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TV 1966 Project @tv1966.bsky.social · 08/07/2026

Welcome to the anti-universe. Star Trek's ill-fated attempt at introducing parallel dimensions, this is bogged down with impenetrable techno-babble, which I find fitting, given the inconceivable events that are unfolding. It has a handful of the most memorable special effect shots in all of Trek.

Kirk and other crew men running across a rocky mountain terrain.

A blurry image of the man Lazarus in trouble. This is not a blurry screenshot, this sequence within the episode goes deliberately out of focus.

Kirk in image negative is standing in the void of the anti universe.

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TV 1966 Project @tv1966.bsky.social · 08/07/2026

Star Trek "The Alternative Factor", Episode 27, March 30, 1967. As its 5.7/10 on IMDb indicates, this is the most maligned episode of the first two seasons by far. I'm not so harsh. I admire director Gerd Oswald's attempts to create something interesting with such an incomprehensible script.

A visual special effect shot, an overlap between a shot of the bridge and a layer of stars against an outer space field.

A visual special effect shot, an overlap between a shot of Kirk and a layer of stars against an outer space field.

A visual special effect shot, an overlap between a man standing on the ground and a layer of stars against an outer space field.

A negative image, of the man Lazarus trapped in the anti-universe void

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TV 1966 Project @tv1966.bsky.social · 08/07/2026

The series introduction of the Klingons. It's gripping, but they don't get a knockout episode like Romulans do with Balance in Terror. Oddly, the Klingons rarely are the sole alien of any given TOS episode (sharing screentime and plotting with Organians, Tribbles, Capellans, etc).

Kirk and Spock side by side. Spock is holding a grenade.

Spock is seen from behind bars, looking forward.

Kirk and Spock seen from behind, crouching, looking ahead at a castle.

Two humanoid aliens are glowing, their bodies becoming a radiant shining pink/white light.

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TV 1966 Project @tv1966.bsky.social · 08/07/2026

Star Trek "Errand of Mercy", Episode 26, March 23, 1967.

Three older men sitting side by side along one side of a long table.

Close-up of John Colicos as Commander Kor, Klingon

Commander Kor and Captain Kirk staring at each other.

Kirk and Spock standing side by side, talking to each other. They're wearing medieval outfits to blend in with the society they're in.

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TV 1966 Project @tv1966.bsky.social · 07/07/2026

It's a creepy old fashioned monster horror feature, featuring one of the show's strongest sets/locations and impeccable production design, as a means of communicating Star Trek's hopeful plea on peaceful relations more evocatively than any other episode from the original series.

The magma creature, Horta, spelling "NO KILL" into rock.

Spock reaching his hands out towards the Horta.

Spock engaged in a mind meld with the Horta.

Kirk in a room within the cave, surrounded by countless broken Horta eggs.

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TV 1966 Project @tv1966.bsky.social · 07/07/2026

Some days, "The Devil in the Dark" is what I think of as my favourite episode from any Star Trek series.

A close-up of the alien creature, which looks like a pile of magma.

Kirk and Spock shooting their phasers at the magma creature.

Spock and Kirk standing side by side, looking in different directions.

Kirk, kneeling down, and Spock in the background, both taking note of the orbs/eggs on the ground next to the creature.

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TV 1966 Project @tv1966.bsky.social · 07/07/2026

"The Devil in the Dark", Episode 25, March 9, 1967.

the underground cave where much of the episode is based, the rock walls a blue/gray hue, the cave branches out with many passage ways.

A silhouette of a man walking through the cave

Smoking hot residue on the cave floor showing a blackened mark where a person used to be just seconds ago.

Kirk, McCoy and Spock standing in an office room setting, with an orb-like figure on the table demanding their attention.

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TV 1966 Project @tv1966.bsky.social · 19/05/2026

Bones McCoy, too, falls under the influence of the plant that causes people to lose their inhibitions. DeForest Kelley's manner of presenting McCoy in a relaxed state is to slip into a Foghorn Leghorn impression. It's quite something.

Close-up on Kirk, dramatic lighting, shadow across most of his face.

Bones sitting in a field, leaning against a tree, a mint julep in his hand.

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TV 1966 Project @tv1966.bsky.social · 19/05/2026

"This Side of Paradise" edges out "The Return of the Archons" and "A Taste of Armageddon" for me largely because of how much fun it squeezes out of its premise; Leonard Nimoy gives one of his standout performances from the original series.

Star Trek episode "This Side of Paradise" - Spock and Jill Ireland as Leila Kalomi are in a field.

Spock and Leila standing face to face, greenery behind them; their figures are obscured slightly by a single plant in the foreground.

Spock and Leila holding each other, smiling.

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TV 1966 Project @tv1966.bsky.social · 05/05/2026

I'm not sure if any of the show's episodes from the first season in this mold are truly excellent, but they're ambitious and introduce a type of societal dilemma episode that TNG and DS9 would handle with more depth. Clunky worldbuilding aside, this is an easy one to underrate. It's solid.

Two guards wearing pointed hats stationed in front of their leader, David Opatoshu as Anan 7, who is standing in front of large computers.

Anan 7 and one of his crew are seen from behind, as they're watching a radar screen.

A meeting of men. A long table, with 5 men, 4 of them seated, and Anan 7 is standing in the middle.

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TV 1966 Project @tv1966.bsky.social · 05/05/2026

"A Taste of Armageddon" is one of those Prime Directive establishing episodes. What I like best about it is its colours.

Kirk, Spock and a couple red shirted crewman talking to Mea 3 and her two guards in a hallway.

Kirk, Spock and their crew hiding behind wall pillars, Kirk leaning out forward to see if the coast is clear. The walls are lit with splashes of purples, greens and oranges.

A close-up of a wall that has a divide acting as an open door, the wall is green on one side of the entrance, and purple on the other side.

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TV 1966 Project @tv1966.bsky.social · 29/04/2026

There's a music video in this episode to "I Wanna Be Free" set to a montage of Davy being sad, thinking about happy memories with his band, which constantly dissolves images into one another. I love the way this scene looks.

several images of Davy Jones being sad on a beach, with the image dissolving into happier moments with the band

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TV 1966 Project @tv1966.bsky.social · 29/04/2026

Then there are the episode codas, which break the fourth wall and feature the band as "themselves" in banter that might very well also be scripted, talking about their recent massive success in the industry. Given the band's artificial nature, these scenes feel fictitious as well.

A behind the scenes shot of Davy and Micky sitting down in their "star" chairs in the backstage area of the studio lot.

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TV 1966 Project @tv1966.bsky.social · 29/04/2026

The Monkees ep 6 is Davy Jones centric, as he has to impress his grandfather by pretending to more successful than he is. The imagined world within this show fascinates me; the working class struggle of this band that can't land gigs or pay the rent, frequently trying to pass as what they're not.

Davy Jones with a word balloon drawn next to him, thinking "That Lady was a Lady!"

Davy Jones in a suit, sitting down at a table, with his hand pushed into his face.

The lads are sitting outside on a bench. There's a humorous sight gag here of Mime Nesmith holding a pair of scissors, as he delicately trims the pom pom part of his hat. This goes unremarked in the scene.

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TV 1966 Project @tv1966.bsky.social · 29/04/2026

Concepts introduced in "Space Seed" bleed out throughout a lot of other Star Trek. Aside from Wrath of Khan, I also love its incorporation in DS9, and how the Eugenics controversy was used to give Julian Bashir an addled dimension, wonderfully improving upon that character.

Kirk is trapped in a room where he can't breathe. We're peering in at him in distress through a circular window against a gray wall.

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TV 1966 Project @tv1966.bsky.social · 29/04/2026

Ricardo Montalbán as Khan is a lot, naturally, maybe the most memorable guest star villain in the show's 3 season history, so it's easy to forget there's another guest star. There's a lot of Marla McGivers in this, and a lot of dramatic tension is made out of Khan seducing a Starfleet Lt to his side

Marla McGivers talking to Khan in his hospital quarters.

Khan is fixing Maria's hair as she looks into a mirror.

Khan looking at an illustration Maria made of him.

Khan and his soldiers wearing red have stolen control of the Enterprise, with Kirk and his crew sitting down in chairs, surrounded by Khan's men.

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TV 1966 Project @tv1966.bsky.social · 29/04/2026

"Space Seed" is one of the most written about Star Trek episodes, in large part because it was given additional significance in hindsight through an impressive motion picture sequel decades later. I imagine it would still be regarded as an excellent standout episode even if it remained stand-alone.

Madlyn Rhue as Lt. Marla McGivers, in her quarters, which has an artwork on an easel, and cups full of paint brushes.

An interior within a spaceship, there are compartments within the walls, where crew members lay down horizontally, they are in cryosleep.

Kirk, McCoy, Scotty and Marla McGivers look at the cryo sleeping body of Khan.

Kirk talking to Khan Noonien Singh who is sitting up in a hospital bed.

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TV 1966 Project @tv1966.bsky.social · 27/04/2026

In the end, I have enough fun with "The Return of the Archons" that I accept the mystery. It's fun watching Kirk and the boys play dress up, and this is one of the more inspired aesthetics they came up on the original series.

Two hooded figures center frame, deep into the background as they walk down a corridor.

Two hooded figures and a bald man in a robe standing next to a closed door.

Kirk, Spock, and the older bald man looking forward, through a hole in the wall that was caused by an explosion.

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TV 1966 Project @tv1966.bsky.social · 27/04/2026

While "A Taste of Armageddon"/"This Side of Paradise" are fuller formed in the depiction of their societies, there's a vagueness here regarding what the away party have stumbled into and only barely comprehend, the episode not exactly explaining the "Archon" or the world outside this town.

Two cloaked men holding poles that they were pointing. An older man with white hair stands between them.

Close up of Shatner speaking to his communicator.

Kirk and Spock facing Bones, Bones is wearing a grey suit.

Menacing cloaked figures have walked into a dungeon

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TV 1966 Project @tv1966.bsky.social · 27/04/2026

In a strange bit of episode arrangement, "The Return of the Archons" starts off a three-out-of-four-episode-run which are based around seemingly idyllic - though quirky - societies that have eradicated war but at the expense of humanity. Star Trek goes pagan folk horror in its costuming.

An exterior shot of an empty town, with the exception of a hooded figure carrying a staff in the center of frame.

Kirk dressed like someone who's about to burn women on account of them being witches, standing next to Spock dressed in all black including a hood to cover his ears.

The townsfolk raving mad during the time of the "Festival"

Kirk inside a room looking out his window to see all the people on the streets.

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TV 1966 Project @tv1966.bsky.social · 24/04/2026

The ending is certainly rushed and unsatisfying and feels strangely cobbled together in post production, but the earlier stretch only goes so far because the episode never puts the work in to make the viewer consider the possibility of Kirk being in the wrong. He needed to experience more doubt.

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TV 1966 Project @tv1966.bsky.social · 24/04/2026

Doing another courtroom episode the same season as "The Menagerie" was a mistake. "Court Martial" is mostly fine, Elisha Cook Jr. is here, has an intriguing tension which falls apart at the twist and goofy finale. Perhaps most damaging to the drama is the ep never makes us consider Kirk is guilty.

Kirk and Bones side by side, purple walls behind them.

Kirk sitting down in a bar talking to Lt. Areel Shaw (Joan Marshall) in her casual attire

Kirk, Spock Sulu, Commodore Stone all sitting down in the conference room aboard the Enterprise. Elisha Cook Jr. as Samuel T. Cogley is standing and talking.

Kirk squeezing into a tight space, two metallic walls only about a foot apart.

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TV 1966 Project @tv1966.bsky.social · 24/04/2026

The episode is broken into two long parts, a 20th century pilot being beamed aboard and the lengthy back-and-forth on what to do with him, which is intellectually engaging though veers on being repetitive, and then Kirk and Sulu running around the military base, which is a little more exciting.

Kirk and Sulu peering into a room that emits a red light.

Kirk is in a dark room examining a film strip, the room is lit red.

Kirk sitting down, being questioned by two military men in blue.

Spock peering down into a viewfinder of sorts, on the Enterprise bridge.

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TV 1966 Project @tv1966.bsky.social · 24/04/2026

"Tomorrow Is Yesterday" is such a humble first foray into Star Trek time travel storytelling, essentially laying the groundwork for how these stories will function going forward. Strong acting from Shatner in this, as Kirk is conflicted in how to handle his unwanted guest.

Kirk is in his quarters, talking to his black computer box which records his audio logs.

Kirk and Sulu sneaking through a 20th century military building, standing outside a door that reads "Statistical Services Division"

Kirk and Sulu sneaking through a 20th century military building, flashlight in Kirk's hand.

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TV 1966 Project @tv1966.bsky.social · 22/04/2026

My first ever childhood exposure to Star Trek was when I was maybe 5 watching Bill & Ted's Bogus Journey on VHS and there's a TV showing Kirk running up Vasquez Rocks and then later in the movie Evil Bill & Ted murder Good Bill & Ted at the same location! The magic of movies blew my mind. Still does

Kirk's head is visible from the top half only, he's looking out from over a rock.

Kirk talking to his communicator, explaining the bleak situation he is in. This is the first part of the scene shown on Bill & Ted's television.

Bill and Ted's television then shows this moment, where the camera zooms out and we see Kirk running up the Vasquez Rocks national park. Very distinct terrain. This scene still gives me the chills.

A highly advanced androgynous life form taking on a humanoid form, wearing a shiny silver one piece outfit.

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TV 1966 Project @tv1966.bsky.social · 20/04/2026

If this original series has taught Starfleet anything it's that the universe is a terrifying place full of gods and beings far beyond mortal comprehension and that human beings playing in starships are nothing but ants to them. It's a wonder they didn't call it quits and stay put on Earth after this

Trelene arms out stretched, anticipating Kirk to shoot him.

Kirk on trial, with a silhouette of a noose reflected on the wall appearing to his right.

Kirk looking up at Trelene dressed as a judge, a blue curtain behind him.

Two glowing green celestial blob formations appearing over a shot of trees.

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TV 1966 Project @tv1966.bsky.social · 20/04/2026

"The Squire of Gothos" is a variation on an already recurring theme. Its petulant all-powerful Trelane is more endearing than the angst-ridden "Charlie X" riff on Twilight Zone's "It's A Good Life". With artificial period detail on top, this anticipates the Q + Holodeck side of TNG.

Kirk and Sulu are stuck in place, arms jutted out awkwardly, with 18th century architecture behind them.

Kirk side by side with Trelane (William Campbell)

Uhura and Yeoman Teresa Ross (Venita Wolf), with a large red painting behind them.

Kirk and Trelene holding dueling pistols.

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TV 1966 Project @tv1966.bsky.social · 14/04/2026

There's an absurdly silly looking caveman-looking alien monster in this that sours a lot of the tension on-planet, but the drama in the shuttle craft is well executed, even if the miscellaneous characters who exist only to challenge Spock are forgettable.

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TV 1966 Project @tv1966.bsky.social · 14/04/2026

"The Galileo Seven" is a noteworthy attempt at shaking up the formula by removing Kirk from the main proceedings and having Spock in charge of an away mission gone wrong. Sturdy, tense back-and-forth between Spock and McCoy in this episode.

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TV 1966 Project @tv1966.bsky.social · 06/04/2026

The inspiration for the holodeck likely stems from Ray Bradbury's "The Veldt" (1950) and is integrated into the Star Trek series in a TAS episode from 1974, becoming major in TNG going forward, but the holodeck-style story begins here, only this has a magical fantasy bent instead of sci-fi.

An overheard shot looking down at a man and woman crew members, standing in a forest.

Close up on Kirk with a torn up shirt, blood on his mouth, and dirt all over his face.

McCoy and Sulu strolling through the scenic nature-park, smiles on their faces.

A pretty woman in yellow is holding Spock by the arm, and looking up at him. He returns a quizzical expression back at her.

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TV 1966 Project @tv1966.bsky.social · 06/04/2026

"Shore Leave" is fun, fluff, as lite as Star Trek gets. Visually, this is an abnormal episode that stands out because of all the natural lighting! Would you look at that, real sky, real trees, and sunlight!

A human dressed up as the White Rabbit in Alice in Wonderland

Kirk and Emily Banks as Yeoman Tonia Barrows walking outside, trees and sky behind them.

Kirk talking to a fantastical recreation of a women he once knew, played by Shirley Bonne

Spock standing on top of a rocky formation, blue skies behind him.

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TV 1966 Project @tv1966.bsky.social · 05/04/2026

Grace Lee Whitney's final original series appearance as Yeoman Janice Rand. It's a shame she was dropped so early, but at least they brought her back for small appearances in a handful of the feature films, giving the character a respectful coda.

Kirk and Janice Rand at a podium, Kirk is officiating a marriage between a man and woman crew members.

Rand standing against a red lit wall in Kirk's quarters. Kirk is lying down flat on his bed in contemplation.

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TV 1966 Project @tv1966.bsky.social · 05/04/2026

Getting ideas from westerns, horror and war films along with sci-fi short stories resulted in an exciting concoction, and much needed diversity for a series that was producing 24-29 episodes annually. A submarine battle in the stars was a memorable premise that was a perfect fit for the show.

Mark Lenard as the Romulan leader, tending to a man lying down.

Kirk looking at a grieving crew member who just lost her lover from the recent battle.

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TV 1966 Project @tv1966.bsky.social · 05/04/2026

"Balance of Terror" is the pinnacle of ship-centric Star Trek episodes. One element I find tedious about modern-day Trek is relying on regurgitating older Trek or broader science fiction for its stories - but the original series frequently looked to other genres of fiction for its inspiration.

Spock on the bridge looking down at a small screen. Uhura is behind him, at her console.

Kirk looking forward, at the large screen readout. Uhura is behind him, looking forward as well.

A screen diagram illustrating the Neutral Zone dividing line between Earth/Starfleet friendly space, and the Romulan Star Empire.

Mark Lenard as the Romulan Commander, with other Romulans around him

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TV 1966 Project @tv1966.bsky.social · 04/04/2026

First "Charlie X", now "The Conscience of the King". We have the second episode in which Uhura performs music. These are some of the most delightful sequences in the entire show.

Three images of Uhura in the break room, sitting down holding a guitar-harp-like string instrument, that she's strumming while singing. There are other crew people in the room, enjoying her song.

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TV 1966 Project @tv1966.bsky.social · 04/04/2026

"The Conscience of the King" isn't one of the most engaging scripts of Star Trek's first season (its murder mystery never feels so mysterious), but this Gerd Oswald directed episode is one of the show's most stunning. This hour has some of the show's moodiest use of shadows and lighting.

A moodily lit shot of Arnold Moss as the episode's Shakespearean actor standing alone in a room looking at a book, reds and blues reflected on the walls behind him.

Barbara Anderson as Lenore Karidian, in a green dress, leaning against the wall in a hallway of the Enterprise, a window behind her with stars visible.

Kirk and Lt Riley standing in front of a flowing red drape.

Kirk on the stage, looking down at the Karidians, Arnold Moss's character dead on a floor, as a dozen or so crewmembers stand in the back of the room, looking onward.

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TV 1966 Project @tv1966.bsky.social · 02/04/2026

Episode 5 is a Rocky & Bullwinkle homage with the Monkees getting caught up in a Russian spy plot and having to agree to capturing Boris and Natasha - played by Jacques Aubuchon and Arlene Martel (Arlene of Star Trek "Amok Time" fame).

Jacques Aubuchon and Arlene Martel playing Boris and Natasha-like Russian spies. They wear a few disguises throughout the episode.

Jacques Aubuchon and Arlene Martel trying to blend in as the hippie youth.

Jacques Aubuchon and Arlene Martel dressed elegantly, him in a suit, and her in a red dress.

Arlene Martel in a gray suit, white shirt and black tie underneath, standing in front of a microfilm projector

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TV 1966 Project @tv1966.bsky.social · 01/04/2026

The Monkees episode 4 involves the band getting pushed into awkward situations by a criminal who's secretly trying to sabotage their career to benefit another band that he represents. "Last Train to Clarksville" has been played in 3 back to back episodes. The song is a hit record as these air.

the Monkees in their home monkeying around

Peter, Mike and Mickey are tied up and gagged by criminals, as is a large mannequin (instead of Davy)

the Monkees and two gangsters chasing each other on a balcony exterior outside of a multi story building

a shot on a western set of the band and the crooks through a wagon wheel

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TV 1966 Project @tv1966.bsky.social · 27/03/2026

The first Star Trek pilot "The Cage" was filmed shortly after the cancellation of The Outer Limits and one reason for it eventually being greenlit was so a new sci-fi show could recycle the leftover props from that show. That pilot is a lot more Outer Limitsy than the Star Trek that followed.

Spock on trial, sitting by himself at a circular table, green wall behind him.

Captain Pike stretched out on his bed in his personal quarters, the room is dark, partially lit by a lamp

Three aliens from the planet Talos IV, their bald bulging heads are super large because of their massive brains. They're made up to look in a similar vein as the Outer Limits creatures in "The Sixth Finger" and "Nightmare"

A close-up of the current-day Pike with his badly scarred face.

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TV 1966 Project @tv1966.bsky.social · 27/03/2026

Built into the original pilot is the aliens watching Pike navigate the simulation they created for him through their fantastical screens (their minds eye a camera), and "The Menagerie" adds an additional layer of observation with Kirk and the others watching all of these events 13 years later.

Spock is on trial, sitting by himself in the foreground. Kirk and the Commodore are seated together at another table in the shot's background.

Within the court room, every character is watching events from 13 years ago from inside the Enterprise, on a large screen.

A jagged looking TV screen is in the middle of the frame, displaying a close-up of Captain Pike. To the left and right are the cloaks and arms visible of the Talos IV aliens watching Pike.

Another shot from the court room of the characters watching the 13 years ago events, this time a younger Spock is visible on screen.

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TV 1966 Project @tv1966.bsky.social · 26/03/2026

So often, Star Trek is just scenes of people standing around talking, sitting and talking, but because of decisions in lighting, blocking and production design I'm in awe. On a shot to to basis, this is an absurdly beautiful looking television show.

Close-up of Kirk, the wall behind him is lit in several hues of purple-pink

Kirk sitting looking at a computer monitor, McCoy standing next to him. The walls emit a purple hue and the door is orange/red/yellow, but because of how the scene is lit, there isn't one consistent colour, but rather, a variance of colour tones along the walls and door. Even McCoy's shadow hitting the wall behind him livens up the image.

A woman Starfleet officer in red is standing in front of a monitor, but she's looking offscreen to her right. It's night time, which you can tell because of the blackened window behind her. The starbase the episode is set on has Days and Nights, which you don't often see much of on early Star Trek episodes, and the episode's production design is taking full advantages of this, offering wildly different looks at the same rooms across day and night situations.

A shadowy frame of Spock leaning over a control panel aboard the bridge of the Enterprise

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