What I've got is the new releases with the enhanced special effects - I'll comment on these as best I can, shame I haven't got the originals to compare and contrast, but such is life. I put up the "spoiler" just on the off chance that there's someone here that hasn't seen all these a million times - you never know, I suppose.
There were several "Mirror Universe" episodes on Deep Space Nine and one on Enterprise.
Obviously the Evil Kirk, McCoy, Scotty and Uhura aren't as good actors or able to improvise quickly as their counterparts as our Spock threw them in the brig right away. Though it does make the ending contrived as both Spock in the Good Reality and Kirk and Company in the Bad Reality have to synchonize their actions without knowing what the other side was doing! Not to mention getting Evil Kirk to co-operate!
When Kirk got back, I'll bet that he was a little leery of Sulu and Chekov for a while!
What did they do with the theme on Deep Space Nine?
Jerome Bixby wrote the short story "It's a Good Life", which adapted on The Twilight Zone. Wikipedia tells me he was also co-responsible for the story of Fantastic Voyage and wrote the screenplay for It! The Terror from Beyond Space.
Nimoy was especially effective as "bad" Spock.
He was also very convincing as the evil super-scientist William Bell in the show FRINGE.
From memory, the first time had Kira and Bashir accidently go to the Mirror Universe and learn that Mirror-Spock actually brought change to the Empire, curbing its conqueroring ways only to be themselves conquered by a coalition between the Klingons, the Cardassians and the Bajorans. The station is still Terok Nor, a mining facility using Terran slaves, one being Mirror-O'Brien (called Smiley because he never does). Mirror-Kira is the Superintendent, a cruel, hedonistic woman who immediately gets the hots for "herself".
Later Smiley goes to the Good Universe to kidnap Sisko to have him lead or inspire a rebellion. There Sisko meets the Mirror-version of his late wife Jennifer.
I'll look up more details later but one thing I do remember is the Mirror Universe ain't no place for a Ferengi!
Written by Max Ehrlich
Directed by Joseph Pevney
Synopsis: Our heroes fight a serpentine computer.
1)"The Garden of Eden was just outside Moscow." Oh, shut up.
2)"Would you mind being careful where you throw your rocks, Mister Spock?"
3)"Trying to get yourself killed - you know how much Starfleet has invested in you?" "122,200..." "Never mind!"
4)"His father helped me get into the Academy."
5)I'm ashamed to admit how many years it took me to notice that "Vaal" was a slight re-working of "Baal".
6)"It does something for you." "Yes, indeed it does, Captain. It makes me uncomfortable."
7)"I remind you that humans are only a tiny minority in this galaxy."
8)Watching them all skirt around the subject of sex is amusing.
9)Again Kirk rationalizes violating the Prime Directive: "We owe it to them to interfere."
10)The Thals Vaals take up violence eagerly, but not very well.
12)"But Vaal calls to us!" Geez, they're whiny.
13)"Are you casting me in the role of Satan?"
14)Hey, Makora was David Soul!
Another "god" that must be deposed because Jim Kirk doesn't like it. All of our heroes seem of their game in this one - even Spock is a bit chuckleheaded. One imagines them going back to the ship and colluding on their log entries to make themselves all look better.
Yes, Spock does take a beating here.
I always thought that all these people that Kirk "liberated" might come to the conclusion that they were better off WITH their computer god/overlord/caretaker and go after Kirk.
Did we ever see these cultures again in the novels?
I never like "The Apple" though I haven't seen it for awhile. The "Kirk vs the computer god" plot was already wearing thin at this point with more to come.
Did we ever see these cultures again in the novels?
Not that I know of, but I dimly remember one of the DC comics re-visited these people and their society had become fairly post-apocalyptic.
WOLF IN THE FOLD has always been an unusual ST story. It's the 3rd (and final) one from Robert Bloch (PSYCHO, THE HOUSE THAT DRIPPED BLOOD), and involves a serial killer, whose identity seems either all too obvious, or much stranger than anyone could ever have imagined.
Among the guest actors are Charles Macauley, previously seen as "Landru" in RETURN OF THE ARCHONS, and John Fielder, the voice of "Piglet" in Disney's WINNEY THE POOH cartoons, who much later was a regular on Dabney Coleman's series BUFFALO BILL. This is probably the 1st time I ever took notice of Fiedler, everything else I've ever seen him in, I'm always reminded of this story. On the other hand, it took me decades (and looking it up on the IMDB) before I ever realized I'd seen Macauley in anything else. His appearances also include The Monkees' movie, HEAD, where he has the wonderful quote, "The tragedy of your times, my young friends, is that you may get exactly as you want."
In production order, this was the 1st episode of the 2nd season that reused music from earlier episodes. This includes music from THE CAGE (the Orion slave girl dance was reused here for the dancing girl at the beginning of the story) and cues from CATSPAW.
I still recall the 1st time I saw this story, being totally thrown at the way the investigation proceeded, especially once it moved up to The Enterprise. I suppose it figures that the one person who kept objecting to it and making fun of it turned out to be the killer. "Die, die, everybody die!" may be the most memorable line in the story.
THE CHANGELING, I have to admit, is the first episode I've watched this time out that I was really NOT thrilled with, at all. I guess I've seen it too much, and had too many of its plot points ridiculed over the years, and realized just how idiotic and repetitive some things in this one are. I really hate machines that don't work right, and I really hate supposedly "intelligent" computers that don't know their ass from a hole in the ground. "Nomad" keeps saying it's "perfect", and that it's programming is "whole", yet it refuses to recognize that its so-called "programming" was the result of itself being nearly destroyed in an accident and then rebuilt in a completely faulty, seemingly arbitrary way. About the only thinking machine even stupider than "Nomad" had to be "V'Ger", which didn't even recognize what living beings were.
I recall it being quite a shock when Scotty was knocked over on the bridge, and McCoy wound up saying, "He's DEAD, Jim!" Crewmen have been killed before (including in the previous episode), but one of the main regulars? Of course that got turned around moments later. What happened to Uhura was really stupid, though. The whole sequence of her supposedly being "re-educated" was played too much for laughs in the middle of such a supposedly "deadly serious" story where billions of people have been killed, and billions more lives are at risk. I agree with whoever at the IMDB suggested her memories were probably just buried, and it took a certain amount of time and effort to re-connect them.
After Mr. Hengist was beamed out into space and DISPURSED in the previous episode, WHY didn't they do the same thing with Nomad? It seems a big chance they took that that thing would actually blow itself up. (Funny how you notice stuff like this if you watch in production order.)
THE APPLE was summed up by one IMDB reviewer as "Same ship, different day." I also agree with whoever suggested that the entire story seems to have been assembled by someone who looked at previous episodes, borrowed elements from several of them, and threw them together to get a new episode out of it. You've got a so-called paradise with plants that shoot spores (THIS SIDE OF PARADISE), a planet with mindless people run by a computer that is using a tractor beam to pull the Enterprise down out of orbit (RETURN OF THE ARCHONS), and the ship using its main phaser banks to destroy the menacing power source (WHO MOURNS FOR ADONIS). You've even got one of the main characters, this time, Spock, getting killed-- NO, he got better (THE CHANGELING).
The music in this episode, like the previous one, is also made up entirely of cues from previous episodes. Several previous episodes. I recognized cues from CATSPAW (the ominous castle music and the action scenes), SHORE LEAVE (the romantic theme), AMOK TIME (both Spock's theme and the Vulcan planet music). Of course, since this was run by NBC 2 weeks before CATSPAW, most people probably never had a clue that that episode was the source of so much terrific music that got endlessly reused in other stories.
And speaking of CATSPAW... while that story reminded me of a LOST IN SPACE type of story, THE APPLE was actually very similar to a 3rd season LIS story that aired ALMOST the same time-- SPACE PRIMEVALS. That was about a group of apparent cave men who worshipped-- I'm not kidding-- a COMPUTER! SPACE PRIMEVALS aired October 4, 1967; THE APPLE aired October 13, 1967-- 9 DAYS later!! Really-- what are the odds?????
So many 3rd-season LIS episodes seemed like LIS remakes of 1st-season ST stories, including CONDEMNED OF SPACE, VISIT TO A HOSTILE PLANET, HUNTER'S MOON, SPACE DESTRUCTORS, THE HAUNTED LIGHTHOUSE, FLIGHT INTO THE FUTURE... seems to me the closest parallel I can come up with for SPACE PRIMEVALS might be THE GALILEO SEVEN, if only because of the "cavemen". I just find it bizarre that in its 2nd season, STAR TREK was slowly becoming more like its dumber counterpart.
I always found it shocking that the Professor would advocate splitting open the heads of the space intruders. How rude?
Guess after years and years of being marooned on Gilliagan's Island that he went a little "space happy", huh?
The Doomsday Machine:
Written by Norman Spinrad (Author of The Iron Dream)
Directed by Marc Daniels
Synopsis: Our heroes fight a giant ice cream cone - from Hell!
1)The sight of the wrecked Constellation really floored me when I was a kid.
2)Of course, the star of this episode is the late, great William Windom as Commodore Matt Decker, who really plays a guy gone over the edge very well in this.
3)"There is no third planet." "Don't you think I know that? There was, but not anymore!"
4)I always questioned the wisdom of Decker beaming everyone down to the planet just because the ship was adrift - particularly when you consider how quickly Scotty got the thing running again. It's a little too "Plot Convenience Playhouse" for me - a device to put Decker in a position where he feels he has nothing left to lose.
5)I think of the machine as one of Saberhagen's Berserkers loose in the Star Trek universe.
6)"Bones, you ever hear of the doomsday machine?" "No, I'm a doctor, not a mechanic."
7)"Vulcans never bluff." "No. No, I don't suppose that they do."
8)"I'm gonna take this thing right down its throat!"
9)"I'm gonna ram her right down that thing's throat!"
10)"Gentlemen, beam me aboard!" I like Shatner's borderline panic here.
Another of my all-time favorites, despite the odd plot hole. Windom really makes this episode.