW: Do you think it would cause a complete breakdown of discipline if a lowly lieutenant kissed a starship captain on the bridge of his ship?
and the contact is brief and very chaste, a fond goodbye, not a yearning for sexytimes.
"The Return of the Archons"
Lady of the Hour: none
--Only one thing of note, since the female presence in this episode is practically nil: Once the Red Hour hits, a woman jumps on Kirk and kisses him. Kirk pushes her off of him very quickly without reciprocating, and he and his men run for cover.
"Space Seed"
Lady of the Hour: Lieutenant Marla McGivers (anyone else think of MacGyver anytime anyone says her name?)
--As always, Kirk sees McGivers not as an object of lust but as a valuable member of his crew, and he expects her to behave in a professional manner while on duty. As such, Kirk calls her to the carpet after the incident on the SS Botany Bay:
KIRK: If I were to rate your performance as a member of the landing party today, I--
MARLA: I know, sir. I'm sorry.
KIRK: Lieutenant, at any one time, the safety of this entire vessel might depend upon the performance of a single crewman, and the fact that you find a man strangely compelling to you personally--
MARLA: Not personally, Captain. Professionally. My profession is historian, and when I find a specimen from the past alive, I'm in the sheer delight of examining his mind.
KIRK: And men were more adventuresome then. Bolder, more colorful.
MARLA: Yes, sir, I think they were.
KIRK: Good. If I can have honesty, it's easier to overlook mistakes. That's all.
Kirk admonishes McGivers for allowing her attraction to a man to distract her from her duty, a recurring situation in the series. He expects discipline out of his crew, regardless of gender, and implies that all personnel contribute to the safe running of the Enterprise. Also, Kirk's masculine pride is not hurt when McGivers pretty much comes right out and calls him less of a man than not only Khan, but less than any man from earlier centuries. Kirk simply appreciates her honesty.
--At the end of the episode, Kirk offers McGivers the same opportunity he offers Khan, without making any concessions to any kind of feminine "weakness."
"A Taste of Armageddon"
Lady of the Hour: Mea 3
--At first meeting, Kirk treats Mea as the envoy she is and with the respect she deserves as the representative of her people, although the music would have us believe that he's undressing her with his eyes. This is a common situation throughout the series--Kirk does not show any sexual interest in a woman, running contradictory to the nondiegetic musical theme.
--Kirk prevents Mea from going to the disintegration chamber because he's a human being possessing of compassion, not because he wants to make sure she's around to have sex with later. After all, he's on a saving-people spree at the moment, destroying disintegration chambers--does he want to sleep with all those people waiting in line, too?
--Kirk appeals to Mea for help after returning to their original holding room:
KIRK: Mea, I want you to give me a complete layout of this building complex. How do I get to the War Room?
MEA: No!
KIRK: Now listen to me. I'm trying to help you, to save your life and the lives of millions like you. If you help me, maybe I can do it. If you don't, you'll die, we'll die, and the killing will go on. Or are you that fond of the war?
MEA: What are you going to do?
KIRK: We're going to try and stop the killing. We're trying to help. Believe me.
MEA: I believe you, but--
KIRK: Tell me what I want to know. Please.
Kirk tries to access Mea's own sense of compassion, her feeling of responsibility for her people, and reaches her not because he's turning on the sexy, but because he makes sense, because he appeals to her reason and ultimate duty to her world.
"This Side of Paradise"
Lady of the Hour: Leila Kalomi
--It's rather unlikely that the assessing eye Kirk gives Leila upon introduction has anything to do with her gender, but rather seems to be in response to learning she has a past with Spock.
--Side note 1: I've made mention in previous essays that there is a strong parallel between the Kirk/Spock fight in "Amok Time" and the fight in XI. There is also a strong parallel between that XI> fight and the one in this episode. Kirk deliberately goads Spock into anger because it's necessary to the success of the mission.
--Side note 2: When Kirk says "and you've got the gall to make love to that girl," more than likely, he does not mean that Spock had sex with Leila. Rather, because this is the 1960s, he means the more archaic "make love," which would refer to flirting and romancing.
"The Devil in the Dark"
Lady of the Hour: the Horta
--Kirk shows basic human compassion for the Horta, just as he's done for Mea 3, Miri, Eve, and Dr. Dehner--does that mean that he's hitting on the Horta, too, just because it's female?
--Besides the Horta, there is nothing in the way of female presence, just a heaping mountain of gay, which means I don't get to talk about this ep, which makes me sad because it's my very favorite. Still, I'll relate an anecdote regarding the filming of the episode that y'all've probably heard before but makes me gooey inside:
During the second day of filming of the episode, Bill Shatner got word that his father had passed away. Shatner's flight out to Miami, where his father had died, was scheduled for the evening, and because he's a sure 'nuff professional and because he didn't know what he'd do with himself if he weren't working, Shatner asked that filming continue. From Shatner's Star Trek Memories, from the chapter entitled "My Favorite Episode":
And even though I really can't remember most of the day's details anymore, the one thing that I recall perfectly and that I'll never forget is the closeness that my friend Leonard had toward me. Not just emotionally, but physically as well. I mean I've seen film of elephants that support the sick and the dying with their bodies, and Leonard somehow always seemed physically close to me. (emphasis in original)
And Joseph Pevney, the director of the episode, from Captain's Logs: The Complete Trek Voyages:
It was a tough show to do, because William Shatner's father died during the filming of it. They were very close, but he managed....He was very shaken then and Leonard was very good to him. They were together all the time and Leonard was able to provide him with a great deal of comfort.
The most adorable thing you've ever heard, Y/Y?
"Errand of Mercy"
Lady of the Hour: Captain James T. Kirk none
--Heh, Kor says Kirk will be taught how to use his tongue. Kor totally wants to make Kirk his sex slave.
--Again, pretty much zero in the way of female presence.
"The Alternative Factor"
Lady of the Hour: Lieutenant Charlene Masters
--Kirk's brief interaction with the guest lady, Lieutenant Masters, is strictly professional. Other than that, there is no notable interaction between Kirk and a female this episode. That makes this, what, four in a row now?
--(Also, did they forget to give Lt. Masters her braids? Why is she wearing a yeoman's uniform?)
"The City on the Edge of Forever"
Lady of the Hour: Edith Keeler
--Before I get started, does anyone know the significance of the black band around Uhura's arm during the introductory bridge scene? Is this something I'm going to feel like an idiot for not knowing?
--What seems to strike Kirk first about Edith Keeler is her kindness and willingness to trust evidenced in her giving Spock and him jobs, and then later he is completely taken in by her "gifted insight," in fact, in the mission's mess, harshly interrupts a man who makes the kind of comments the uninformed might think would come from Kirk:
MAN: You expect to eat for free or something? You got to listen to Goody Two-shoes.
EDITH: (on stage) Now, as I'm sure somebody out there has said, it's time to pay for the soup.
MAN: Not that she's a bad-looking broad, but if she really wanted to help out a fella in need--
KIRK: Shut up. Shut up.
To anyone of her time, Edith's speculations about space travel and its effect on the future would make her sound like a crackpot, but to Kirk, who realizes all this will in fact come true, she is one hell of a woman to be able to have that kind of optimism (and be so correct in her predictions) in the depths of the Great Depression.
--For the majority of the episode, it is Edith who is responsible for the escalations in her and Kirk's relationship, which makes sense. Jim would not want to get too involved with anyone of this time period because he knows he can't stay, so there's no point--another indication that he prefers long-term, serious relationships, because there's nothing really stopping him from going out and screwing anything that moves, so long as he doesn't tell anyone his origin, and we see no indication of that.
It is Edith who secures Kirk and Spock a room in the same building in which she lives. Edith makes her forgiveness of Spock (after his borrowing of the tools) playfully conditional on Kirk walking her home. This is not to say that she's necessarily looking for a romantic relationship with Kirk, not at first--she simply likes him and wishes to spend time with him. It is over a relatively long period of time that their attraction to one another grows.
--K/S Side note: It is explicitly stated that Edith has uncommonly gifted insight, is right on the money as far as the development of atomic power and space travel. And then there's this:
SPOCK: Where would you estimate we belong, Miss Keeler?
EDITH: You? At his side, as if you've always been there and always will. And you? (to Kirk) You belong in another place. I don't know where or how. I'll figure it out eventually.
If Edith was so right about everything else, why should we doubt her insight here?
--Kirk's courting of Edith is easy and slow. Kirk obviously finds her interesting and easy to talk to. After all, Edith has the kind of optimism that would normally come from Kirk's century, which means, outside of being with Spock, talking with Edith is the closest he's able to get to being home while stranded in the 1930s. It's no wonder Kirk likes Edith; she's pretty damn extraordinary.
--After finding out that Edith must die in order to set the future to rights, Kirk confesses:
KIRK: Spock, I believe I'm in love with Edith Keeler.
I do not doubt him, and find his phrasing of the declaration particularly in character. For Kirk, the opportunity for real love does not seem to come that often, and as such, he might be a little hesitant to name the emotion, hence the qualifier "believe."
What is important to note is that at this juncture, Kirk and Edith's relationship has not become physical. They've held hands, but even when Kirk saves Edith from falling down the stairs later, she gives him only a chaste kiss on the lips. Kirk has been constantly respectful of Edith and her century, but also true to what seems to be the norm for Kirk, that sex be a result of relationship, not the catalyst for one.
Kirk and Spock are stuck in the 1930s for a significant period of time, and Kirk has used all of it just to get to know Edith. Kirk has not rushed into any kind of a relationship, and was in fact probably trying to resist the emotions she stirred in him, because he knew he'd have to leave her behind when the time came.
"Operation--Annihilate!"
Lady of the Hour: none
--Jim takes hold of Aurelan when down on the planet simply to break her out of her hysteria, not because he's trying to make it with THE WIFE OF HIS DEAD BROTHER. There. Just had to be said.
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Essays on the rest of the seasons and films are upcoming. I've got the notes already--it's just a matter of writing things up.