During a mission to explore a volatile deep space quasar, the shuttlecraft Galileo is thrown off course and forced to make an emergency landing on an unexplored — and very hostile — planet. Cut off from the Enterprise and under attack from giant ape-like creatures, mission commander Spock is forced to make difficult life-or-death decisions — his logical approach to which increases tensions among the stranded members of the landing party. If “The Conscience of the King” was criticized for not having enough action, then this next episode certainly made up for it with a briskly-paced survival story of high drama, action and suspense. But what really makes “The Galileo Seven” stand out is the gripping character study of Mr. Spock, who faces internal struggles between his human half and his Vulcan half during his first command.

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The play’s the thing in “The Conscience of the King,” when Captain Kirk suspects that the former governor of a distant colony who ordered the execution of 4,000 inhabitants is now disguising himself as a Shakespearean performer. When Kirk sets out on a personal quest to learn the truth, he puts his career, his life and even the crew of the Enterprise on the line. If there was ever a “Star Trek” episode that has aged well over the years, it’s “The Conscience of the King.” Though it was initially criticized for being too slow and not having enough action, it has since come to be embraced as a superior episode, a brilliant rendition of Shakespeare in space and an acting tour-de-force for William Shatner and co-stars Arnold Moss and Barbara Anderson.

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On the far reaches of the galaxy, the Enterprise responds to a distress signal emanating from what appears to be an exact duplicate of Earth, only to discover that its entire adult population has been wiped out by a man-made pandemic. Only the children remain, and they too will eventually become infected, but not before Captain Kirk and the rest of the landing party contract the deadly disease first. It’s a race against time to find a cure in an overlooked episode that effectively served as an allegory for the generation gap of the 1960s, but now resonates with much greater significance after the worldwide pandemic of 2020. “Miri” is the “Star Trek” equivalent of “Lord of the Flies,” and it’s an exceptionally well-acted and more powerful episode than it is often given credit for.

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After a desperate prisoner escapes from the Tantalus Penal Colony to the Starship Enterprise demanding asylum, Captain Kirk launches an investigation into the alleged mistreatment of the colony's inmates by its revered director, Dr. Tristan Adams. Accompanied by Dr. Helen Noel, Kirk beams down to Tantalus to learn the truth, only to discover that Dr. Adams is running the colony like a nightmarish chamber of horrors. For the second “Star Trek” episode in a row, Captain Kirk comes face-to-face with a mad scientist. And like the episode before it, “Dagger of the Mind” is a thought-provoking, deeply-engaging, well-written and superbly acted episode that also features a “Star Trek” landmark — the first appearance of the Vulcan Mind Meld.

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The Enterprise arrives at the distant frozen world of Exo III in an effort to search for Dr. Roger Korby, a brilliant scientist who has been missing and is presumed dead. But not only is Korby found to be alive and well, he takes Captain Kirk prisoner in an attempt to convince him of his bold plan to create a master race of immortal mechanical beings. “What Are Little Girls Made Of?” is an often-overlooked episode that effectively explores the concept of what it means to be human, and it ultimately succeeds as a compelling, provocative, highly-stylized and very well-acted episode. It’s also the first time that “Star Trek” examined the conflict of humanity versus machine (and, in effect, humanity versus itself), but it sure wouldn’t be the last.

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After a series of unprovoked attacks on Earth outposts situated near the Romulan Neutral Zone, Captain Kirk risks interplanetary war and engages in a battle of wits with the Commander of the attacking Romulan Bird of Prey. The Enterprise must pursue and destroy the enemy vessel before it escapes back to its homeland, but Kirk has another pressing matter to contend with: a racist bridge officer who suspects that Vulcan science officer Mr. Spock is actually a Romulan spy. It all adds up to a brilliant episode that’s filled with high drama, gripping suspense, brisk pacing, strong characterization, magnificent performances and a gut-wrenching emotional payoff that still packs a powerful punch. “Balance of Terror” is more than just one of “Star Trek’s” finest hours; its one of the best hours of dramatic television ever produced.

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While the Enterprise is en route to Earth Colony 5, Captain Kirk becomes the reluctant father figure to an unusual passenger named Charles Evans. The teenager displays incredible powers, but he lacks the discipline to use them, which soon turns the Enterprise into a hell ship that terrorizes its crew. As we will come to see many times on “Star Trek,” absolute power corrupts, absolutely — especially when that infinite power lies in the hands of an adolescent young man with raging hormones. “Charlie X” is a superior episode that’s gripping, suspenseful, powerful and haunting, and it’s the first “Star Trek” episode to be written by Dorothy “D.C.” Fontana, whose incredible contributions to the series over the next three years cannot be overstated.

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“No beach to walk on...” In this all-time classic that can truly be defined as epic, the Enterprise literally and figuratively spirals out of control when an unusual disease is brought aboard the ship and quickly spreads to infect the crew. “The Naked Time” is marked by a seamless shift in tones, as it starts from a slow build of suspense, then progresses to reveal moments of levity until it finally culminates with a desperate race against time to find a cure. But above all else, “The Naked Time” features bravura performances across the board, especially from Leonard Nimoy, who saw his fan mail increase exponentially after this episode aired.

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Every self-respecting Trekker worth their weight in salt knows that “The Man Trap” was the first episode of “Star Trek” to air on broadcast TV, and for that reason alone, it’s historical significance as a landmark episode is justifiably secured. What every Trekker also knows is that “The Man Trap” doesn’t exactly represent “Star Trek” at its very finest, but upon closer reflection, it reaps many rewards by being the only episode to offer a glimpse into Dr. McCoy’s past, not to mention being a remarkably deep, effectively suspenseful and very entertaining episode in its own right. Just don't get us started on that hand puppet scene...

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"There is only one logical answer — we have an imposter aboard.” When a transporter malfunction splits Captain Kirk into two versions of the same person — one gentle and compassionate, the other mean and fierce — the result is a magnificent “Star Trek” episode that’s loaded with tension, high drama, brilliant performances, provocative themes and one very controversial scene. But by further establishing the dynamic relationship between Kirk, Spock and McCoy, “The Enemy Within” achieves landmark status as an all-time classic.

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