Jammer's Review

Star Trek: The Original Series

"The Conscience of the King"

1/2

Air date: 12/8/1966
Written by Barry Trivers
Directed by Gerd Oswald

Review by Jamahl Epsicokhan

When Kirk discovers that a stage actor named Anton Karidian (Arnold Moss) may really be the believed-dead "Kodos the Executioner," known for executing 4,000 innocent people in the midst of a social crisis, the captain launches a search for the truth. In hopes of learning more, he manipulates Karidian's daughter Lenore (Barbara Anderson) into coming aboard the Enterprise, and finds himself beginning to fall for her.

"The Conscience of the King" is like a stage play brought onto a starship, featuring the classic elements of a Shakespearean tragedy rolled into an episode of Trek. The storyline is accomplished through an ingenious device that is wondrous in the way it threatens to bring down the "fourth wall" separating audience and television production, forcing us to consider the connections between classic literature and now-classic popular culture. It's very creative in its use of archetypes, and Moss and Anderson throw themselves into their roles with the exuberance of, well, stage actors.

Unfortunately, this otherwise stellar episode is almost completely undermined by its inappropriate ending, in which a single line of dialog uttered by McCoy obliterates the tragic realization that played out just moments before. Are we supposed to believe that a woman who has murdered seven people will be set free just because she has suffered a great deal? And that she can be released from her tragic burden through some vague but apparent memory alteration? What kind of authority does Kirk have? And how in the world can you have a tragedy that tries to lighten the mood with a cheat ending?

Previous episode: The Menagerie
Next episode: Balance of Terror

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8 comments on this review

Destructor - Tue, Feb 16, 2010 - 5:29am (USA Central)

Just watched 'The Conscience of the King' and was very moved by it. Feel 2.5 stars is way too harsh just because of the ending (it had already been established in 'Dagger of the Mind' that the 23rd century has an altogether different criminal reformation system) when the rest of the episode is so thoughtful and measured. I'd give it 3, easily.

Cleanse - Tue, Oct 19, 2010 - 10:56pm (USA Central)

Re: "Conscience of the King". Watching it again, it seemed to me that McCoy was actually stating that Lenore was so crazy that she thought her father was alive - not that he had wiped her memory. Neither did the dialog to me imply that she would be released. It sounded more like she would receive medical treatment while in custody.

I don't think one ambiguous line deserves to knock down an otherwise great episode.

steamednotfried - Thu, Apr 28, 2011 - 5:15pm (USA Central)

Thank you for your condemnation of the ending of episode 13 - 'The Conscience of the King'. After a very enjoyable episode I was sickened by this ending. I looked on wikipedia and to my dismay found no mention of this. Thank god there are others who can see sense.

Paul - Tue, May 22, 2012 - 7:47pm (USA Central)

By the far the best thing about this episode was the use of "Double" Red Alert. Made me laugh out loud.

Strider - Thu, Jul 19, 2012 - 10:17am (USA Central)

I wonder why Riley got central, plot-relevant roles in two important episodes, but nothing after that.

Anyway, this was a good episode, and I like how when there are concerns about any one in the triad, the other two get together to help him (though it's sometimes in the form of opposition). I love seeing Spock bait and insult McCoy in one scene, then go to him for advice in the next. McCoy does the same thing with Spock--teases him about his logical mindset, then trusts heavily in Spock's intellect.

The relationship of both with the captain is good in this. McCoy defends the captain to Spock and Spock to the captain. Spock is all in Jim's face, and Jim is all, "Stay out of my personal business," but somehow Spock knows when to push, and as he usually does, Jim (after his initial emotional response) acknowledges that both men are right in their concern.

I also love that Spock considers Jim's attraction to the daughter as a motivating force for Jim, but then discards it. Spock knows all about Kirk and the ladies.

Some truly golden Big 3 relationship moments in this one.

Peremensoe - Mon, Aug 20, 2012 - 2:58pm (USA Central)

Jammer and steamednotfried are imagining an ending that isn't there! McCoy says "she'll receive the best of care"--in context, it's clear this refers to a secure psychiatric facility. She was insane to begin her killing, and the death of her father precipitated a final psychotic break.

Brundledan - Fri, Apr 5, 2013 - 3:31pm (USA Central)

Agree with the assessment of others re: McCoy's lines at the end. It seemed fairly obvious to me that what was being said was that Lenore had snapped altogether (the twinkly-eyed extreme close-up of a few minutes earlier had made it quite clear she was crazy) and blocked out her father's death, and that the "care" she'd be receiving would be of the kind the Federation typically provides for the criminally insane, particularly those who have experienced complete mental breaks from reality. She'll be getting the best of care, all right, but it'll be from inside the walls of Elba II. Absolutely no statement or suggestion that she'll be released is made by McCoy, and I'm surprised Jammer heard that in the dialogue.

This is one of the very best episodes of "Star Trek". In terms of dramatic structure it's one of the most sophisticated episodes of the series; in fact it seems to be years ahead of its time, anticipating the character-based dramas of the '90s and afterward (most television of the '60s was more purely plot-driven). Gerd Oswald created a very pensive atmosphere with intimate and subtle camerawork that was rarely seen again on TOS. Joseph Mullendore's score mostly eschewed the musical "stingers" that ended TOS scenes or acts, further enhancing the atmosphere.

Ron Moore has said that "The Conscience of the King" is his favorite episode of TOS, and it's not hard to see why. Its themes of personal obsession, and dark characters willing to do morally ambiguous things, suggest much of what Moore would later do on DS9 and BSG.

Jammer - Fri, Apr 5, 2013 - 8:17pm (USA Central)

One of these days I may have to revisit this episode and see if the ending I saw was really there. I can't remember. I reviewed this episode in 1998, I think.

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