Metamorphosis
- Episode aired Nov 10, 1967
- TV-PG
- 50m
While returning to the Enterprise aboard the shuttlecraft, Kirk, Spock, McCoy and a seriously ill Federation diplomat find themselves kidnapped by an energized cloud.While returning to the Enterprise aboard the shuttlecraft, Kirk, Spock, McCoy and a seriously ill Federation diplomat find themselves kidnapped by an energized cloud.While returning to the Enterprise aboard the shuttlecraft, Kirk, Spock, McCoy and a seriously ill Federation diplomat find themselves kidnapped by an energized cloud.
- Lieutenant Hadley
- (uncredited)
- The Companion
- (voice)
- (uncredited)
- Lieutenant Leslie
- (uncredited)
- Director
- Writers
- All cast & crew
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Storyline
Did you know
- TriviaA few scenes featuring Elinor Donahue had to be re-shot, because the original film negatives were damaged and couldn't be used. Portions of the planet set had to be rebuilt, since other episodes were shot there by that time, using different sets. Meanwhile, Donahue got pneumonia and lost ten pounds. To hide this, they put Hedford's scarf around her neck and upper body. However, her weight loss is still visible on her face. The re-shots were not directed by Ralph Senensky.
- GoofsThe shuttle craft used is called the "Galileo". The Galileo was destroyed in The Galileo Seven (1967). However, the Enterprise would have put in for re-supply at least twice in the time since then. "Galileo" was simply replaced.
- Quotes
Captain James T. Kirk: You say you can communicate with it. Perhaps you can find out what we're doing here.
Zefram Cochrane: I already know.
Captain James T. Kirk: You wouldn't mind telling us?
Zefram Cochrane: You won't like it.
Captain James T. Kirk: I already don't like it.
- Alternate versionsSpecial Enhanced version Digitally Remastered with new exterior shots and remade opening theme song
- ConnectionsFeatured in Cinematic Excrement: Spock's Brain (2014)
This examination is probably the most blatant attempt to visualize the IDIC principle, from the standpoint of relations between living beings. This is the Vulcan philosophy of 'Infinite Diversity in Infinite Combinations' - a concept probably treasured by Roddenberry and a cornerstone of his entire conception of future life. However, the marooned human man here, Cochrane, though about 100 years more evolved than the current humanity of the 21st century, is far behind 23rd century thinking as to what is socially acceptable in polite society. He shows himself to be very outdated and has to make an effort to adjust to new ways of thinking, of seeing things, in regard to human/extraterrestrial interaction. It's a leap that perhaps many in the audience need to make with him, as well. On the other hand, this high-minded IDIC philosophy, if not carefully written, may open the door to problematic areas during the course of the story.
As in several episodes, non-corporeal aliens always tend to crave physical bodies such as we humans possess, as if our form is the ultimate conduit for finding true love. This seems a conceit due to writing from the human perspective and, though simple physical sensation may be a subject of curiosity (see "Catspaw" and "By Any Other Name"), the deeper sensation of love should be attainable in a variety of ways. Why, for example, didn't the Companion transform Cochrane into a version of herself? In this case, the episode does provide a good answer: the concept of sacrifice, a strong indicator of actual love being expressed. I found the unpleasant character of the human female (very annoying, like all Federation diplomats) to be a bit overdone, showing the contrast between her and herself in the post-joining with the Companion. The fact that her essence disappears into the Companion is glossed over (it still seems to me only her body lives on, her mind is dead). And this war she was supposed to avert suddenly becomes a trivial matter at the conclusion. But, other than that, this is a thought-provoking story, like the best Trek. The character of Cochrane was reinterpreted in the movie "Star Trek First Contact"(96) and, following along the cliché lines of present-day script-writing, was turned into a greedy drunkard, in contrast to the elegant performance by actor Corbett here.
- Bogmeister
- Sep 17, 2006
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