|“Ladies and gentlemen, this is Chewbacca. Chewbacca is a Wookiee from the planet Kashyyyk. But Chewbacca lives on the planet Endor. Now think about it; that does not make sense!”|
If “Miri”, “The Conscience of the King” and “The Galileo Seven” were about pushing the boundaries of what Star Trek was and could do, than “Court Martial” is about taking a long, hard look at what the show was originally conceived of being and the implications of that central concept and running with it to its logical limit.
This isn’t like “Balance of Terror”, which was about firmly putting its foot down and loudly, overtly protesting the show’s militaristic roots (not that there was anything wrong with that): Instead, “Court Martial” feels like Gene Coon and his team doing a lot of introspection and putting a lot of thought into what a show about the Space Air Force (or indeed the Space Navy, which seems to be increasingly the more accurate description, especially in this episode) would actually be about and what the world of that show might look like. This likely wasn’t the original intent, given as this story’s genesis came about by Coon approaching writer Don M. Mankiewicz to come up with a money-saving script that could be filmed with one new set. The extent to which this was successful can be easily deduced by observing that this episode features four new sets, a slew of new uniforms, some new matte paintings and the fact the next episode is a two-part clip show.
While it fails rather spectacularly at being a bottle show, “Court Martial” is a significant episode in several other regards, in particular, it’s a canon compiler’s dream as it introduces numerous new world building elements that will quickly become beloved parts of the “Star Trek Universe”. Most important of these from a modern perspective has got to be the debut of Starfleet and Starfleet Command. This is, to understate things considerably, the single most important development in the series so far from the perspective of the future, and indeed it’s so titanic a moment there’s only one more that can top it (but we have to wait a bit longer for that). For the first time we have an actual name for the service the Enterprise is a part of and that of the body that governs it. It may seem surprising to those who haven’t seen Star Trek in awhile, but this is the first time anything resembling the word “Starfleet” has been mentioned in the show, two years and 14 weeks in. Previously we’d occasionally heard references to Earth or an Earth Command, but with the introduction of the phrases “Starfleet Command” and “United Star Ship”, Star Trek has expanded its scope considerably.
Although primarily a nomenclature change, this does alter the way we look at the world of Star Trek a bit. In the past the Enterprise seemed to have been representing the interests of some kind of colonial power based on Earth: While that reading is still possible, this new terminology encourages a more nuanced and complex way of interpreting the version of the galaxy this show takes place in-This is also helped by having the entire episode basically be devoted to world building, showing exactly the way Starfleet’s chain of command and and governmental organisation works. We have a Commodore, who is a retired starship captain, operating a planetary starbase designed for resupplying and refitting passing ships, we have a legal system in place that holds officers accountable for their actions and a bureaucracy supervising all of it. It’s very clearly an extension of the United States naval tradition into outer space, and it’s a perfectly logical extrapolation of the setting Gene Roddenberry put in place, except far more detailed and sophisticated than he could ever have made it.
That said it’s worth keeping in mind we’re operating from hindsight here: We know what Starfleet becomes so it’s easy to latch onto this as “the way it was supposed to be from the beginning”, but remember Star Trek has a noticeable lack of consistency and continuity at this point. It would been just as easy for a viewer in 1967 to figure all of these fancy world trappings would be tossed out the next episode. After all, that’s the way the show’s operated before now, and there’s no reason to suspect it won’t continue to do so. That Coon doesn’t throw this out, retains these parts of the setting and indeed continues to expand upon them is something we should return to when he does. What this all ultimately comes down to is that no matter how exciting the reveal of Starfleet Command might be for us, at the moment there’s no reason to believe it’s anything more than the new name for the Space Naval Service, and that’s exactly how “Court Martial” treats it.
In that regard, making “Court Martial” a legal drama is an incredibly sensible idea: If you’re going to do an episode about a lot of world building involving bureaucracy and military service, it only follows you’d want to tell a story about a court martial so you can show how that all works together. It’s about as far away as you can get from Exploring Strange New Worlds or, for that matter, Gulliver’s Travels in space, but it’s a perfectly reasonable thing to expect a show about the Space Air Force or the Space Navy to do. The only problem is “Court Martial” isn’t an especially *good* legal drama-It’s utterly in love with its own jargon, protocol and procedures which, again, makes sense, but there’s isn’t much actual *drama* per se to be had here. We know right from the beginning Kirk is innocent: He has to be, he’s an established character and straightforwardly the series’ hero, kicking him off the show 13 episodes into the first season would be actually insane.
This would be alright if the episode was about how Kirk proves his innocence against almost insurmountable odds, and while the show does hint at this direction it never really gets there. Establishing Shaw as Kirk’s ex-lover and also the prosecutor is an easy way to drum up tension in theory, but all it does in practice is to further cement Kirk’s innocence because she very obviously doesn’t believe in her case even if she’s good at arguing it. The episode further tries to go this route by having the primary evidence about Kirk be the supposedly “infallible” automatic ship’s record and giving him Cogley as his defense attorney, a man defined almost exclusively by being a boisterous old-fashioned bibliophile and humanist who has no time for this newfangled, highfalutin’ computer stuff. There’s a secondary thread here about how much mechanization should be acceptable and whether computers can be trusted, but after the episode halfheartedly builds it up in the first few acts it turns out to be irrelevant to the actual plot as Finney is discovered to be still alive and playing hide-and-seek on the engineering deck (and anyway there’s another really famous episode that deals with these themes better and far more overtly so I’ll save my critique of them until we get up to it).
The other big complaint I have with “Court Martial” is its general attitude. This is an episode all about honour, duty, command and service. The overall plot is already about protocol and procedure, and the key scene comes when Kirk first takes the witness stand: He gives a big, pompous monologue about how he “did what he had to do-by the book!” and how all the things he did “and the order in which I did them!” he did for his ship and his duty, as those are the most important things to him. It’s right out of the military drama textbook and is pure C.S. Forester and Aubrey-Matarin material and really just not to my tastes at all. However, to William Shatner’s credit, he sells the hell out of this, going into a big, overplayed piece-to-camera and doing the entire soliloquy in one take, immediately reminding me of the Shakespearean embellishments of “The Conscience of the King”. And even this isn’t a fault I’m finding with the episode (it’s quite well done space military drama) it’s me drawing a philosophical line marking the boundary of what I like Star Trek to be about.
Additionally, even here it’s worth comparing “Court Martial” with its nearest Roddenberry-era analogue, “The Corbomite Maneuver”. That episode was an action-packed thriller with a twist ending that was clearly banking on us being really excited by the back-and-forth bluffing and tense countdown to potential Armageddon. This episode, by contrast, is a more complex courtroom piece that takes its time to explain and establish its setting and actually examines themes like valour, honour and duty instead of tossing them out as buzzwords: We see quite clearly how this affects the characters of Kirk, Stone, Shaw and Finney and how they interpret those concepts, which also builds off of the character studies we saw in “The Galileo Seven”. This is still Gene Coon expanding what Star Trek can be about, only now instead of bringing in other genres to play with, he’s beginning to turn his attention to the fundamental pitch of the series itself, and he’ll only continue to do this more and more as his tenure progresses. Granted, the end result of this (for the moment at least) is a show that’s still overtly militaristic, but at least it’s militaristic in a bit more of a nuanced way now.
None of this to say that “Court Martial” is a bad bit of television: With the exception of the few inconsistencies I’ve mentioned already, it’s certainly watchable and far more solid a production than many of the other episodes I’ve covered so far. My big issue with it is that it represents a version of Star Trek I’ve never been drawn to and am even less so now. I don’t like military drama and I especially don’t like it when that’s what Star Trek becomes, which I guess should say something about how I feel about the franchise given I’m doing a Star Trek blog. However, there’s another side to this: What Gene Coon and Don M. Mankiewicz realised is that a show about the Space Air Force or Space Navy is eventually going to end up here. If nothing else, that’s what “Court Martial” is demonstrating-That this is the logical endpoint of a specific, formative thematic thread that’s been a part of Star Trek since the beginning. That Star Trek becomes something more than this is evidence Coon knew this wasn’t really all the show was capable of, and now that he’s found the show’s original idea and taken it as far as it can go, he can start to reshape it and push it into the beyond. But Coon has one more act to perform, and what he’s about to do next is turn his lens back onto the show’s most primal form itself.