Star Trek Amok Time (1966–1969) Online

1966–1969 William Shatner Leonard Nimoy DeForest Kelley Joseph Pevney

Original Title :: Amok Time
Genre :: TV Episode / Action / Adventure / Sci-Fi
Year :: 1966–1969
Directror :: Joseph Pevney
Cast :: William Shatner,Leonard Nimoy,DeForest Kelley
Writer :: Gene Roddenberry,Theodore Sturgeon
Type :: TV Episode
Time :: 50min
Rating :: 8.7/10

Star Trek Amok Time (1966–1969) Online

Lately, Spock's behavior has been increasingly and unprecedentedly erratic. When McCoy finds it to be a growing medical risk, Kirk drags the truth out of him: it is the 'blood fever', the one time in a Vulcan's life he regresses to a primitive, hormonal state of mind, setting out to mate for life. He is granted the first request for shore-leave in his entire career to go to Vulcan, asking Kirk and McCoy to join him in his equivalent of a marriage ceremony with his since-age-seven arranged fiancée, T'Pring. But, once on Vulcan, T'Pring halts the matrimony by calling the ancient challenge, whereby a champion of her choice will fight Spock for her. Surprising all, she selects Jim Kirk. He accepts after due consideration only to find, when the first of two dueling weapons are handed out, that the fight is to the death - too late to decline in front of T'Pau, the presiding top official for Spock's family and the most powerful of all Vulcan dignitaries.

Episode complete credited cast:
	William Shatner	-	Capt. Kirk
	Leonard Nimoy	-	Mr. Spock
	DeForest Kelley	-	Dr. McCoy
	Celia Lovsky	-	T'Pau
	Arlene Martel	-	T'Pring
	Lawrence Montaigne	-	Stonn
	Majel Barrett	-	Christine Chapel
	George Takei	-	Sulu
	Nichelle Nichols	-	Uhura
	Walter Koenig	-	Chekov
	Byron Morrow	-	Admiral Komack

First appearance of the Vulcan phrases "Peace and long life" and "Live long and prosper".

First appearance of the Vulcan hand salute. Leonard Nimoy improvised this symbol during the production of "Amok Time," modified from a traditional Jewish religious hand gesture.

The second season rarely featured Lt. Sulu (George Takei) and Ensign Chekov (Walter Koenig) in the same episode. Koenig was, in fact, cast as Chekov to fill in for Sulu in the first few episodes of the second season, while Takei was still involved in the filming of De gröna baskrarna (1968). The two characters usually alternated between episodes. The episode "Amok Time" is one of the few second-season examples of their appearances on-screen together.

Celia Lovsky (T'Pau) was unable to make the Vulcan salute by herself. The filming crew taped her fingers together in the appropriate groups, and placed her hand flat on the armrest of her chair in the configuration. She then simply raised her hand into view, already in the salute.

Season 2 introduced new opening credits. DeForest Kelley's name was added to the "starring" cast and the theme music was extended and had the female soprano voice Loulie Jean Norman and percussion added to it.

The prequel series Enterprise (2001) considered having its regular Vulcan character (played by Jolene Blalock) be a younger version of T'Pau. Since that would have required paying a fee to the estate of Theodore Sturgeon the author of Amok Time, this plan was abandoned and the new character was rechristened T'Pol. T'Pau did feature as a guest character in a few episodes of Enterprise's fourth season.

Another innovation of the second season was the further-expanded sickbay that now includes McCoy's new office.

Upon the death of Leonard Nimoy, certain Star Trek repeat channels re-arranged their usual airing orders, so that "Amok Time" was shown instead.

One of Leonard Nimoy's favourite episodes.

First time (in broadcast order) that Walter Koenig appears as Ensign Pavel Chekov. If you go by production order, his first appearance is Star Trek: Catspaw (1967).

"Amok Time" was the first aired episode in Season 2, but according to DVD Commentary, was actually filmed fifth. Star Trek: Catspaw (1967) was the first to be filmed for the second season but would not air until over a month after "Amok Time" as the seventh episode of the season.

Vulcans were named for Gene Roddenberry's concept for their planet (in the constellation Eridanni) being a "volcanic", desert world.

In the original script, there were a few more Vulcan words. Spock described Kirk and McCoy as his lak noy, the equivalent of best man. When T'Pring makes her challenge, the wedding party begins to discuss what's going on, all in Vulcan, until T'Pau shuts them up.

This is the first ever Star Trek episode to feature any Vulcan characters other than Spock.

At the 50th anniversary "Star Trek" convention in Las Vegas in August 2016, fans voted this the fourth best episode of the "Star Trek" franchise.

Walter Koenig was cast not so much because of his Russian heritage but to introduce some younger characters into the mix. Koenig wore a wig to emulate Davy Jones from The Monkees in order to appeal to the younger demographic. (He only wore the wig for the first few episodes until his hair grew into shape.)

In Theodore Sturgeon's original script, Stonn was named "Spor", which Robert H. Justman felt to be too much of a "Freudian slip" and the character was renamed.

The British pop group T'Pau took their name from the Vulcan priestess played by Celia Lovsky.

When child model Mary Elizabeth Rice posed as seven year-old T'pring (fitted with only one ear prosthetic, since a single still photograph taken from the side was all the script called for), she was ill with chicken pox, replete with fever. She later commented that her sickness had been a plus, as it made her appear more serious.

Walter Koenig makes his debut as Chekhov.

At the onset of the Koon-ut-kal-if-fee, T'Pau is clearly seen initiating a prolonged Vulcan mind meld. T'Pau begins the meld by carefully positioning her fingers on his face as Spock kneels before her. Kirk and McCoy are shown as they observe from several feet away. The camera returns to show T'Pau continuing to meld with Spock. Next Stonn and T'Pring are shown observing from their viewpoint. As the camera returns to T'Pau, Spock rises from the meld and withdraws. T'Pau appears to have been assessing Spock's readiness to commence the ceremony. Her later statement that Spock was deep in the plak-tow (blood fever) stage may have been confirmed by the mind meld. A similar ceremonial mind meld can be seen at his Kolinahr ritual in Star Trek (1979).

Romulan helmets are reused from "Balance of Terror", this time worn by Vulcans during the pon farr ritual. In both productions, the helmets were a de facto economy measure as they precluded the need for the actors to wear ear prostheses.

Stonn is the only male Vulcan without a letter "K" in his name.

This is generally regarded as the definitive Vulcan episode in the Star Trek canon.

This is listed as one of the "Ten Essential Episodes" of Star Trek (1966) in the 2008 reference book "Star Trek 101" by Paula M. Block and Terry J. Erdmann.

Lawrence Montaigne (Stonn) previously appeared as the Romulan Decius in "Balance of Terror".

In the age of the Cold War, the introduction of Chekhov as a character was an attempt to suggest that glasnost existed in the future.

Lawrence Montaigne would reprise his role as Stonn in the unofficial fan film _Star Trek: Of Gods and Men (2007) (V) 40 years later.

This takes place in 2267.

"Spocks Theme" is influenced by Ravels "Bolero"

This is the only episode in the entire series to be set on the planet Vulcan.

Scotty does not appear in this episode, although Spock briefly speaks of him.

The plomeek soup that Spock hurls at a wall stained the set for several weeks after. (Plomeek soup, by the way, is a Vulcan dish, generally assumed to be of the bland vegetable variety.)

Spock would later use the ahn-woon and lirpa in combat in the book Time for Yesterday, by A.C. Crispin.

Kirk at one point says to Spock, "You have been called the best first officer in the fleet." It was McCoy who said this, in Star Trek: Operation - Annihilate! (1967).

Another episode showing a lot of crew members walking around the halls, in and out of camera view.

Kirk and Spock's duel to the death is mentioned by Chip Douglas, the main antagonist of The Cable Guy (1996) played by Jim Carrey. In a scene from that movie, Chip impersonates Spock and hums the music from that scene when he fights Steven Kovacs (Matthew Broderick) at the Medieval Times restaurant.

Spock's parents do not appear at his marriage ceremony.

Five members of the wedding party are shown with Vulcan ear makeup.

One of only two times in Star Trek (1966) where Spock shows an emotional reaction without being influenced by something - if only for a few seconds. The other example is the first pilot Star Trek: The Cage (1986), filmed when the rules hadn't been established for this character.

First time we hear the now-famous "Star Trek fight music," done in 5/4 time, when Kirk and Spock battle.

User reviews

ℓo√ﻉ

The 2nd season of the original Trek show began with an intriguing glimpse into the backstory of the show's now most popular character, Spock, and his homeworld of Vulcan. The audience of '67 was plunged into the first detailed vision of Vulcan mystique, rituals and ceremony, and most, I would gather, would be quite surprised. Up until this point, the one facet of Vulcan culture which the show stressed (during the 1st season) was logic. When the subject of Vulcan mating methods (itself a daring theme during sixties TV) comes up during this episode, all of us, like Kirk, assumed it would all follow along those logical lines. Not even close. An ancient culture, the Vulcans are still subject to and participate in ancient traditions which precede their turn to logic. But, who would have guessed it would be this violent, this primal?

Contradictions in Spock's behavior abound during this episode and I believed this added to the entire wonderment many fans already had in respect to Spock and his history. Though logic supposedly determines Spock's actions, he keeps his secrets about his sudden need to visit his home planet, even though such an approach would surely cause his death. It doesn't seem like he was counting on Kirk's persuasive abilities as a friend to break through his Vulcan guardedness; instead, Spock seems hellbent on perishing, wrapping himself in solitude and loneliness. The music during these sequences in Spock's quarters conveys an overwhelming sense of melancholy, and it's quite a depressing mood - all the actors are at the top of their game here. I'd have to say my favorite scene, however, is in the turbolift with the main trio; Spock requests Kirk to accompany him down to the planet, as a close friend; there is a pause, and then, as we anticipate, he asks McCoy the same thing - no wisecracks from McCoy here - it's a solemn occasion. The scene is fantastically scripted, directed and acted, especially by Kelley.

Mention should also be made of guest star Lovsky as the high muckety-muck Vulcan priestess - talk about perfect casting. Her accent makes it seem as if she was born to play this role. She utters several words in the Vulcan language and it all rings true. The entire atmosphere on Vulcan, with the decor, the costumes and the Vulcans themselves was never done better (unfortunately). In fact, future Trek series, even TNG, and especially the "Enterprise" show, were never able to capture that terrific exotic feel which we're able to immerse ourselves in during this sequence. These REALLY were Vulcans, not just some actors with strange pointed ears attached. Only actor Mark Lenard was also able to capture that authentic Vulcan sensibility later in this 2nd season, in "Journey to Babel." That episode also explained, more or less, as to why Spock's parents didn't attend this Vulcan marriage ceremony. Ah, poor Spock - at least you chose your friends well.

Lightseeker

This started the second season of Star Trek with a bang, giving us both a greater understand of Spock's Vulcan heritage and the bond between Kirk, Spock and McCoy.

Two scenes to me stand out for their excellence and geniuneness in the relationships between these three. In the first, Kirk knows that Spock will die if they don't reach Vulcan in eight days. However, despite his pleas to Starfleet Command, he is told to proceed to Altair VI to be part of an inauguration ritual. With McCoy when told this, McCoy remarks "Well, that's that." Kirk however has no intention of following orders and tells McCoy he will continue to Vulcan. McCoy tells him this will mean his career. Kirk replies, "Spock has saved my life at least a dozen times. Isn't that worth a career?", then looks straight at McCoy and says, "He's my FRIEND." A great line, maybe the best of the original series.

Second is when McCoy, Spock and Kirk are all in the turbobay, and Spock asks Kirk if he will accompany him. Kirk ask if it is permitted, and Spock says that it is "my right, to be accompanied by my closed friends." He then says slowly, "I also.. request... McCoy." McCoy, understanding the respect Spock has shown him and much pleased, says "I shall be honored, sir."

These are great moments in television, ones that cemented Star Trek as being more than just science fiction, but about the human condition. I've watched these scenes over and over and still get a thrill watching them. Great art, great story, great direction, great direction.

Perius

Season 2 of Star Trek started off with a bang. This is one of the most memorable shows concerning Spock and his home planet of Vulcan. Plus the Vulcan's 7 year biological urge to mate. Only Harlan Ellison's "City on the Edge of Forever" exceeds the quality of Theodore Sturgeon's script here. It must surely rank among the Top 10 Star Trek shows that were ever produced.

We see Spock and Kirk fighting at the end and Spock is almost out of his mind since he is in the throws of Ponn Far--the Vulcan mating ritual. Who can forget Spock's poignant speech to Tpau that he shall not live long and prosper since he has killed his captain and his friend, Kirk.

Goll

THIS is what great science fiction is all about! The second season of the series kicks off with an entirely original story that explores Spock's Vulcan roots, and delves into that planet's ritual and customs that have grown shrouded in antiquity. I just love the way the writers (Roddenberry and Sturgeon) develop the concept of Pon Farr, the time of mating, and use it to create havoc with Spock's rational side. There's a uniquely creative element at work in the naming of the characters, the revelation of Vulcan as a red sky planet, the history of T'Pau, the beauty of T'Pring and the challenge of the Kal-if-fee. And if that wasn't enough, you have your first genuine 'Holy ____' moment in the history of Star Trek - Captain Kirk dies! That comes so totally out of left field that you're left wondering how this can possibly be happening to one of TV's favorite characters.

Even after forty plus years this episode performs it's magic for me. Not only does it work as extraordinary sci-fi, there's also the bond that's developed between Kirk, Spock and McCoy that sets the stage for a friendship that really didn't exist in the series before. Most of the time in the first season, their relationship was developed along strictly professional lines, with boundaries drawn along status and rank. Here those lines are blurred when Spock invites his fellow officers to witness the Koon-ut-kal-if-fee, and is given even more approbation when T'Pau honors Spock's choice.

What further magnifies this episode as one of the best are those elements written into the story that wouldn't have been missed if they were left out, but since they were included, work to create an even richer tapestry for the Star Trek universe. Here I'm thinking about T'Pau's renown as the only person ever to decline a seat on the Federation Council. With that simple description, Roddenberry elevates the character's status in the ST universe in a way that might otherwise have taken a couple of episodes to impress.

And of course there's T'Pring's rationale for the Kal-if-fee. I always got a kick out of the way Star Trek presented those situations that worked to reinforce logic and reason to effect an outcome. This one was brilliant, pitting Kirk as T'Pring's champion against a Spock who even if he emerged victorious, would have left T'Pring with her own desired outcome. All of these elements work so well in the story, that every time I watch it, I'm left speechless as an Aldebaran Shellmouth.

Iaran

While "Spock's Brain" might be a rotgut to the third season in regards to its storytelling, "Amok Time" more than makes up for it. Getting the chance to explore the Vulcan mating rituals, visit Spock's home planet, and see Kirk forced to combat his friend "to the death" are all surefire reasons this is a classic episode for the Enterprise's Chief Science Officer. Spock going through a peculiar type of puberty, his blood "burning", his emotional and biological state infuriated by Vulcan physiology and the ritual resulting in his chosen mate deciding she wants him to "fight for her"; there are fascinating developments shown to Star Trek fans for the first time. It is clear his chosen mate, T'Pring (Arlene Martel), has eyes and heart for Vulcan, Stonn (Lawrence Montaigne). So T'Pring goes the "logical" route and chooses Kirk as the other participant to vie for her hand in marriage. T'Pau (Celia Lovsky) as the marriage "moderator" with the authority most respected by not just Vulcan but the Federation. Spock's value and recognition has brought great fame, but T'Pring has a desire for a Vulcan at home with her. Meanwhile poor Kirk, who had accepted the challenge because of respect for T'Pau, wanting to represent the Federation and his species well, didn't realize the combat would be to the death, unable to back out! That alone brings plenty of suspense to the ongoing plot. While Spock fights the "blood fever" and, this drive that is more primal instinct than logic, Kirk is pretty much completely on the defensive, not only combating a stronger and superior fighter but the thin atmospheric air deteriorating his strength and conditioning. Even before arriving on Vulcan, there is the development of Spock's health, the warfare inside him raging, with Nurse Chapel, long established as the woman who loves him, making some soup for him that is tossed at her when his temper was uncontrollable! Kirk appealing to Spock to share what is burdening him and why he so badly needs to go on shore leave to Vulcan, while Starfleet Command orders the captain to instead travel on a diplomatic mission to Altair IV provide other unique developments serving as proper connective tissue to the final act. Bones' clever answer as to how to get Kirk out of such a hot mess and how Spock realizes "Jim" isn't dead, his face and voice so overjoyed just bookend this great episode nicely. The show always found ways to innovatively "kill" and "resurrect" James T Kirk.

Adrielmeena

They goofed about in "The Cable Guy" when Jim Carrey and Matthew Broderick fought each other at the Medieval Times restaurant. Wow!!! What a way to kick off the second season. Spock is in heat because he is in the midst of the Vulcan mating period and must return to his planet. Once there, Kirk and Spock are forced to battle to the death for the hand of Spock's chosen mate. The music that goes along with the fighting will be used in other episodes as well be recognized throughout TV history. Nimoy did a great job of playing a sexually frustrated Spock that allowed his human side to really show up.

Mogelv

This is a good episode. The series was renewed for another year and began with a very original tale. Spock's physiology demands that every seven years he must mate. This requires a trip to Vulcan. When Spock and his crew mates arrive, it becomes obvious that Spock must be a very important figure because he is in the presence of the matriarch ruler, T'Pau. Unfortunately, his trip proves a difficult one in that his betrothed has decided, according to Vulcan law, to choose a different mate. She also has the privilege of choosing someone to fight for her. Instead of choosing a Vulcan hero, she picks Kirk. It is required that he fight to the death, which proves to be a no-win situation. Kirk is doomed to failure because he has no experience in this type of fighting. The interesting things about this episode are, first of all, the lack of knowledge of Vulcans and their habits. Since Spock is a major figure in Starfleet, why isn't this known. The other is the utter unfairness of the situation. As we learn more about Vulcans, we come to realize that many of their traditions are grounded in a time before they became the stoic people we are used to. The other thing has to do with the conclusion, which I will withhold. It concludes with one of McCoy's best responses to Spock. Watch this episode just for this.

Rgia

I recently re-watched this episode on Blu-Ray, having seen it many times growing up. The basic premise is that Spock is going through the Vulcan "pon farr" mating ritual which strips away his logic and requires that he return to Vulcan. Spock is extremely reluctant to talk about it, but Kirk and McCoy rise to the situation and support him admirably, as does Nurse Chapel. Spock's supposed Vulcan bride-to-be, however, pulls a fairly dirty trick on him, and disaster is only averted by a clever maneuver by McCoy.

I thought the first half or so of this episode was fantastic-- interesting and dramatic conflict-- trying to figure out why Spock was acting so uncharacteristically. Spock's profound desire to keep the matter secret. Kirk rising to the occasion and supporting his friend without betraying his confidences. McCoy being a decent supporting guy rather than the annoying nag that he sometimes can be around Spock.

However, I thought the latter part, when the Enterprise finally reached Vulcan, could have been better. I found T'Pau highly annoying-- her stupid use of "thee" and "thy" instead of "you" and "your" was irritating and pretentious to me, and her insistence on strict adherence to ritual didn't seem fitting for a Vulcan, let alone the Vulcan leader. I also quite disliked the dirty trick pulled by Spock's potential bride, which was a pretty ugly and dishonorable maneuver for a Vulcan to make, and which seemed to suggest that Vulcan women are devious vixens. I also found it odd that Spock was relatively ineffective in combat here against Kirk for the most part after beating the tar out of him in "This Side of Paradise".

Still, the episode had a neat resolution due to McCoy's quick thinking, so it worked out okay at the end. But I would have preferred a second act that didn't involve such unseemly behavior by the Vulcan women.

As a minor point of trivia, this episode introduces Chekov (Walter Koenig).

Arthunter

Season 2, episode 1. The Enterprise is heading to Altair VI when Mr. Spock starts acting erratic and not wanting to explain his actions and behavior to anyone - not even to Kirk or Bones. Bones notices that Spock's vital signs are not right and he's not eating and he tells Kirk that they have to bring Spock to Vulcan or he will die. Kirk keeps prodding Spock to tell him what is going on and Spock finally opens up. Starfleet orders Kirk to head to Altair VI but he defies the orders to bring Spock to Vulcan. Pon Farr time for Mr. Spock, his Vulcan blood is burning, he is married to T'Pring and must mate with her. T'Pring chooses a challenge - her champion Kirk. Kirk has the option to say "No" but Bones feels that Spock cannot take on the other challenger and Kirk feels he might have a plan but he soon finds out that this is a fight to the death. T'Pring is wanting a divorce and to marry Stonn. Kirk and Spock must fight to the death but McCoy has something up his sleeve.

Good episode, fun to watch Kirk and Spock battle it out.

I've got to love the relationship between Kirk, Spock and Bones. There is always one of them with something up their sleeve to surprise the other two.

8.5/10

Golden Lama

Plot; Affected by the Pon Farr, an ancient Vulcan mating drive, Spock must return home to partake in a mating ritual that could mean his life.

One of the more iconic episode from TOS, and rightfully so. It's also full of firsts. It the first episode to feature Walter Koenig as Chekov, the first to bill DeForest Kelley alongside Shatner and Nimoy in the opening credits, and perhaps most importantly, the first to feature Gerald Fried's iconic "battle music".

As for the episode itself, it's very tight and tense, with a strong performance by Nimoy, who clearly relished the juicy role and a chance to see another side of the otherwise cool and logical Spock.

Gamba

This is a rewarding and thought-provoking episode, especially if you can look deeply into the relationships of the main characters, Kirk, Spock, and McCoy. Also, Nurse Chapel's unrequited love for Spock is handled succinctly, yet beautifully. Watch the associated- scenes and see the actual humanity Spock exhibit towards Christine in them, affirming some feelings of his own towards her. No protracted Kirk love interest (Lust in Space) in this one, perhaps producing alien- hybrid progeny throughout the galaxy!

"Amok Time" is a treat for all those that love this show. Sure, there's the usual plot contrivance where the prerequisite fight must occur (the fight theme music is now so humorously-recognized) just like other television programs of the era did, but it is handled in the Trekkian context we have grown to appreciate, as fans. This is an episode I have learned to really enjoy more, over time. Watch it carefully as a fan, and you just might, as well.

Mozel

As the second season starts Spock is behaving uncharacteristically; he is showing signs of emotion and asks for leave on his home planet of Vulcan. He is initially unwilling to tell Capt. Kirk why he must return but eventually explains; it is the Pon Farr; the time when a Vulcan has an uncontrollable urge to return home as part of their breeding cycle. He explains that his wife was chosen for him when he was a child and now he must return to her; if he doesn't he will die! Star Fleet has ordered the Enterprise to go to Altair VI but Kirk diverts for his friend. When they arrive at Vulcan they learn that the woman Spock had been promised to doesn't want to be paired with him; as part of the ritual she can choose another who will fight to the death with Spock she chooses Captain Kirk meaning the two friends must fight and Spock's condition means he won't hold back from killing Kirk!

This episode is a great introduction to the second season; we have a fine story that tells us more about Vulcan culture and teaches us that they do have times when they lose their famed logic. It also sets up a conflict that looks as though it must end in the death of either Kirk or Spock obviously watching now we know that somehow they will both survive but that doesn't make it any less exciting. The final resolution is nicely handled as is Spock's intended's explanation of why she picked Kirk to fight for her. Leonard Nimoy does a fine job showing us the emotional conflict Spock is going through as he tells his friend Kirk the Vulcans' deepest secret. The episode also serves to introduce Ensign Pavel Chekov to the show; although at this point there is no way to tell him apart from other single episode characters; he certainly doesn't play a large role in the story. Overall a quality episode that fans are sure to enjoy.

Beazezius

Yet another fine example of why the original STAR TREK is so enduring. With what appears to be an absolute minimum of means (the "planet Vulcan" consists of but a single- albeit outstanding- set), a solid script, and (as usual) topnotch performances (not to mention expert direction), AMOK TIME manages to convey the sense of oppressive heat and the lower oxygen level of an alien world; even the hue of the sky lends itself to this. Built around the ticking of Spock's biological clock, this episode offers us a tantalizing glimpse into the repressive Vulcan psyche. It's a powerful episode with an explosive climax. Talk about your Big Bang theories...

Giamah

I've been thoroughly enjoying reruns of The Outer Limits recently. All the ones I'd missed as a kid, 1st run. "The Demon With The Glass Hand" (1964) starred Robert Culp (Trent) and Marlene Martel (Consuelo Biros). It's one of the very best of TOL b&w series and I was completely taken by Arlene's fine work as the simple, likely Hispanic, cleaning woman. She's given good material that allows her emotion, dignity and decision; unusual for that TV era for a Hispanic part (including today?). It's a good script for Culp as well and a modern movie on the same script would be a great thing... if modern writers suppressed their mania to make everything explode and replace real looking people with tall skinny models (q.v.: the recent Star Trek movies by Wheeden where ALL the main cast are the same 5'10" and could be from the same frat house. PLEASE go back to making your good stuff, like Firefly, Joss!).

Anyways, I decided to look up Arlene Martel today of IMBD and, to my very happy surprise, find she's not only enjoyed a long career as character actress in some of my fave TV shows (The Fugitive, Star Trek, Hogan's Heroes, etc), but she played one of my fave ST-TOS roles of all time as T'Pring. I had no idea it was the same lady as in TOL. Yes, there could've been more lines, but she got some great ones. In the "Why choose Staan over me..." scene, she's utterly perfectly logical, her delivery a 10.

An even bigger surprise for me... same age as my dad! Unfortunately, Arlene died in 2014. A loss to all of us.

I strongly suggest followers of great TV character actors keep Arlene in mind as you enjoy classic re-runs. Her fine delivery matches her honest good looks in every case I've seen.

interactive man

One of the top five episodes. Spock gets sick and must go back to Vulcan. Cool episode, where Spock must mate and follows a wild ritual where Kirk must face Spock in a battle to the death. A bizarre episode that has the viewer guessing what will happen next. The fight music with Spock and Kirk is memorable. There is McCoy/Kirk synergy with the Amok Time episode. McCoy make great comic relief for tense situations for the Star Trek series. The Vulcan plant, culture, back grounds, and sets create and exotic feel which melds perfect the Vulcan characters. A memorable episode. 9 out of 10 stars.

Ballagar

Love this episode. The Mr Spock we have come to know and sort of understand is really not himself. He is apparently too embarrassed to tell the Captain that he is undergoing a sex- drive induced behavioral aberration, something the average male human has every time he consumes more than one beer. We soon learn, for the Vulcan, it only happens every 7 years. Apparently that fact cannot simply be pulled up on the ship's computers, as mystery shrouds the ancient mating ritual. The Captain cannot grasp why Spock would suddenly demand to use his leave credits in an illogical manner, and confronts his beloved First Officer.Upon learning the truth, Kirk disobeys Starfleet orders out of friendship.Mr Spock has saved his life countless times and it is worth losing his career. Thus the ship is diverted to Vulcan to save Mr Spock's life. Soon Kirk and McCoy beam down to Vulcan with Spock, thinking they are about to be be his "best men" at the wedding ceremony. We see Vulcan culture for the first time, and a dramatic fight between Spock and Kirk ensues. Kirk almost dies but McCoy cleverly saves the day.

This is a great episode. It has all the elements we have come to love in TOS, plus Mr Spock going berserk. We have Nurse Chapel, with her long and skinny legs, falling over to help Spock, and we have Mr Spock too ashamed to tell the Captain about the biologic functions of Vulcans. Somehow, the episode conveniently ends with no imperative to actually consummate a marital relationship, and Mr Spock is off the hook for another 7 years. The only downside to this episode is the ludicrously incorrect use of thee's and thou's by the female Vulcan official. Why they thought this would sound good is a great mystery.

The episode ends with a poignant affirmation of Mr Spock's love for the Captain. His joy is genuine in discovering he has not killed Kirk, after all. And all the female fans then went into hibernation, as he apparently will not be in the mood again for 7 years, which is an eternity when you are a lonely teenager.

Hallolan

This is a good episode, but to some it is great. I guess we just have to allow that there are a lot of differing opinions and perhaps they saw something in the episode that I didn't or vice-versa.

Spock is having a bad case of "Vulcan Sex Drive". It seems that Vulcan men are not so logical after all, and a woman who Spock never bothered to mention (!) is waiting for him on Vulcan for their marriage ceremony. In the meantime, Spock becomes a raving maniac who will die unless he is given shore leave for some nookie. But, the Enterprise is ordered to some other quadrant--and Kirk incorrectly assumes Spock will just get over it. Well, McCoy informs Jim that unless Spock is on Vulcan ASAP, he will die!!! So, Kirk defies direct orders and heads there (something that it seems is quite okay to do judging by the various episodes).

Once on the planet, Spock's intended turns out to be a real piece of work and initiates a fight to the death between Kirk and Spock. Kirk and Spock agree because,...well,...because it's in the script. So, it's up to the clever Dr. McCoy to save the day. In the end, everybody including Spock is happy, but he never did get any nookie.

The episode is exciting and it's nice to finally see Vulcan. I guess the only problem for me is that it just seemed a bit silly and contrived. But, despite this, it's still very watchable and fun.

Mr.jeka

The modern era of our sleeping in individual rooms began in medieval England. Prior to this time the common hall was the scene of all activity. Once private apartments came into being, the social network of the communal hearth that was the heart of village and castle had had a spike driven into its chest.

Social contact, already codified from the classic era, was put into an even greater diaspora than before. From this, and from the fear of spreading germs and sickness, social codes became more tight fisted. Up until the point where affection between man and woman could barely be tolerated.

"Amok Time" deals with this theme. It deals with the veils mankind has created to hide and mask, for better or ill, our more basic physical and emotional desires. The creation of a mysticism by a race driven by logic to enshroud the act and craving for simple love shows that the more a society represses said feelings, the more dangerous the contest and higher the stakes.

The episode goes even deeper than that (but only just) as it examines the estrangement of arranged marriages by a traditional society, and the lengths the parties involved will go to to alter the bargain made in which they had no say. Friend becomes foe in an emotional feast that culminates in some very gripping and dramatic television.

The episode also calls into question the sanity of repressing basic emotions, and the tragic consequences thereof. We witness the strains it puts on the crew of the Enterprise, and some unexpected repercussions, and even more repercussions beyond that.

An interesting episode that may have been done partially for sensationalism as well as social commentary. It's an interesting and entertaining watch if you're so inclined.

Garr

Even though it was not the first episode filmed for the second season, it was the first one that was aired. The episode also marks the first visit to the planet Vulcan, and the first time we get so see other vulcans beside Spock. This episode's theme is also one of the most known in TV history and have been parodied several times.

This is one of the few episodes where Spock start acting irrational, and un-Vulcan like. This time because it's apparently the Vulcan mating season. Or his mating season for that sake. Spock has to return to Vulcan to rejoin his wife or he'll die. The the cleverest episode plot they've mad, but still an interesting story.

The reason this episode is so popular among fans is because of the famous fight between Spock and Kirk. A slightly cheesy and dated action sequence, but not bad at all. In my opinion it's pretty good for it's time, and it beats the Gorn fight (I don't dislike it, but it more fun than serious).

I never really get tired of this episode, and it introduces some many things which now are essential part of the Star Trek franchise. I give this episode a 10/10.

superstar

Great episode! Even stoic Vulcans have a primal urge to mate, who knew?? Loved the interplay between Kirk, Spock, and McCoy. Kirk seemed to be taking the wedding proceedings with a relaxed, even bemused attitude. Until he is suddenly in a match to the death, that is!! Especially loved the end when Spock, seeing Kirk is alive, grins and says "Jim" with genuine joy. Well, Spock is half human after all!

Arilak

In "Amok Time", Spock falls victim to the Pon Farr mating period and must return to Vulcan and betrothe his arranged mate or risk death via the equivalent of an adrenaline overdose. The Enterprise heads for Vulcan and Spock invites Kirk & Bones to watch his ceremony.

Many confusing Vulcan traditions stun the Earthlings and T'Pring ends up forcing a battle to the death between Spock and the perplexed Kirk. Spock has a full on fever of blood and is no longer himself. The stately T'Pau presides over the entire process. After a long and exciting battle sequence, it appears that Spock has won, Kirk appears dead. Bones transports up the body and Spock asks to turn himself in, no longer under the spell of Pon Farr and now uninterested in T'Pring after learning that this entire gimmick was because she wants to marry a third man. It's revealed that Bones drugged Kirk to make him appear dead, everyone's now fine. The Enterprise heads off again for the stars.

Thus episode really captures the essence of Vulcan and the customs of its people. I love all the traditions, weapons, and backdrop. Nimoy does a fantastic job in this episode showing off a wide range of emotion, something normally not asked of him.

It's a bit odd that both McCoy and Kirk are unaware of the concept of Pon Farr. The humans has been interacting with Vulcans for a very long time by now so the fact that this is a heavily guarded secret is strange. Heck, we even see it occur aboard the Enterprise with T'Pol over 100 years before! Vulcans and humans have married. How has this not come up?

Regardless of this giant plothole, I still really like this episode. It's very Spock-focused which is always a plus in my book. I also like how Kirk accepted the dual before learning all the rules. That's a classic headstrong Kirk move. I enjoyed seeing the old sage, TPau. We haven't seen her in over 100 years but she is still a very big deal in the Vulcan community. That's great!

Simple

It's because of "Star Trek III" that I knew about Pon Farr at a young age (long before fandom had taken over) but 'Amok Time' is a far better into to the Vulcan ritual. The genius of this episode is how it uses Spock as a device to witness first-hand the physical effects. Insubordination and mood swings aren't applicable to our favorite Vulcan at all, but here he is completely out of his mind.It's a great way to build drama and flesh out the character.

And then there's the back half, full of drum beats and swirling camera moves; it doesn't really devolve into a fight scene between friends so much as speaks to Spock's frenzy (and integrity in the aftermath). It's as deep as it is dramatic.

7/10

Walianirv

The opening show of the second Star Trek season gives us a glimpse of Vulcan culture and among other things we learn that even the low key and always logical Vulcans have their primitive instincts. We learn also that Leonard Nimoy has a wife, betrothed to him by custom and she's sending something that isn't exactly a booty call.

Apparently before the deed is done the wife can get out of the marriage and Arlene Martel does by having someone champion her. She chooses a visiting William Shatner to be her champion in a Vulcanian blood duel that Spock is required to fight.

As we learn in the end Martel is as ruthlessly logical as Spock is, maybe more so. Why an outsider like James Kirk gets involved is beyond me even after Celia Lovsky playing something along the line of the Dowager Empress of Vulcania says he can opt out.

It's an original idea, but I don't think terribly thought out well by Gene Roddenberry.

olgasmile

With Spock's inevitable sexual yearning, he is lured to his home planet where he must compete with a love rival in order to win the companionship of an attractive female Vulcan mate. The twist is that his desired sexual mate chooses Kirk as his rival and they must each battle each other with Vulcan weaponry with the tragedy that one of them must die; either Kirk is killed by Spock, or Spock does not satiate his sexual desire and consequently dies. Luckily, however, McCoy cleverly injects a paralysis serum into Kirk, which creates the illusion to the Vulcans that he is dead, thus allowing Kirk to be revived elsewhere and Spock to satiate his sexual desire and therefore live.

lubov

Widely praised as one of the best episodes - but I hate it. Along with the abysmal "Deadly Years" and the cretinous "Doomsday Machine", this is the lowest point in Season 2. There is nothing to justify Spock voluntarily fighting Kirk - which is the only reason why they made this episode. "Let's see... We've run out of ideas... What shall we do? How about having the main characters fight each other. After all, wrestling fans love seeing that sort of thing so why not apply it to sci-fi? We'll come up with some cockamamie premise that will allow Spock to fight Kirk." You can always tell when the makers of ST struggled with ideas: whenever you see a switcheroo shtick being used, whenever someone important gets "killed" (and then wakes from the dead) - and, of course, when they make the crew fight each other. In that sense, AT is very much like the ST movies 2, 3 and 6: unimaginative and plain dumb. I mean, what is Spock, a cat? It's February and Spock's in heat. There are also plenty of pathetic, "emotional" scenes that should have Trekkies running for their hankies...

Did I mention how utterly bad all ST spin-offs are?

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