Television Review: Metamorphosis (Star Trek, S2X02, 1967)

Metamorphosis (S02E02)

Airdate: November 10th 1967

Written by: Gene L. Coon
Directed by: Ralph Senensky

Running Time: 50 minutes

The Star Trek: The Original Series (TOS) established the foundation of the entire Star Trek universe not merely by introducing its basic setting, characters, and core concepts, but also by embedding subtle hints about its future history. Many of these hints were later revised or retconned to accommodate evolving storytelling, yet some elements proved enduring and profoundly influential. Among these, the Season 2 episode Metamorphosis stands out as a curious blend of mythmaking and existential inquiry, illustrating how TOS’s early efforts to define its lore could simultaneously inspire and confound future iterations. At its core, the episode reflects the series’ ambition to weave human-centric narratives with cosmic themes, even as its narrative choices reveal the era’s cultural limitations.

Written by Gene L. Coon, one of the franchise’s most prolific and inventive writers, Metamorphosis exemplifies his dual talent for crafting both whimsical and profound stories. Coon, responsible for iconic episodes like Space Seed and *Errand of Mercy, was instrumental in shaping Star Trek’s mythos. His work often balanced wit with philosophical depth, and Metamorphosis showcases his ability to tackle weighty themes—immortality, symbiosis, and the ethics of existence—while grounding them in emotionally resonant character dynamics. The episode’s blend of speculative sci-fi and interpersonal drama underscores Coon’s versatility, even as its narrative occasionally falters under the weight of its ambitions.

The plot unfolds with the Enterprise’s shuttlecraft Galileo transporting Federation Commissioner Nancy Medford (Elinor Donahue) back to the USS Enterprise, accompanied by Kirk, Spock, and McCoy. Medford had been mediating a diplomatic crisis on Epsilon Canaris III but was recalled due to a sudden, life-threatening illness caused by Sakuro’s disease. En route, the shuttle is ensnared by an inexplicable force and pulled toward a mysterious planetoid. There, the crew encounters Zefram Cochrane—a man presumed dead for centuries—played by Glenn Corbett. Cochrane, the legendary inventor of Earth’s first warp drive, claims to have fled mortality after growing weary of old age. Instead of dying in space, he was drawn to the planetoid, where he formed a symbiotic bond with an amorphous energy entity called the Companion. This union rejuvenated him, granting him longevity, but left him isolated for centuries until the Galileo’s arrival.

The episode’s central tension arises when the Companion, bound to the planetoid, refuses to let the crew depart. Cochrane, now conflicted between his desire for human connection and his duty to the Companion, grows fond of the ailing Medford, complicating the crew’s efforts to escape. Spock and McCoy devise contrasting strategies: Spock proposes defeating Companion through technical tricks, while McCoy advocates for a more diplomatic approach. The narrative hinges on Cochrane’s moral dilemma—whether to cling to immortality or embrace mortality and a fleeting romance—while the crew navigates ethical boundaries between interfering and respecting alien life.

Coon’s script reveals his prowess in blending existential themes with TOS’s signature humanism. The exploration of immortality and symbiosis is handled with a sincerity that avoids the campy excesses of some TOS episodes. However, the gendered dynamics—the Companion’s maternal, nurturing role; Medford’s vulnerability as a dying woman; Cochrane’s romantic interest in her—reflect mid-20th-century norms, which might strike modern audiences as overly binary or reductive. Still, Coon’s handling of Cochrane’s existential yearning and the Companion’s enigmatic nature is compelling, particularly in its portrayal of loneliness as a universal human (or post-human) condition. The episode also cemented Zefram Cochrane as a key figure in Star Trek lore, a decision that later reverberated in Star Trek: First Contact and Enterprise.

Directed by Ralph Senensky, Metamorphosis succeeds despite the technical constraints of 1960s television. The planetoid’s claustrophobic set, lit with an eerie glow, creates an otherworldly atmosphere, while the Companion’s effects—a swirling, glowing mass of light—were masterfully executed by Richard Edlund, whose later work on Star Wars would solidify his reputation. The limited budget forced creative solutions, such as using special camera lenses and practical effects to suggest the planetoid’s vastness, yet the production design effectively conveys the episode’s ethereal tone. Senensky’s pacing is deliberate, allowing scenes to linger on the characters’ emotional states, particularly in the moments between Cochrane and Medford.

The guest performances anchor the episode’s emotional core. Glenn Corbett imbues Cochrane with a haunting duality: the allure of his youthful vitality contrasts with the weariness of a man who has outlived his era. His chemistry with Elinor Donahue, whose portrayal of Medford balances fragility and dignity, elevates the romantic subplot from mere melodrama to a poignant reflection on mortality. Donahue, best known for her role in the 1950s sitcom Father Knows Best, brings a quiet intensity to Medford’s vulnerability, making her more than a plot device. Even the episode’s melodramatic elements—Cochrane’s sudden romantic fixation, the Companion’s manipulative tendencies—are mitigated by the actors’ earnest delivery.

Critics may argue that Metamorphosis leans too heavily on soap-opera tropes, particularly in its resolution. The Companion’s abrupt transformation into a benign, maternal entity and Cochrane’s choice to sacrifice his immortality for a mortal romance feel rushed, relying on emotional appeals rather than logical consistency. Yet these flaws are characteristic of TOS’s era, where episodic storytelling often prioritized character-driven resolutions over scientific plausibility. The episode’s power lies in its emotional authenticity: the loneliness of the immortal, the tragedy of unfulfilled desire, and the quiet triumph of choosing connection over eternity.

Tragically, Glenn Corbett died in 1993, precluding his participation in later Star Trek projects. When Zefram Cochrane reappeared in Star Trek: First Contact (1996) and Star Trek: Enterprise (2001–2005), actor James Cromwell reimagined the character as a grizzled, 21st-century inventor. While Cromwell’s Cochrane became the definitive version, Corbett’s portrayal remains a poignant footnote, embodying the idealistic, almost mythic figure of a man who outlived his time.

Metamorphosis is a flawed but deeply engaging episode that highlights TOS’s capacity to blend cosmic wonder with intimate human drama. Coon’s script, Senensky’s direction, and the guest stars’ performances coalesce into a story that, despite its period-specific shortcomings, resonates with themes of longing, sacrifice, and the search for meaning. It stands as a testament to TOS’s creative ambition, even in its quieter, studio-bound moments. While modern audiences may quibble with its gendered dynamics or narrative choices, the episode remains a compelling example of the series at its peak, where imagination and heart collided to forge enduring sci-fi mythos.

RATING: 7/10 (+++)

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