Star Trek (TV Series) Requiem for Methuselah (1969) User Reviews

Testing the Power of a 6000-year-old Man

[Bogmeister · 8/10 · 8 March 2007]

The concept of immortality, frequently tackled in science fiction, is given a run-through by Trek. The Enterprise crew are racked by Rigelian fever and arrive at a planet to gather raw material for a treatment. The main trio (of course) beam down and encounter Flint, seemingly sole occupant and owner of the planet. His actions and motives are mysteriously strange throughout the first 3 acts of the episode; he appears hostile at first, but then shifts his attitude to that of gracious host, unveiling his legal ward, a young female whose parents died while in Flint's employ (so he says). Kirk is immediately entranced by this girl of great intellect, who also seems very naive. By the way, the exterior shot of Flint's big castle-like house is a rerun from way back in "The Cage," the 1st pilot for the show. Anyway, 'Flint,' it turns out, is just using this name as the latest in a long line; he was previously known as Da Vinci, the composer Brahms, as well as Solomon, Lazarus, Methuselah and Merlin, besides a hundred others. Spock had deduced as much after studying Flint's paintings and musical compositions, which were all created recently, using 23rd-century materials: Flint was born about 6000 years ago, on Earth. For reasons never explained, he is some kind of a mutant, an immortal - he found this out from way back in his first identity, when he recovered from a fatal wound. This backstory is somewhat familiar, used in other sf novels, series or films ("Highlander"); there was even a comic book series "The Eternal Warrior" much later, which itself copied a series of novels. The writer, Bixby, followed this up with the similar "Man From Earth," his last work, recently made into a film, which can almost be looked on as a prequel to this episode.

All this is an intriguing glimpse into the possibilities inherent in living a life made up of centuries rather than just years. The actor Daly gives a good performance as the immortal man, projecting a weariness associated with such a huge lifespan, as well as the great knowledge he must have accumulated over the millennium. It's curious that he still resorts to 'tests of power' and brute strength in certain situations, despite all that he's learned over his long life. What information can be gleaned from such a being! But, this is not where the focus of the story diverts to. I blame this on Kirk, of course. He seems unable to control his rampaging libido by this point in the series (late in the 3rd season) and I suppose it's fortunate this was just a 5-year mission: had Kirk continued in this direction for a few more years, he would have turned into some kind of crazy space-wolf Lothario. Everything shifts to Kirk's fascination with Flint's female companion in the 2nd half of the episode, an obsession that occurs in the span of a couple of hours (representing the dichotomy of such a short time frame when compared to Flint's eternal existence). Flint spent centuries working up to this moment and Kirk ruins it in so short a time - because he's a normal human being; for him, life is short, things happen fast (well, still too fast, I would say). Yes, Kirk feels towards the end - forget Flint's vast knowledge, forget the suffering crew - all that matters now is if I get the girl. Spock, usually annoying in his logical point of view, probably should have pressed Kirk even more in this episode. It's also interesting (and revealing) how protective both Spock & McCoy are of Kirk by the end, as if he's their younger brother, needing their special care, at times.

A compelling and highly original season 3 Trek episode

[fabian5 · 8/10 · 27 May 2008]

This episode was penned by Jerome Bixby and is one of the highlights of Star Trek's trouble filled third season. After watching 'Requiem for Methuselah,' I must admit that it is one of my favourite season 3 shows. I can see why it is assigned a high favourable rating of about 8.3 out of 10 here. There was a lot of magic in this episode. James Daly's and Louise Sorel's performances as the tired, lonely Flint and the innocent android Rayna were excellent. Everyone knows that Kirk was getting a bit high on his testosterone level in many third season TOS scripts--which were often penned by female writers who cared more about personal relationships than adventure. However, Bixby actually used this to boost the storyline of 'Requiem to Methuselah.'

Flint hates the presence of the Enterprise trio (Kirk, Spock and McCoy) who beamed down onto his planet for ryetalyn to cure the Enterprise crew from Rigellian fever. But he soon changes his mind when he sees how Kirk can bring Rayna's "emotions alive." Basically, Flint uses Kirk to let Rayna experience the feeling of love so that he can have Rayna for himself later. Kirk follows Flint's subtle suggestions to play pool and dance with Rayna and quickly falls in love with Rayna. Yes, it was a bit farcical to see Kirk implore Rayna, a woman he barely knows, to stay with him with this classic line: "Childhood must end. You love me, not Flint!" Kirk didn't know that Flint was monitoring his every move. Once Kirk has accomplished his host's goal, Flint chillingly says: "A last tender encounter Captain Kirk to end your usefulness." Obviously, Flint has something up his sleeve and its definitely not just to say goodbye to Kirk, Spock and McCoy. Spock rightly suspects something is wrong and tells Kirk that their host is delaying their stay on his home for unknown reasons. Spock surmises--correctly--that Flint knows Brahms, da Vinci and countless other personalities to create his exquisite collection of paintings and musical masterpieces. When Flint delays the transfer of ryetalyn to the Trek trio and basically compels them to enter his secret room with its models of other Raynas, his intentions become clear: he wants to hold them in stasis with the Enterprise for a thousand years. Spock is in his element with this late Classic Trek episode. He's the first person to realise that Flint will never let them leave his home since they have discovered his secret--immortality--and the first to tell Flint that Rayna would hate him for holding the Enterprise crew in stasis. This is the brilliant Vulcan we have come to expect, not the one who couldn't distinguish who the real Kirk was in 'Whom Gods Destroy.'

Murray Golden did a great job directing the only Classic Trek episode he ever touched. This episode was a very smooth flowing film with little slow paces. Bixby's idea that an android could experience feelings and think for herself was extremely intriguing and original in the 1960's. Louise Sorel's portrayal of the innocent Rayna who suddenly experiences the complex conflicted feelings of love and jealousy only to fall apart when she cannot compensate for her newfound emotions for both Kirk and Flint was first rate. Sorel really brought the Rayna character to life. The main plothole was why Kirk would fight Flint over an android? I appreciated Kirk's comments that Rayna had the right to "do and think as she wills" even if it meant forcing Rayna to choose him over Flint but, as Spock logically notes, Rayna was not a woman.

This show, which first aired on St. Valentine's Day in 1969, may have broken some viewer's hearts but it made for compelling sci-fi TV. Its just a pity that Kirk didn't fight Flint before he found out that Rayna was an android! Its hard to criticise this unique season 3 TOS episode despite its small faults. Only Jerome Bixby could write such an unorthodox, original--for the 1960s--and poignant script like 'Requiem for Metheselah.' This was Star Trek at its very best. I give an 8 out of 10 overall for this episode which was not perfect but very good nonetheless.

One shining moment

[medelste · 7/10 · 16 April 2018]

The flaws in this episode are readily apparent, and listed by other reviewers. The main dramatic plot device is inert ("The Ryetalin is ready." "NO IT'S NOT!" Repeat.); Twilight Zone's "Walter Jameson" did it earlier and better; after bedding every female in the galaxy, Kirk is ready to throw it all away for an android he met two hours ago; oh, and let's play 'Art Lovers' while the entire ship dies of Rigelian fever. But where Trek Season 3 is concerned, you take your pleasures where you find them. I love Spock's performance in this episode. His genuine adoration and (gulp) joy at finding authentic undiscovered masterpieces by Brahms and Da Vinci is wonderful. But my favorite and most poignant moment is the final scene. What Spock does is totally unethical -- surreptitiously messing with his Captain's mind, even if nobody will ever know. When I was eight years old I couldn't understand why Captain Kirk needed to forget anything, especially after only four hours on the planet. Now, decades later -- having loved and lost several times myself -- this is the sort of "Eternal Sunshine of the Spotless Mind" memory cleanse that I'd probably have paid for several times over. What a controversial yet loving gift. Watching that scene makes me feel 40 years younger, overcome with nostalgia and well-earned understanding.

Really good episode with one major problem

[werdreuab317 · 7/10 · 25 July 2014]

What the hell is Kirk's problem? As I continue to venture my way through season three, I find myself frequently coming across the "manwhore" Kirk that everyone seems to talk about. Frankly, I am not a fan. The fact that Kirk enjoys his alien ladies is fine, but first and foremost he is a starship captain. I mean come on man, have a little self respect!

Its made worse by the fact this chick of the week is in fact a android who is only on the verge of developing emotions, and Kirk is determined to risk his life, as well as the crews, for this girl after just looking at her. I guess she was just that hot, although I imagine things might get tricky down the road, her being an android and all.

The back half of this episode I found myself pleading for Kirk to stop being such a freaking moron, forget the pootang, and get up to the ship and save the crew. Try to remember that your crew and your good friends are suffering an agonizing disease and death is inevitable. There were plenty of chances to escape at the end, but it took the death of a hot robot to determine when to leave.

The rest of the episode is quite good however. Spock has some great moments including him loading up on some brandy and admitting that he's on the verge of an emotional reaction. I also enjoy the idea that Leonardo Da Vinci and Socrates were all in fact the same immortal dude. It was interesting and well thought out. But oh man those love scenes are torture to sit through. Not bad, but not as good as other reviewers have made it appear to be.

One of the best characterizations of Mr. Spock EVER

[boradicus · 10/10 · 8 October 2009]

This episode would not normally be a favorite if it were not for the exploration of Mr. Spock's character. Seemingly an auxiliary character to the plot in this episode, Spock is, in my opinion, the true focus of the writing.

The episode deals with the self-exiled Methuselah, who lives apparently alone on a planet that contains a substance desperately required by McCoy for the formulation of an antidote to a deadly epidemic on-board the Enterprise. The foreground of the plot deals primarily with the acquisition of this substance, and the necessitated dealings with reluctant Methuselah in order to get it.

While in Methuselah's home (who goes by the name "Flint"), Spock takes an interest in several paintings, which he determines to be original Da Vincis, as well as discovering an original Brahms manuscript. Throughout this process, Spock expresses by implication the emotion of envy, and when offered a brandy by a teasing McCoy, he, to everyone's surprise expresses a desire to have one.

Methuselah's young paramour, an android - although Kirk believes her to be human and begins to get affectionate with her - is barely on the verge of developing emotional capacity. Toward the end of the episode, she dies due to the strain of her newly developed emotions, which are divided between the two men she is determined not to hurt (their fight over her causes her too much emotional duress). Interestingly, it is Spock who gives the reason for her death - the conflict of her newly developed emotions that were too strong for her to understand and reconcile - an insight on the part of his character that shows an experiential understanding of what the struggle is really all about.

The apparent focus of the episode, Methuselah, is a study in loneliness, and to what it has driven him: self-exile and the attempted creation of a perfect mate - which ultimately fails. But the nature of Methuselah's character is very thin in comparison to that of the Vulcan's. Spock, who has chosen quite the opposite of solitude, lives with the loneliness of a man who's emotions are not credited except as the butt of some joke (as when Kirk & McCoy offered him the brandy), and especially so in the final scene of the episode, when McCoy looks Spock dead in the eye and tells him how much he pities him because he will never experience all of the wonderful, courageous, painful, etc., qualities of love.) Yet for Mr. Spock, his devotion is something much subtler and deeper than McCoy (or anyone else during the episode - as he seems to be so overshadowed by the dramatics of Kirk and McCoy and even Methuselah - Spock's forced relegation to the background of the plot for the majority of the episode emphasizes his struggle to be understood - to be accepted and loved as well) can apparently grasp.

As McCoy leaves the room, after expressing his wish that the guilt-worn and dozing Kirk could forget the girl (android girl) who died because of her torn love for him, Spock, in a gesture much more authentic and selflessly full of love (especially because he will never be known for his action - and this in contradistinction to all of the various surface qualities of love expressed and described throughout the episode is in fact the most authentic representation of it!), steps forward and in a quiet voice places his fingertips against the Captain's temple and utters "Forget."

Requiem for a series

[stevemcd1227 · 7/10 · 2 February 2007]

Arguably the last good episode of Star Trek ("All Our Yesterdays" features an interesting plot line with Spock and Mariette Hartley), "Requiem for Methuselah" is among the more literate scripts the series offered. Jerome Bixby demonstrates his considerable science-fiction writing ability in his well-drawn Flint character, adeptly brought to life by veteran TV actor James Daly. While this episode is almost farcical in its accelerated Kirk/Rayna love-story arc, the concept of Flint as an immortal conglomeration of the some of the greatest minds in human history and Spock's gradual realization of this secret are intriguing and engaging. What also makes this episode memorable is that it stands out so far above the largely forgettable third season, and a touching scene between Kirk and Spock helps an otherwise schlocky ending. "Methuselah" belongs nowhere near the pantheon of the likes of "Naked Time" or "City on the Edge of Forever," but it was a final reminder of what made the series so special.

Technology almost 50 years ahead of its time.

[anghelvlad · 10/10 · 15 May 2018]

During this episode you may have a good surprise by observing an early model of flat screen monitor way ahead of its time. There is no doubt that today's technology is inspired by yesterday's science fiction creations. Can't wait to travel the universe...

Forbidden Planet or Forbidden Love?

[gortx · 16 May 2008]

Quite a good episode overall. Jerome Bixby was, of course, a genuine SF writer, and many of the more intriguing aspects must be attributed to him. The Kirk-Rayna angle seems more a stock addition by Roddenberry/Writing Staff - anyone know the inside scoop?

What struck me the most at first, was how the situation parallels the classic FORBIDDEN PLANET - A lone man. A seemingly desolate planet. A mechanical robot who protects and serves. The introduction of a lithe young woman to a trio of love starved space voyagers. The man being able to virtually at will whip up all kinds of incredible intellectual wonders beyond the capability of any one man. etc etc.

Bixby (who also wrote the SF films IT! THE TERROR FROM BEYOND SPACE and THE LOST MISSILE amongst others), must certainly have been conscious of the similarities. Bixby takes the story in a different direction, and creates his own tale with enough twists and turns to keep one's interest. Without giving away too much, the forbidden love angle is perhaps the weakest. It just seems to play into the most simplistic stereotype of the Kirk character. Again, Bixby does his best to keep this different than what you expect at the outset.

Overall, a strong episode.

Kurt Falls For An Android Virgin

[verbusen · 7/10 · 25 March 2007]

This seems to be an overall higher rated episode among other IMDb reviewers and I won't disagree, it's pretty good. But lets face the facts, Kirk has dissed other chicks hotter than this one but he wants to take this one on the Enterprise? And she's a virgin who never kissed? And she's, like 18? OK heres another one, shes an android. Give me a break. Oh and the 6,000 year old dude has a device that makes the enterprise a toy and suspends the crew into a freeze state. I love when Kirk says, you used me, LOL. Kirk says he loves her when they knew each other for like 4 hours? LOL. OK maybe this episode benefits from being among some really crappy episodes and peoples expectations have been lowered. The last scene aboard the ship is what elevates it a notch, McCoys great dialog here talking to Spock about Jim's angst over losing his android genius virgin, "You wouldn't understand would you, Spock? You see I feel sorrier for you than I do for him, because you'll never know the things that love can drive a man to...the ecstasies, the miseries, the broken rules, the desperate chances, the glorious failures, and the glorious victories. All of these things you'll never know, simply because the word "love" isn't written into your book. Good night Spock". Than Spock gets into Jim's head (again, I think as he did before when Jim was an Indian in "The Paradise Syndrome", I could be mistaken, I'm not going to research it now), and puts the thoughts, "forget" as Jim is really cracked up over losing this "woman". I was always entertained by this episode so I'm giving it a 7 of 10. There are still about 3 memorable episodes remaining before the crew would end their televised mission. LLAP

O Brave New World!

[Dan1863Sickles · 10/10 · 14 December 2010]

Very rarely does a STAR TREK episode live up to the memories of fifty years ago. I saw this one as a tiny tot, and remember just swooning over the "confession" of the wise old Mr. Flint -- "yes, I was Brahms. And DaVinci. And Merlin, and Alexander . . . and many, many more." This episode is refreshing, in that the focus is not on Kirk's macho daring, but on art and music, thoughts and feelings, philosophy and loss. Kirk and the boys are amazed to meet a fascinating wise old man in the remotest possible corner of the galaxy, whose companion seems to be an adoring and cultivated young woman. But all is not as it seems! Mr. Flint has secrets, and so does his companion Rayna. Ultimately Kirk "loses" one of his few fights and Mr. Spock shows an unusual amount of understanding and concern for his captain's human emotions.

This episode owes a lot to Shakespeare's THE TEMPEST. Mr. Flint is a retired magician, like Prospero. Rayna is as innocent and charming as Miranda -- and as eager to meet attractive men. The M4 Robot flits about running household errands, just like Ariel.

But this episode goes further. "Miranda's" isolation has tragic costs, which Shakespeare doesn't acknowledge. And Prospero's wisdom is flawed, making him both more tragic and more human. Shakespeare's magician was rather too pure -- betrayed by his brother, by Milan, by the tiresome demands of real life. Mr. Flint is far more accomplished, and also admits to having made his own share of mistakes. This episode is everything STAR TREK ever set out to be -- original and exciting entertainment, and a doorway to new worlds of art and thought.

O Brave New World!

Spock playing the piano made me smile. Don't know why!

[melanieakehurst · 7/10 · 11 December 2020]

Well this was ok, some good ideas and the set was great. Unfortunately my over-riding reaction was cringing at Kirk slobbering all over a young girl he'd literally just met, in front of her family member who was also their host. Surely even 'sex god' Kirk wouldn't be so crass? And this when his crew were most likely dying horribly! I'm afraid it spoilt the whole thing for me.

"You've been all these people"

[bkoganbing · 8/10 · 16 February 2013]

In this episode we find the starship Enterprise deep in trouble with an epidemic that is taking over the crew. Kirk, Spock, and McCoy beam down to a private planet where the inhabitant and owner James Daly at first is most inhospitable. After a while though he gets a bit friendlier with the Enterprise away team and offers them the hospitality of his estate. Charles Foster Kane's Xanadu has nothing on the digs Daly has constructed on his own planet.

There is also a girl there played by Louise Sorel who is Daly's ward and he seems to be pushing her to be with Kirk and Kirk being human responds in kind. Spock has to remind him constantly that they are there to get a needed ingredient for an antidote to the Enterprise epidemic.

As it turns out Daly is a most extraordinary individual, a man over 6000 years old, an immortal that Duncan MacLeod of the clan MacLeod has nothing on. When Spock discovers some of what Daly has in his possession, Daly confesses that at times in earth's history he's been Leonardo DaVinci, Johannes Brahms, Methuselah and a few others known and not known. You get 6000 year under your belt you can make and lose a lot of fortunes.

What is also involved is that your life experiences are an incalculable figure. They've made Daly quite understandably cynical far more than most. He's on his private planet and he's using the Enterprise away team in his own experiment, especially Kirk. What that experiment is and the result is for you to see.

There are some obviously flaws and I could be picky and point them out. But the players do a splendid job in making you suspend your disbelief.

It does appear to defy the male logic

[snoozejonc · 6/10 · 20 November 2021]

Kirk, Bones and Spock visit a planet to obtain a cure for Rigellian Fever.

I found this to be a mixed bag of an episode that starts off painfully slow but gets more interesting as it goes on.

Many writers have observed it's connections to the movie 'Forbidden Planet' and indirectly Shakespeare's 'The Tempest', but it also contains plot elements used in other Star Trek episodes such the super-powerful character, the female companion, and the connection to real-life Earth history.

I enjoyed the latter half of the episode when the away team discover the truth about Rayna. There are a number of compelling moments, such as her becoming self-aware and having deal with emotions regarding both Flint and Kirk. Plus Flint witnessing and reacting to his master plan backfiring is good. My favourite scene and something I did not expect was the final scenes involving Spock and Kirk.

That being said the notion of Kirk falling for Rayna in such a big way is as implausible as most romance plots written in Star Trek. In fact you might be forgiven for wondering if Spock used this same technique after the events of 'City on the Edge of Forever', 'The Paradise Syndrome', and 'Elaan of Troyus'.

As a character I can take or leave Flint. I think the psychology around creepy father-daughter-future-lover relationship with Rayna is good, as is the idea about the use of Kirk to his advantage. However, the idea of him within Earth's historical context as Brahms, Da Vinci etc is a bit silly. James Daly is pretty forgettable in the role.

Generally the cast is fairly good with the three stars all solid and Louise Sorel decent as Rayna.

Kirk - Out Of Control

[gregorynewton5 · 2/10 · 6 September 2021]

The android girl may be a virginal teenager, but Captain Kirk is the real adolescent here. Out of all the women Kirk threw himself at throughout the series, this is the most cringe-worthy. With little provocation and no chemistry, and while everyone else is in the room watching, he is all over this unresponsive girl and then goes to pieces when he can't have her.

I love the old series and have been enjoying rewatching them in production order again, but the threats and lack of control in this episode are pathetic. Just nauseating.

Bixby also wrote "The Man from Earth"

[bizarre_world · 3 February 2008]

Jerome Bixby also wrote the script (his last one) for the very low budget 2007 movie "The Man From Earth":

http://imdb.com/title/tt0756683/

which explores a similar theme. In this film, professor John Oldman reveals that he has been alive for 14,000 years. What kind of life would that be? Is he joking?

The approach is different from "Requiem for Methuselah" in that the focus is less on character development and more on a discussion of certain historical topics and the issue of how an immortal would fit into normal life on Earth: Would he become a genius? Would he get married? Would he have children?

Bixby completed "The Man from Earth" on his deathbed in 1998.

Forbidden Planet/Tempest Redux

[Hitchcoc · 7/10 · 10 May 2014]

Kirk, Spock, and McCoy beam down to a planet to get a substance to fight a horrible disease that has a foothold on the Enterprise crew. Upon arrival they are encountered by a robot that looks a lot like that Nomad thing from another episode. It is really kind of a disappointment (you can see a string holding it as it wiggles around) but I've learned to ignore this kind of stuff. The thing shoots at them, apparently trying to get them to return to the ship. The robot is soon joined by a handsome, grey haired man (Flint, played well by James Dailey), dressed in sort of a classic ancient Roman outfit. They tell him that they need ryetalin to treat the crew, but he refuses their request. They are ready to take what they want. The man relents and invites them into his home. In the home are art masterpieces and priceless antiques. He tells them he will have the robot process the serum for them. In the meantime, we are introduced to a beautiful young woman who is supposedly the ward of Flint. She apparently has the intellect of one with numerous degrees. She looks forward to discussing some esoteric topics with Spock. The sad thing about this episode is that Kirk comes off like an invasive jerk who is having trouble keeping his pants on. They are on a mission with a serious deadline to try to save over 400 people. What does Kirk do? He slobbers all over this young woman, ignoring his agreement to mind his manners. We are supposed to be sympathetic to him. Spock and McCoy are working their butts off to do their jobs while he moves around like some hepped up cocker spaniel. Still, the episode is remindful of the classic Forbidden Planet which is actually based on Shakespeare's "The Tempest." Probably the last decent episode as the series dies an appropriate death.

Exceptionally original concept, but perhaps too much emphasis on Kirk and his "studly" ways

[planktonrules · 8/10 · 12 December 2006]

This is an immensely original episode that is awfully entertaining considering it's one of the last of the original episodes to be aired--and there were some real stinkers among the later episodes. I really think that because they thought the show was being canceled that they just didn't try all that hard, but in this show there was a spark.

The usual threesome (Kirk, Spock and McCoy) beam down to a planet to get supplies (I think for an outbreak on the ship). Once there, they meet a man who says his name is 'Flint' and promises to help. He escorts him to his palace and he describes himself as being a lone eccentric whose only companion is a robot that appears to be from an earlier episode. Later, however, the three meet his 'ward'--a beautiful and intelligent (but still rather emotionally bland) lady. Of course, Kirk being a galactic super-stud, he falls in love with her and Flint becomes jealous. And, their hormonal difficulties nearly jeopardize their mission.

While I don't want to describe all the plot, as this could impair your appreciation of the episode, what I thought was great was how Flint turned out to be an immortal who has lived and loved for a very long time. He had lived on Earth and had been many famous celebrities (such as Brahams) but pretended to age and faked his own death--only to create a new identity. The shear knowledge and greatness of the man was astounding. Unfortunately, the sexy ward angle and his battle with Kirk in many ways detracted from an astounding idea.

Classic Star Trek-Requiem for Methuselah

[Scarecrow-88 · 7/10 · 19 August 2011]

"Forget…"

The Starship Enterprise is suffering a plague needing a specific mineral on a planet which, once diluted, will work as a serum to inoculate the crew. It is imperative that Kirk, Spock, and McCoy get enough of the mineral before time runs out. They run into a snafu: Flint (James Daly), a superior intellectual, powerful, who, at first, tells the trio to leave his planet or die, but Kirk refuses. After a standoff, Flint agrees to let them stay, and even has a robot of his help collect the mineral for McCoy. Flint has a "companion", Rayna (Soap Opera veteran Louise Sorel of "Days of Our Lives" fame), who is almost his equal in intellect, with a knowledge of science, history, and the arts, having learned everything from her mentor. There's a window of time the trio have and Flint, with reasons, keeps them from getting the serum earlier (for instance, a chemical within the first batch of the serum causes it to become inert and worthless for inoculation), and they concern Rayna. There are reasons Rayna acts peculiar, struggling with "new feelings", blank eyes, as if a void of emotion keeps her from truly behaving human. It could be that she has never met humans besides Flint, who doesn't have a history according to Enterprise records/databanks or have readings that register on the tricorder. Who Flint and Rayna are, and how Kirk is brought into a love triangle, is the meat of the story in "Requiem for Methuselah". I must admit that I found Shatner's performance robotic (pun intended; you get the joke if you have seen this episode), as we are supposed to sympathize with Kirk who falls in love with Rayna (it's one of those "love at first sight" scenarios where their eyes meet and they are smitten), with certain complications that could threaten the Enterprise crew. Love is a topic covered in depth and there's one marvelous scene where McCoy deftly explains how sorry he feels for Spock who cannot understand all such an emotion entails. Sorel has never been more lovely, although it must have been her Rayna's beauty that caught Kirk's attentions and devotion, not any form of a personality, because there isn't one (not a fault of the performance she is *suppose to* act this way) present throughout. Daly is decent as the lonely and suffering Flint, who has collections of DaVinci and Pollack, works of great pianists, that look authentic yet are not cataloged much to Spock's amazement (well, amazement conveyed by an unemotional Vulcan who admits he's envious of Flint's collection of art and works), with quite a *history* (his background is quite extensive and explains the collections once the mystery is unveiled), longing for something involving Rayna. Seeing the character Kirk suffer from the loss of love is fascinating and the Vulcan mind meld at the very end as Spock peers into his buddy's tortured psyche is probably the best scene in the episode. Probably one of the best episodes of the dysfunctional third season of the classic series.

Forbidden Love - Forbidden Planet

[ewaf58 · 8/10 · 24 July 2012]

Well parallels have always been made between Star Trek and Forbidden Planet - but notwithstanding the obvious within this episode - there is another link.

Right at the beginning of the episode just as they are about to turn round and see M5 - there is a tiny extract of one of the electronic tonalities from the aforementioned film. You'll have to listen carefully - but it is there.

Either the producers didn't have enough money for their own effects or perhaps they were making an acknowledgement to the film.

Anyway it's a very good episode on par with many from the previous series.

Love in the Time of Regelian Fever...

[Xstal · 6/10 · 17 February 2022]

The captain's taken a bit of a shine, to a lady he'd like to envelop entwine, clever and pretty, but sadly not that free, as she's owned by a bit of a swine.

The search for ryetalyn on Holberg 917G leads to an encounter with an impossible man and his adopted, or is it nominated or appointed bit on the side.

.....0

[zitacarno · 10/10 · 3 September 2018]

This is a tragic love story, Shakespearean in scope, about two men---one an immortal who has lived thousands of years and been thousands of people, the other a very human 23rd-century starship captain, both in love with a beautiful woman whose one flaw is that she was not human. As the story unfolded I could see the conflicting emotions of both and the tragic denouement as the android Rayna, who had learned not only human emotions but also human desires such as the right to choose, self-destructed because she could not cope with this new knowledge. Question: who is better off---Flint, now no longer immortal but who can continue to do good works as he lives out his normal lifespan, or Kirk, at first thoroughly disconsolate over the loss of still another woman in his life but then recovering his emotional equilibrium thanks to a powerful psychological save by his second in command who demonstrates just how much he cares for his commanding officer? Think about it. .3

"I would like to discuss sub-dimensional physics with him".

[classicsoncall · 7/10 · 2 March 2011]

Oh no, say it isn't so James Tiberius Kirk! The Captain wants to run off with an android, and doesn't even seem to be embarrassed by the idea that he kissed one, much less whispered sweet nothings into her ear. After so many years of roaming the space-ways, the Captain may have finally lost it.

And what about Spock? Hand him a hundred year old Saurian brandy and he's experiencing envy over Flint's (James Daly) da Vinci collection. There were many other episodes in which Spock's emotional component might have been challenged, but this didn't seem to be one that would have elicited that kind of response. But it was fascinating.

However I liked the concept of this show - the idea that an immortal might have lived a life as a series of famous Earth men - scientist, inventor, musician, artist - each life building on the one before and acquiring a vast reservoir of human knowledge. I was surprised to see a reference by reviewer Bogmeister to Valiant Comic's Eternal Warrior character. Though he was never an historical figure throughout his life, he passed through the millennia in proximity to the famous and the infamous, and was one of my favorite comic characters.

With only a few more shows left to close out the third and final season, it's no secret that the episodes were getting kind of weak. Though this one had some moments, like McCoy's soliloquy to Spock on the merits of love, overall I couldn't help wondering in amazement what the writers were putting Kirk through with essentially, a twenty third century version of a blow up doll. In their perplexed state, they didn't even get the character's name right in the credits, where Louise Sorel was listed as Reena, while in the story she was Rayna.

Which led me to thinking, maybe what Captain Kirk needed was something to keep his mind focused. Instead of mining the planet Holberg 917G for Ryetalyn, the crew probably should have been on the lookout for some good old fashioned Ritalin. Did they have that in 1969?

Rigellian Fever Strikes the Enterprise

[Rainey-Dawn · 8/10 · 14 January 2017]

Season 3, episode 19. The crew of the Enterprise is struck with the deadly Rigellian Fever. They head and arrive at the planet Holberg 917-G to search for the mineral Ryetalyn for create a cure for the fever. When they arrive their sensors detect no humanoid life. Kirk, Spock and McCoy beam down and are attacked by a robot. Flint calls off his robot, Flint wants them to leave but Kirk refuses calls Scotty and has him to standby with ships phasers to kill all 4 of them. Then when McCoy explains that the seriousness of the illness is like the bubonic plague that struck Constantinople in 1334. Flint gives them 2 hours to get the Ryetalyn with the help of his robot M4. Flint invites them back to his place while M4 gathers the mineral needed. Spock takes readings which shows the building's materials are more modern and not ancient. Flint's ward, Rayna, wants to meet them and she is interested Spock for his physics knowledge but Flint is interested in Rayna. M4 has the Ryetalyn and McCoy examines it to find it's useless, it is contaminated with irilium. Now they must find out what Flint's game is, why Rayna is there, find good Ryetalyn, get back to the ship to make the cure and get their crew well.

Not a bad episode at all. One of the better season 3 episodes.

8/10.

Kirk, Spock and McCoy meet an immortal man and an android girl

[Tweekums · 6/10 · 19 August 2015]

This episode sees Kirk, Spock and McCoy beam down to a remote planet searching for a cure for the deadly Rigellian Fever that is sweeping through the Enterprise. If they don't find and process it within four hours the crew will die. The planet is meant to be uninhabited but they are met by a sentry robot and its owner, Flint. Flint is initially unwelcoming but eventually agrees to help. He invites the team to come to his home while his sentry goes to retrieve the cure. Once in his home Spock notices various interesting items; works that are clearly original but unknown works by Leonardo da Vinci and Johannes Brahms but they all on modern materials! At dinner he introduces them to the Renya; a young woman who is as intelligent as she is beautiful. Almost inevitably Kirk and Renya fall in love. Not long afterwards they discover the truth about Flint and Renya; he is over six thousand years old, he has new works by great people because they were in fact him! Renya's secret is no less surprising; she is an android Flint built as a perfect mate so he would no longer have to suffer the loss as those he loved died of old age.

This is a weaker than average episode; the four hour time limit should create a real sense of urgency but once they are in Flint's home they seem more interesting in his possessions; they may be there to provide early clues to his extreme age but one would have thought our protagonists would have other priorities. Likewise the timescale makes it seem unlikely that Kirk would have time to fall in love with Renya. If all that wasn't unlikely enough Flint finally announces that he won't allow them to leave as he is worried other people will come to his planet; the then 'magically' shrinks the Enterprise and has it appear as a desktop model! The ideas featured could have been more interesting if only we weren't meant to think it all happened within hour hours during which our protagonists are meant to be trying to get a cure to a deadly illness. On the plus side the cast do a solid enough job; James Daly does a decent job as Flint and Louise Sorel nicely captures the android innocence of Renya. Overall a bit disappointing but still far from terrible.

Good plot line

[dannydeever · 4/10 · 21 July 2020]

Certainly, some interesting aspects to it, including a central, recurring theme of Star Trek - what does it mean to be human. I love the original series. Love the Kirk/Spock/Bones dynamic, each often representing distinctive parts of the human psyche. I can overlook a lot of the outdated elements and sillier plot devices. But if I have a bone to pick with the original series, it's the misplaced episodes where our heroes act of character.

For this episode, Kirk is the guilty party, where he falls in love with a woman in a few short hours and repeatedly puts the lives of his crew (and himself) at risk. The Enterprise is Kirk's true love, this has been established and re-enforced throughout the series, and the plot doesn't do a convincing job why Kirk would suddenly forget this. While Kirk and Rayna developing strong feelings for each other is necessary for the plot, we're dealing with another omnipotent antagonist in this episode, surely they could have had him supernaturally influence Kirk to bend to his will and remain loyal to the character as we know him. Instead, they only have the antagonist create situations for Kirk to fall for Rayna. Remove the virus/impending death of his crew from the plot, and perhaps play out the seduction over a few days or week, and maybe it's believable. As is, Kirk comes across unrecognizably selfish.