Bread and Circuses

By this point, we begin to see a pattern in Roddenberry's approach to Trek science fiction; he's not interested so much in cosmic concepts as he is in addressing social & political concerns of the present day through the filter of the Trek universe. He's not concerned with believable science fiction concepts in presenting other worlds which should have very different evolutionary stages from our own history. Hence, we've had the virus-stained 'Satan Bug/Omega Man world' ("Miri"), 'gangster world' ("A Piece of the Action" - admittedly a comedy), Nazi world ("Patterns of Force") and 'World War III world' ("Omega Glory"), all just like our own Earth except for a shift in their history to differentiate them. The proper way was to present stories in a parallel universe, but this was a space travel show, so Roddenberry was kind of stuck by his own premise (he includes a brief mention of 'Hodgkin's Law' here to explain the parallel development). Now we have 'Roman Empire' world, a rather effective precursor to the films "Westworld" and "Rollerball" - the title refers to keeping the populace, the mob, satiated with blood sports.

On this world, the Roman Empire never fell, as if continuing for several hundred more years rather than falling apart as it did on our Earth in the 4th - 5th centuries. Gladiatoral combat is on display again (not as silly as in "Gamesters of Triskelion"), now shown on TV rather than the old-time arenas. Cops or Centurians run around with machine guns, wearing motorcycle helmets (see also "Soylent Green" in 1973), but still have swords for the sake of tradition. Slavery has evolved, as well, with most slaves complacent due to an extension of some meager benefits over the centuries (again, a more effective presentation than the cheesy "Gamesters..."). Quite a few concepts were thought out, including some commentary on religion, and most of it comes across as a serious, adult approach. Indeed, there's a coarseness to much of this episode, an edge, reflecting the cruelty of the culture - this empire was a much earlier version of the brutal Nazi regime, after all.

As we've become accustomed to by now, the main trio (Kirk,Spock,McCoy) are the ones who beam down to muck about in this intriguing yet dangerous culture. What comes as a surprise is that they actually adhere to the precepts of their Prime Directive in this one and it shows how tough this directive can be - ironic as this was the time I was kind of hoping Kirk would decide non-interference be damned (again) and lay waste to a city or two in teaching that fat proconsul a lesson in power; the episode succeeds in repelling the viewer to such an extent with all the unpleasantness on this planet that you wouldn't mind the Enterprise 'going Roman' on a few key establishments. The edginess extends to the Spock-McCoy relationship, in that fateful scene when McCoy spells out Spock's fear of living in their jail cell (both appear to accept that death is inevitable for them this time - it is that grim); McCoy's verbal attack appears to be a personal triumph for him but is he so successful at it because he knows what a death wish is like? The scene recalls their tension in "The Immunity Syndrome."

Communication's officer Lieutenant Uhura sums up the decline and fall of the Roman Empire as the world knows it. The plot is really secondary. It's there to drive the story forward, but the underlying theme tells of the human condition via a reign of pure strength, and its ultimate failure.

This theme is reinforced by one of the supporting characters, an escaped 20th century Roman gladiator, Flavius, and his ultimate sacrifice. He represents the old way, once reformed, but gone back to the rule of Rome by fighting the Romans the only way he knows how.

The basic story is a rescue mission, but the real story is the heartfelt examination of the futility of a society that relies on a slave class to sustain itself on all levels, even down to bloody gladiatorial games as entertainment. Kirk is put through the rigors of experiencing both the pains and pleasures of such a society, and although he understands that he cannot change this world, he does help reinforce the message that will ultimately alter it and its Roman Empire on the most fundamental level.

Note Kirk's line as he talks to Flavius in the cave and pats him on the shoulder. Attach that to Uhura's summation at the end, and you got yourself the entire story: "It's not the sun up in the sky. It's the ..."

Positives; Kirk scores with a hot blonde. Druscilla is a HOTTIE! At least she was in 1967 :-) If I were the captain of the Enterprise I think I would bend the rules a little and beam her up to the ship before breaking orbit. Heck... I'd deserve it! The production values in this episode are also top notch. Largely because we're not dealing with aliens and spaceships here, but a historical retrofit to then modern times.

Excellent social commentary on not only a personal spiritual level, but also on the imperial nature of unbridled profit.

Enjoy.

Although Star Trek's "Prime Directive" had been mentioned in episodes prior to "Bread and Circuses", that philosophical tenet of the Star Trek universe is the focus of this episode, where it is fully laid out for the first time.

Captain Kirk and crew happen upon--what else--an Earth-like planet where Spock's research shows that another Starfleet ship was supposedly destroyed. Oddly, the planet also happens to have exactly the same land to water ratio as the Earth as well as the same chemical composition of air. Before beaming down they also intercept broadcasts that show the civilization to be a close parallel to ancient Rome--particularly in terms of a proclivity towards violence, including violence as entertainment. Of course, once they beam down, Kirk, Spock and McCoy end up as captives.

Enter the prime directive. There are probably not many reading this who are not familiar with it, but in a nutshell, it's a Starfleet philosophy of non-interference. In the course of their explorations, the aim is to study other civilizations, but to not take any actions which might amount to culture shock, and even more strongly, to not take any actions which might catalyze socio-cultural development in any directions other than what they would have been without interaction with Starfleet. Of course, there are a lot of problems with this idea, and even within the Star Trek world, Starfleet members are hardly consistent in applying the principle. We can safely guess that Star Trek writers tended to not be very familiar with ideas in science and philosophy of science which posit that any outsider interaction will necessarily affect the cultures being studied in some way, and they probably weren't very familiar with either chaos theory and the butterfly effect, or even Eugene Wigner's interpretation of quantum mechanics (in which the observer and his/her consciousness plays a significant role in the events that occur). But soundness of the Prime Directive in the real world aside, we receive a lesson in what it is and what it means to the Star Trek crew in "Bread and Circuses".

To an extent, I have to wonder if the Prime Directive wasn't further developed here in the way that it was merely as a plot device. It's a way of extending the conflict. Otherwise, the tendency is to think, "Why wouldn't Scotty send down crew members to just blast the hell out of Kirk, Spock and McCoy's captors?" Although the primitive culture had guns, they are still a primitive culture.

But it doesn't really matter if the Prime Directive is just a means of extending the dilemma for 40 minutes or so. The Prime Directive is a good idea; one that we can pretend is more sound in the Star Trek universe, and one that proved to be fruitful for many future episodes in different Star Trek series.

So this episode is both important and enjoyable. We get some different locations, some interesting one-time ideas--especially the televised gladiatorial events, and I always get a kick out of the fighting episodes. Part of the original Star Trek's charm is its cheesiness, and physical combat is one of the primary sources of cheese. Also notable are the unusual references to religion--this happens a few times in the series, but nowhere more strongly than this episode. There is also a lot of exquisite bickering between Spock and McCoy here, including McCoy mocking Spock's penchant for logic by making his own Spock-like statements and Spock responding by insulting McCoy's medical ability.

Kirk, Spock and McCoy visit a planet mirroring the Roman Empire of Earth.

This is an enjoyable but unoriginal episode with some good character moments.

The plot is mostly uninspired as we see yet another Federation character breaking the Prime Directive in a similar way to 'Patterns of Force' and 'The Omega Glory'. I prefer this one to both of the above, but the source of the Roman cultural imitation is not explained, much like the situation on Omega IV. Though, I do like the themes regarding slavery and the role of the entertainment industry to help curtail civil unrest.

The character interactions are good, with the central three having some strong exchanges, particularly Spock and McCoy.

The guest characters are mostly solid, particularly Claudius and Flavius, played well by Logan Ramsey and Rhodes Reason respectively. I enjoyed the scene with Drusilla who suitably entertains Kirk, distracting him from the plight of his two friends.

Where it falls down cinematically is the gladiatorial fights. Not only are they cheaply staged, but poorly choreographed. It looks suspiciously like a one-take rush job. Aside from this the visuals are reasonably good.

William Shatner, Leonard Nimoy, and DeForest Kelley are on good form. It's also nice to see Nichelle Nichols chipping in briefly towards the end, but as always she is underused.

Kirk, Spock, and Bones beam down to a planet because it is quite possible that the survivors of a space catastrophe have ended up there. They find that the society of this planet is modeled after ancient Rome - complete with gladiators and slaves - except that it's been given a 20th century twist. (These people are fond of television.) Our trio of heroes are going to end up participating in the "games" before there is any chance of escape.

By this point, it was clear that the series was in something of a rut, with too many stories set in representations of moments in Earth history, and too many stories in which the Prime Directive is broken. A former associate of Kirks' is involved, a man named Merik (William Smithers, "Papillon"), but he's not the true villain; rather he's a weak character dominated by a man named Claudius (Logan Ramsey, "Walking Tall"), who comes to respect Kirk but who is still determined to see him die for his defiance.

I do understand Roddenberry's following of a formula, as it allowed him to examine various social & political facets of our own history through the funnel of a science-fiction series. It just comes as disappointing if one is hoping for more tales of a cosmic nature. Certainly the tales are provocative, however, and do get us talking about them afterwards.

There are pleasures to be had, of course: the ongoing arguments between Spock & Bones (including a dramatic moment where Bones believes he's gotten to the heart of Spocks' character), the sight of Spock & Bones carrying swords & shields, Kirk romancing yet another woman (gorgeous blonde Lois Jewell), and appearances by two other top character actors: Ian Wolfe ("Witness for the Prosecution") and Rhodes Reason ('White Hunter').

Even though these kinds of episodes do tend to get repetitive, they're always "interesting" in the way that they hold a mirror up to our own lives - if not "fascinating".

Seven out of 10.