As @gunstreet Once Said, The Apple Is Spock’s Terrible, Horrible, No-Good, Very Bad Day.

Hozier writing De Selby (Part 2) inspired by a character in Flann O’Brien’s novel The Third Policeman makes the music video so much more compelling and absolutely bananas to watch, not just because Domhnall Gleeson is a treasure and delivers a killer performance without even saying anything, but also like… let me get into the lore of this:

The Third Policeman is about this mad scientist/philosopher/scholar who robs and murders someone in the midst of academic pursuit and enters this literal nightmare world where he’s punished by these policemen who are monsters and is doomed to repeat his mistakes forever. And the visuals of Domhnall Gleeson’s character are so similar the drawing of the central characters of the novel as seen above. The shabby brownish clothing, the hair colour, the shovel in hand, it all matches.

The story is also a slight condemnation of science and views trying to establish ultimate truth as prideful and heresy. As an article from The Irish Times on The Third Policeman states: “As a consequence, all theories are crackpot, all knowledge is useless and the only meaning is that life is a hell of endless repetition.”

it also states, on the novel: “To illustrate the futility of scientific theorising, O’Brien uses a recurrent theme of infinite regression. One of the characters has eyes with a pinpoint behind which are eyes with another pinpoint and so on to infinity; the narrator wonders if his soul is “a body with another body inside it in turn, thousands of such bodies within each other like the skins of an onion, receding to some unimaginable ultimum”; De Selby studies in a series of parallel mirrors infinite reflections of his face going back to early youth; and Policeman MacCruiskeen has constructed a series of nested chests with the last few so small that they are no longer visible to the naked eye. So speculation and experiment are mad activities that literally disappear into nothingness.”

And then we see Dumhnall Gleeson in the music video on a cycle he doesn’t know how to break, some violent repetition where he’s burying himself and going crazy, and the imagery of several versions of one person fits this PERFECTLY.

Adam, Spock, and Eve -- an Analysis on The Apple from TOS

“The LORD God took the man and put him in the garden of Eden to till it and keep it”, in a promised vow Adam and Eve swore to allow themselves to remain blissfully unaware of the nature of sin or face divine punishment for eating the apple that would give them this knowledge. Star Trek season 2 episode 5, "The Apple", captivates viewers with its exploration of these themes of autonomy and the consequences of blind obedience in the face of authority; or so the episode tries to sell. I would argue that it does tackle these topics in an interesting manner, though not how the writers initially intended. The crew of the Starship Enterprise continually demean the autonomy and personhood of the people of Vaal, denying them the freedom of choice and posit themselves as white-knighted heroes who would fix the unjust systems of Gamma Trianguli Six. However, the landing party fails to acknowledge that they have been here for less than a day, and their understanding of the culture of this small part of the planet is flawed. Ursula K. Le Guin’s essay, American Sci-Fi and the Other tackles these themes, highlighting how limits in our perspective leads to the alienation and dehumanization of people and practices we do not understand, which results in a denial of their autonomy.

Le Guin outlines 4 forms of alienation that have become popular in contemporary Science Fiction – the sexual alien, the social alien, the cultural alien, and the racial alien. Though each comes from a similar vein of popularized ignorance, their manifestations vary greatly in Sci-Fi. The sexual alien in The Apple takes the form of the narrative treatment of female characters like Yeoman Martha Landon. Landon’s 14 lines throughout the hour long episode quickly characterize her as a character whose femininity undercuts her competence as an officer of the Starship Enterprise. Chekov and Landon share a brief, intimate encounter early in the episode,

MARTHA: All this beauty, and now Mister Hendorff dead, somebody watching us. It's frightening.

CHEKOV: Martha, if you insist on worrying, worry about me. I've been wanting to get you in a place like this for a long time.

The conversation gets interrupted by Kirk returning and asking them to not “conduct a field experiment in human biology”. Landon is one of the only characters regularly referred to by her first name rather than her title. While this could be attributed to her low rank as a red shirt, the four other redshirt officers are still often only referred to by their last names as a sign of respect.

"KIRK: Mallory! Marple, stand back! Watch it! The rocks! (kneeling by the body) Kaplan. Hendorff. I know Kaplan's family. Now Mallory.”

Yeomen in The Original Series are often almost exclusively young women, with a notable exception being the season 1 episode The Cage, where the male Yeoman is killed to show the competency of the villain of the week. Their role is to dutifully fulfill the petty orders given by their captain, such as light administrative work or ensuring the wellbeing of the captain and his surrounding male officers. These female Yeomen are often treated by the narrative to have the sole imperative goal to be “an object of desire for the surrounding men.” This is seen especially in The Apple, when Landon voices her concerns for the Starship she is told to be quiet and sit down by Kirk, or silenced by Chekov’s seductions. Her views, questions, concerns, and opinions are constantly used as punchlines for men, as though she’s too stupid to understand the complexities of what is going on around her.

“MARTHA: But these people, I mean, if they don't know anything about. What I mean is, they don't seem to have any natural– er. I mean, how is it, done?

KIRK: Mister Spock? You're the science officer. Why don't you explain it to the young lady.”

She is alienated from the rest of the cast for being a woman, and as Yeomen often are, the women of Starfleet “are also assigned a sexed identity in their professional lives, based on their supposedly “innate” qualities” of “modesty, sweetness, fear, shyness, compassion, [and] languor.”

The social alien is one that focuses on class and hierarchy, specifically, on the lower ranks of it. This form of alienation has many reflections throughout the episode – from Kirk’s treatment of Scotty as they struggle to pull the Enterprise from the tractor beam, to the Vaalian’s role of feeding Vaal. Those who are not leading men are treated as “masses, existing for one purpose: to be led by their superiors.” Those in the Starfleet are under threat of losing their jobs – their financial security and role on the ship – if they do not listen to their superiors. The Vaalians, however, must actively choose to listen to Vaal for their instructions. There is no threat of violence as they do not know what it means to kill, nor incentive for greed as they are already provided everything they need for a happy and healthy life. As the Vaalians go to feed Vaal – their sole role in exchange for eternal life and long lasting prosperity – Spock notes that in his view, this is “a splendid example of reciprocity”. 

This point of view, however, is heavily contested by Captain Kirk and Chief Medical Officer McCoy, and is a prime example of the alienation of the Vaalians and S'Chn T'Gai Spock as Racial and Cultural Aliens. Multiple times throughout the show, Spock’s vulcan lineage has placed him in an uncomfortable position in relation to Starfleet.

“MCCOY: Negative. Did you know this is the first time in a week I've had time for a drop of the true? Would you care for a drink, Mister Spock?

SPOCK: My father's race was spared the dubious benefits of alcohol.

MCCOY: Now I know why they were conquered.”

Many of his conversations with McCoy end with a quip from McCoy about how vulcan biology is inferior to human biology, how their culture is strange and alien to him. He complains about how Spock has green blood, and a heart closer to his abdomen than his chest, even after Spock nearly died protecting them from the deadly flora of Gamma Trianguli Six. McCoy also overdoses Spock, in a blind attempt to get him to wake up from the poisoning. While these could be read as light-hearted quips to maintain the lighthearted tone of the series in face of the Hamlet-ian deaths of the redshirts, McCoy’s refusal to learn about vulcans speaks to a larger theme throughout the episode of doxastic ignorance about other people and cultures.  

The Vaalians are repeatedly noted to be happy and healthy, as explained by McCoy, as he cannot tell if they have been around for “twenty years, or twenty thousand years”... “add to that a simple diet, a perfectly controlled temperature, no natural enemies, apparently no vices, no replacements needed”. Their only natural exchange for this is the gifting of some excess fruit to Vaal each day. McCoy takes issue with this manner of living, and that the Starship must intervene, stating that their society is stagnant, and needs something to strive for. However, Spock states in the episode that the Vaalians, as any other group of people, reserve the right to choose a system that works for them. This argument continues throughout the episode, and exemplifies their alienation of the Vaal due to their ignorance, as the human crew of the Starship attempt to overthrow the system of Vaal. They eventually settle on a final course of action, with the Starship trapped in Gamma Trianguli Six’s atmosphere – to kill Vaal. This response could be predicted by LeGuin’s explanation that “[t]he only good alien is a dead alien”, especially in the context of racial and cultural alienation. The Starship landing party alienates and subverts the autonomy of an alien community because their ignorance leads them to believe they are superior . Le Guin’s essay outlines precisely in each area how this episode creates divides in its cast, both between the Starship Enterprise and Vaalians, but within the Starship as well. At the end of the episode, Spock, McCoy, and Kirk ruminate on the consequences of killing a being who was providing for an entire community of people, and the starship leaving that community with nothing but their own wits.

SPOCK: Captain, I'm not at all certain we did the correct thing on Gamma Trianguli Six.

MCCOY: We put those people back on a normal course of social evolution. I see nothing wrong in that.

KIRK: Well, that's a good object lesson, Mister Spock. It's an example of what can happen when a machine becomes too efficient, does too much work for you.

SPOCK: Captain, you are aware of the biblical story of Genesis.

KIRK: Yes, of course I'm aware of it. Adam and Eve tasted the apple and as a result were driven out of paradise.

SPOCK: Precisely, Captain, and in a manner of speaking, we have given the people of Vaal the apple, the knowledge of good and evil if you will, as a result of which they too have been driven out of paradise.

KIRK: Doctor, do I understand him correctly? Are you casting me in the role of Satan?

SPOCK: Not at all, Captain.

KIRK: Is there anyone on this ship who even remotely looks like Satan?

(McCoy and Kirk walk around Spock. McCoy is gazing intently at Spock’s pointed ears.)

SPOCK: I am not aware of anyone who fits that description, Captain.

KIRK: No, Mister Spock. I didn't think you would be.

This is not to say all of Star Trek treats its nonhuman, lower class, and female characters with this lack of respect throughout the entire series, but The Apple speaks deeply to both Le Guin’s thoughts on Alienation and Patriarchal White Supremacy, and Star Trek’s need to appeal to the larger American audience in its messaging. Landon’s alienation stems from her role in patriarchal systems that would create a divide between her and the leading male cast; The Vaalian and Spock’s alienation is due to being foreign to a capitalist system that pushes for constant productivity, and being denied agency by those who believe their own views are the ‘correct’ ones. Considering the episode was released in America during the Cold War, it’s not hard to infer that this episode was cautioning Americans against communism. However, it treats everyone who isn’t coded as a Red Blooded American Man as mindless and abused, in need of a push in the right direction. This episode tries to speak for a better, more unified divine future – to take people from a corrupted garden and give them true Eden – but it regresses directly back into idealizing colonization in its efforts to homogenize any culture it can touch.

Works Cited under the cut

Boquet, Damien, et al. “Editorial: Emotions and the Concept of Gender.” Clio. Women, Gender, History, no. 47, 2018, pp. 16. JSTOR, https://www.jstor.org/stable/26934334. Accessed 10 Apr. 2024.

Hulshult, Rachel. “Star Trek: What Is a Yeoman & Why Did They Disappear from Starfleet?” ScreenRant, 4 Aug. 2023, screenrant.com/star-trek-yeoman-rank-disappear-why-explained/.

Le Guin, Ursula K. “American SF and the Other.” Science Fiction Studies, vol. 2, no. 3, 1975, pp. 208–10. JSTOR, http://www.jstor.org/stable/4238969. Accessed 10 Apr. 2024.

Pevney, Joseph. Star Trek. 13 Oct. 1967, episode 31. TV Series Episode. The Apple.

Trivers, Barry. Star Trek. 8 Dec. 1966, episode 13. TV Series Episode. The Conscience of the King.

Vatican. “The Book of Genesis.” Www.vatican.va, www.vatican.va/archive/bible/genesis/documents/bible_genesis_en.html. Genesis 2:15.

In What Are Little Girls Made Of, there is something so adorable about jim, completely trapped, his only chance to be saved is by possibly planting a false idea into the androids mind, deciding to go with being a prick to spock because that would be so out of character it would warrant looking into

Come with me down this rabbit hole if you will. The moment we the readers find out about how much Andrew cares is the moment he says "I hate you". Because of this one "throw away" line in the first book "I don't care about exy enough to hate it".

I personally think this is the exact moment HE relieved he was in love with Neil. Because he realized he does care, he cares so much it hurts. And he hates that, he hates his feelings, he hates the fact that Neil makes him feel- makes him care.

And so he hates Neil, because he loves him, because he wants him. Because he cares for him.

Can I also say how touching it is that Stede said he believed Ed would he happier without him, who, even in his fantasies, could only picture Ed wanting him as a picture of masculinity with a beard and no hesitation to kill. Stede still, deep down, doesn't understand why Ed would ever want him as he is.

But who did Ed see coming down to rescue him? It wasn't a manly recreation of Stede with a beard, masculine style and a killing spirit, it was a merman. Someone bright, colourful, by all accounts a rather feminine perception of Stede.

That was who rescued Ed. It wasn't who Stede thought he needed to be, it was someone soft, and bright, and graceful, and expressive. Someone feminine, someone queer.

I just think that's beautiful.

I’m noticing something absolutely fascinating about the early part of Spock and Kirk’s relationship. I’m making video compilations of every time kirk says Spock/Mr.Spock and vice versa every time Spock says Captain/Jim (I’ve got a spreadsheet and EVERYTHING because I’m obsessive like that)

Regardless! In the beginning, Kirk is very verbally/publicly protective of Spock which makes sense Star date-wise since Kirk just got promoted to captain of the Enterprise and Spock to first officer instead of just science officer:

He’s the first to call out people that won’t let Spock talk in Where No Man Has Gone Before, Charlie X and Balance of Terror.

He has an I’ll Kill You glare whenever anyone is racist/xenophobic toward Spock like Styles and Charlie (even Bones initially if you watch the Man Trap! Which is only their fourth mission).

You can even pin point exactly when Kirk is like “alright... I’m in love with this man” you can pin point it as a slow motion tumble from about halfway through The Enemy Within when he asks Spock to tell him when he’s slipping, to watching Spock stand up against Trelaine in The Squire of Gothos.

He’s got this “if Spock won’t fight for his place on this ship, I will.” Attitude that hits a fever pitch in The Menagerie

Spock on the other hand is extremely physically protective of Kirk from the get-go, even though he hasn’t even fully sized Kirk up. I think at least initially this could be chalked up to feeling like he failed to protect Captain Pike in The Cage (and later from the events that prelude The Menagerie) but it’s more than that. I think it’s also a manifestation of his inner frustration about how closed-off Kirk is because of his painful past:

He goes so far as to request a freaking phaser rifle in Where No Man Has Gone Before, just to potentially protect Kirk from Mitchell, and seems a little peeved that Kirk fought him alone. That’s not his freaking job, he’s a science officer

Pretty much ALL Spock’s actions in The Man Trap, Charlie X, Squire of Gothos, What Are Little Girls Made Of are directly to protect Kirk, forsaking his scientific curiousity (something he will keep doing for Kirk’s sake as we know)

In Dagger of The Mind Spock even forsakes his own personal boundaries to potentially protect Kirk by mind melding with Dr. Van Gelder.

All of this frustration culminates in the way they bicker in Conscience of A King, Kirk is closed off and has a self-destructive streak that Spock can only curb by physically getting in the way.

This protectiveness (like Kirk’s) hits its fever pitch in The Menagerie where Spock is willing to potentially face the death penalty for both his captains because of his intense protectiveness of them.

They protect each other in opposite ways that you’d expect them to, Spock the academic punches monsters and throws himself into bodily/mental peril without hesitation. Kirk the soldier cuts with words and wit to defend Spock from prejudiced assholes and is absolutely enthralled by Spock’s intellect.

All these episodes I’ve discussed are only the first half of the first season. It sets the tone for their relationship, their proclivities complete one another and it’s so... romantic. I don’t see how other people don’t see it.

Of course the relationship evolves beyond this simple feelings protectiveness but man, it sets a tempo to their romance.

Was just watching the first mirror-verse ep in DS9 and I thought it was interesting how the course of events were changed bc of Kirk + co’s visit in “Mirror, Mirror”.

Mirror Kira says how after Kirk talked with mirror Spock, he became a whole different person and rose in the ranks to create something new for the world, which before he never would have. Mirror Spock was like “I just enjoy working in the science department, I don’t want to be a captain” but Kirk changed all of that!!!?!

In every timeline and universe, Kirk and Spock affect each other. In every way. No matter which Kirk and Spock they are.

We could do everything right, and they'd still think we were dangerous

- We are not free ; Traci Chee.

So like, From Eden is for the ineffable husbands ofc but like, what about Unknown? THAT is peak end-of-season-2-Aziracrow.

"You know the distance never made a difference to me I swam a lake of fire, I'd have walked across the floor of any sea Ignored the vastness between all that can be seen And all that we believe So I thought you were like an angel to me"

Because Crowley would have done anything to keep Aziraphale safe, he helps and supports him even when he is in need, he loves saving his angel.

"It ain't the being alone (Sha-la-la) It ain't the empty home, baby (Sha-la-la) You know I'm good on my own (Sha-la-la)"

But it's not really a possessive thing, Crowley knows that he and Aziraphale are powerful supernatural beings, they are fine on their own, and they haven't been always together since the beginning of times.

"You called me angel for the first time, my heart leapt from me You smile now, I can see its pieces still stuck in your teeth And what's left of it, I listen to it tick Every tedious beat Going unknown as any angel to me"

But then, the end of season 2 happens and (i think) that for Crowley it is a betrayal, even after everything that has happened, Aziraphale, his angel, his love, still thinks it would be better if they both came back to heaven. So he leaves Aziraphale alone even though the words "i need you" have been said, because it's just not enough, for both of them. And Crowley still loves his angel, but in that moment he's just disgusted because the man he has spend thousand of years pining for suddenly turns into a stranger that doesn't know him at all.

"Do you know I could break beneath the weight? Of the goodness, love, I still carry for you That I'd walk so far just to take The injury of finally knowin' you"

And, of course, the bridge. I kind of picture it as the scene in the car, when the credits are rolling and we can perfectly see just how much disappointment and sadness Crowley is feeling. So he drives his car as fast as he can to try and run away from the love that destroyed him just a few moments ago.

"And there are some people, love, who are better unknown"

?????????