But the original Trek also drew heavily on Cold War-era sci-fi series like The Outer Limits and The Twilight Zone -- groundbreaking and experimental in their ideas, but with a traditional moral and dramatic approach. Their serious tone fit the fifties, that uneasy, schizoid time of cultural confidence, space exploration, and looming nuclear Armageddon. Star Trek's cautious presentation probably helped viewers to swallow its innovations, from flip-phone communicators and automatic doors to alien characters like Leonard Nimoy's Spock. The idea of a character motivated by "logic" instead of emotion is pretty silly (they're not opposites), but it was perfect for the liberationist sixties -- and it was a powerful gimmick that generated years' worth of story ideas. (In one of season three's last episodes, "All Our Yesterdays," Spock goes back in time, loses his civilized veneer, and develops a primordial passion for Mariette Hartley.)
Continue reading: Star Trek: Season Three Review
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