Television Review: The Apple (Star Trek, S2X08, 1967)

The Apple (S02E08)

Airdate: October 13th 1967

Written by: Max Ehrlich
Directed by: Joseph Pevney

Running Time: 50 minutes

The enduring cultural impact of Star Trekj is best exemplified by its ability to embed itself into global lexicons. Few terms better illustrate this phenomenon than “redshirt,” a colloquialism for expendable individuals, which originated in The Original Series (TOS) as a trope rooted in the show’s narrative structure. The term derives from the uniforms of USS Enterprise crew members—specifically those recurring minor characters introduced in episodes only to perish in spectacular or mundane ways, underscoring the peril faced by the main protagonists. While the redshirt phenomenon permeated TOS from its inception, it reached its zenith in Season 2’s The Apple, an episode otherwise unremarkable in the annals of early Star Trek. The Apple serves as a curious case study: it crystallises the series’ knack for weaving cultural shorthand into its fabric while simultaneously highlighting its narrative limitations. The episode’s legacy lies not in its thematic depth but in its inadvertent contribution to a lexicon that endures decades later.

The plot of The Apple unfolds on Gamma Trianguli VI, a planet initially mistaken for an Edenic paradise teeming with lush flora and fauna. However, the surface soon reveals itself as a deadly labyrinth. The away team, led by Captain Kirk, encounters lethal hazards: spores firing poisoned darts, explosive rocks masquerading as landmines, and thunderstorms capable of incinerating people. Compounding their plight, the Enterprise itself becomes trapped in orbit due to an unseen force emanating from the planet. As Kirk navigates these dangers, his team encounters the Vaalians, a primitive humanoid society whose members, including the enigmatic leader Akuta (played by Keith Andes), exhibit a baffling lack of human instinct—no love, no sexual desire, no ambition. Their survival hinges entirely on Vaal, a deity-like machine that has sustained them for millennia. Vaal’s true nature emerges as a hostile entity, interpreting the Federation’s presence as a threat. Kirk must dismantle this ancient guardian, even as Akuta radicalises his pacifist people into violence to protect their god. The episode’s climax hinges on Kirk’s moral calculus: destroying Vaal ensures the Enterprise’s escape but condemns the Vaalians to a precarious existence without their life-supporting deity.

Technically, The Apple holds up respectably for 1960s television. Director Joseph Pevney crafts a visually coherent set that evokes an alien Eden, with vibrant vegetation and imposing stone structures hinting at Vaal’s ancient influence. The special effects, though modest by modern standards, effectively convey the planet’s hazards—particularly the explosive rocks and the eerie, pulsating energy field surrounding Vaal. The Vaalian makeup, while not groundbreaking, strikes a balance between humanoid and alien, with David Soul’s portrayal of Makora, a curious youth discovering sexuality, standing out. His performance foreshadows the actor’s later fame in Starsky & Hutch, offering a glimpse of his charisma even in a minor role. The set design and effects, while functional, never quite transcend their budgetary constraints, leaving the episode’s visual appeal rooted in its era’s aesthetic.

The episode’s most intriguing element is its biblical allegory. The title The Apple immediately evokes Eden’s forbidden fruit, and the planet’s juxtaposition of idyllic beauty and hidden peril mirrors the Garden of Eden’s duality. The Vaalians’ innocence—embodied by their ignorance of sexuality and violence—contrasts starkly with the lethal environment outsiders face. This tension is epitomised in the fate of the redshirts: while Spock endures multiple near-fatal injuries (including a gruesome impalement by a spore dart), four crew members in red uniforms perish in quick succession. Their deaths, rendered with the show’s signature brevity, underscore the trope’s effectiveness: redshirts exist to highlight the peril faced by the protagonists, their expendability a narrative device to heighten tension.

However, The Apple stumbles in its handling of characters, particularly Chekov. The young ensign, already a source of occasional miscasting, here descends into cringe-worthy romanticism. Amid the peril, Chekov fixates on Yeoman Martha Landon (Celeste Yarnall), a character introduced primarily as eye candy. His relentless advances feel intrusive and anachronistically inappropriate, even for 1960s sensibilities. Landon’s role initially seems reductive: she is both a damsel in distress and a token female presence. Yet, in a late-episode twist, she subverts expectations by wielding martial arts skills to disable attackers, becoming the sole redshirt to survive. This moment, while brief, injects a modicum of agency into her character, though it arrives too late to redeem the otherwise shallow writing.

The episode’s most compelling subplot involves Kirk’s ethical dilemma: destroying Vaal to save the Enterprise condemns the Vaalians to independence, violating the Prime Directive. McCoy and Spock spar over this decision, with Spock arguing that the Federation should let the Vaalians remain “happy” under their machine god, while McCoy insists that Kirk’s intervention is the logical choice to preserve Federation interests. This debate, however, is underdeveloped, surfacing only in the third act. The rushed pacing prevents meaningful exploration of themes like autonomy versus paternalism, leaving the conflict feeling tacked-on rather than integral.

Ultimately, The Apple is a watchable, if forgettable, entry in TOS’s canon. Its strengths lie in its technical execution and its unintentional contribution to pop culture’s lexicon. While it offers moments of tension and visual flair, its place in Trek lore is secured not by artistic merit but by its role in cementing “redshirt” as a cultural shorthand—a testament to the show’s enduring influence, even in its weaker moments.

RATING: 5/10 (++)

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