Impressive TOS Episode: Plato's Stepchildren

The amazing thing about "Plato's Stepchildren" is how Michael Dunn as Alexander inspires everyone to perform at their best.

And it is a good reminder that television, like theater, does involve others. In an interview, Judi Dench comments that she has a hard time watching herself on television and in movies because the film performance is finished/done. In theater, every night is different. For the actors, performance is something that happens in the moment as part of a team/crew/cast. 

Yet in a particular Numb3rs episode commentary, Rob Morrow mutters a caustic remark about not-so-great directors who arrive on set and simply phone in the job. It's hard to get inspiration when a director doesn't care. And Christian Bale notoriously felt he wasn't being supported on set when he yelled at a disruptive crew member.

Although the result of film is a seemingly frozen moment in time, the actual process of creation involves interactive performances: actors with crew; actors with directors; actors with each other.

In "Plato's Stepchildren," Shatner comes into his own as Kirk: he is diplomatic, gentle, wise, direct and never patronizing with Alexander. In one scene, he slumps beside Alexander on a bench and presents his case. It is quite effective.

Nimoy as Spock is a tightly wound mass of fury at his humiliation. Kelley combines McCoy's know-how with his inherent tenderheartedness.

The episode is also tightly scripted--and quite painful to watch. The "antics" of Spock, Kirk, and McCoy are not funny, in large part because of Alexander's horror. The audience takes its cues from him--

Because Michael Dunn does dominate that episode. And the others meet him more than half-way.