1 x 1 : Where No Man Has Gone Before {Subtext Study}

As we’re going in production order (which seems to produce a more linear story) the story of Gary Mitchell and his tinfoil eyes is where we’ll begin this journey into Star Trek subtext. There’s quite a bit in this episode to wade through, particularly of the homoromantic quality, so let’s get started. 

Tellingly, perhaps, our episode opens on our two main objects of study playing their beloved three-dimensional chess. As someone who has been in Spirk fandom for awhile now, I can attest that 3D chess is mentioned as an activity Kirk and Spock engage in together in their recreation hours in about 99.9% of fanfics (logically, the chances of them having recreation hours that overlap with one another is about slim to none, given their respective positions, but a little willing suspension of disbelief never hurt anyone). However, I think we only see them actually play it in-canon in about 2-3 episodes total, if that. 

Still, there’s something significant about the choice of chess as a game for these two to engage in and this particular game’s history as a means of courtship and flirtation. 

This is also our first indication that Spock adheres strongly to the fact that he’s Vulcan and “without” emotions and that Kirk delights in teasing him about the fact. “Certain you don’t know what irritation is?” Kirk asks, knowingly, with a shit-eating grin after he makes a move that Spock wasn’t anticipating (having already smugly announced he would have Kirk check-mated in his next move). The banter here relies heavily on the natural affection between the two of them, that which the script wants the audience to be aware of. Though Spock alleges to be immune to emotions he is clearly anything but, and yet, Kirk finds an affectionate delight in this fact. He’s allowed to rib Spock a little bit about this without threat of any real offense, indicating a very high level of trust between them.

Certainly this could be the banter of two who are just friends and have no unspoken attraction or romantic interest between them, but talk like this often manifests as flirtation as well. Kirk’s decidedly sultry smirks at Spock (the first of thousands that would proceed them in the next few decades of material) and his huskier tone of voice are interesting acting choices for Shatner to have made if he hadn’t intended to play Kirk as flirty in this scene. 

As I will often disclaim, I’m not suggesting that the original intent was the same as the interpretation I’m asserting here. What I am saying is that the evidence for a layer of flirtation is there, be it intentional or not, and to not at least acknowledge it is to ignore the obvious. 

Moving on!

Kirk has been attempting to stay alert for any news about a recently heard Earth distress signal (despite the -ahem- distractions). News of said distress signal finally comes in, interrupting this little verbal tango between our boys, and Kirk and Spock rush to the transporter room to find an old-style ship recorder. Spock asserts that due to the damage on the object it’s likely that something happened to the ship (in the vein of blowing up or whatever I guess). The recorder begins transmitting a signal as soon as Scotty starts feeding tapes into the computer and Kirk puts the ship on red alert. 

Enter Gary Mitchell, barely missing the turbolift ride alongside our boys. It’s made obvious right away that Gary and Jim are close from the casual way they greet and chat about ship stuff even under red alert. Gary then turns his attentions to Spock and, weirdly, sort of sizes him up before asking in a more straightforward tone “So, you finished the game?”. Spock nods and moves forward to the doors preemptively while explaining, “[Kirk] played most illogically. His next move should’ve been the rook.” Behind Spock’s back, Kirk grins and makes a throat-cutting motion to Gary to subtly indicate Spock’s obvious loss. 

When I first saw this episode, and each time I return to it after a prolonged absence, I always initially get a sort of antagonistic vibe between Spock and Gary. On my original watch I thought it was going to be some sort of bigotry thing on Gary’s behalf against Spock’s being a Vulcan (which does happen with a different character in a different episode) but that ends up not being the case here. We really have no reason to believe there’s anything antagonistic between them, at least nothing that’s addressed directly.

(note Kirk’s got another amused, if not sultry look for Spock here)

The likelihood is that Spock’s cold retreat to the turbolift doors is more attempt to escape mention of his chess defeat than anything else. Gary’s once over of him, however, and hard tone of voice might suggest something else. Could be an organic jealousy in the fact that they share a mutual, close friend and seem to be on equal levels of bonding with the same person, but don’t seem to have much in common with one another and occupy awkward spaces beside him, sort of privately elbowing one another for the same category in Jim Kirk’s life. But what is that category, exactly? Is it just one of platonic friendship or something else?

A common argument against Kirk/Spock is the assertion that Jim (specifically) is clearly a lover of women and has never taken a male lover in canon and so must be, therefore, purely heterosexual and uninterested in men. This is a bit of fallacy in an of itself because 1) of course we never saw Kirk take a male lover in any sort of obvious way, this was a show produced in the 60′s for godssake, 2) Kirk’s frequent and, presumably exclusive, taking of female lovers doesn’t necessarily exclude him from being able to find men attractive and enjoy romantic/physical relationships with them, 3) most of the time when Kirk would take a female lover it was to gain something for the purpose of a mission; only rarely was he actually indulging in sincere feeling or attraction. 

All that said, there is an argument that Gary Mitchell might be the earliest precedent and indication that Kirk has taken at least one male lover before and, therefore, has a history of finding men physically and romantically attractive. Due to the attitudes of the time it’s purely speculation based on subtext and ambiguity, but one I’ll explore here as we learn more about Gary and Jim and their history together. 

In any case, I will also add that sexuality is fluid and being attracted exclusively to one gender for most of one’s life doesn’t mean that one may never find themselves drawn to something different at some point. Even if Kirk had never taken a male lover, had never found men attractive in any way prior to Spock, it doesn’t mean that Spock couldn’t have been an exception. I would also assume at this point in earth’s social development that relationships of all kinds between consenting adults are accepted with much more open minds, that any bigotry that might keep someone from indulging in or owning up to a desire would no longer exist. Food for thought. Back to our regular programming. 

The three men go to the bridge and take their respective places. Kirk orders neutral warp at the edge of the galaxy and puts out a ship-wide message that the disaster recorder came from the SS Valiant two hundred years ago, the hope being that more insight will eventually be granted to them as to what happened to said ship. Meanwhile, Spock continues to have no luck with the burnt out tapes. 

The department heads arrive on the bridge as ordered and we meet Dr. Elizabeth Dehner, a psychiatrist that recently joined the crew. Sidenote: if the Enterprise was ever granted a psychiatrist to replace her after this episode (spoiler alert) they certainly aren’t part of the ‘department heads’ club as we never meet them- maybe due to the events of this episode, who knows, but I can at least hope the Enterprise continued to value the mental health of her crew members despite all that. I digress. 

Spock announces that the recorder has finally begun to transmit something and Kirk steps up behind him at the science station because it’s absolutely 100% necessary to the mission. Completely. Because it’s not as if Kirk would probably have been able to hear him fine from his chair or anything. 

(okay, this one is just me being a bit silly but STILL, really now, Jim)

Dr. Dehner expresses an interest in knowing how the crew of SS Valiant might have fared psychologically under the distress. Gary Mitchell expresses his respect of his female crewmen and women in senior positions of power by openly flirting with her in front of the crew and then, just as openly in front of the Captain, calling her a “walking freezer unit” when she doesn’t reciprocate. He even makes ‘ooo ice queen’ face at Kirk after she rebuffs him. Nowadays that would probably, hopefully, rightfully so be grounds for sexual harassment and something Kirk would’ve had a responsibility to shut down right then and there, but y’know. 60′s. Women in power are scary so we have to knock them down a peg. 

Weird how Star Trek is meant to take place in a more open-minded, less bigoted, socially progressive time in our future, but is still sometimes a product of the generation it was produced in. I love it regardless, of course.

Anyway, Spock begins to relay the spotty transmitted information; apparently the Valiant encountered a magnetic storm and then, for reasons that are unclear, began frantically searching for information on ESP in humans. Kirk asks Dr. Dehner about this and she helpfully explains that some humans can indeed see future events, but that the ability is never very strong. Spock continues that one crewman seemed to have recovered and that was when the frantic search for ESP info began, followed by an apparent self-destruct order from the Captain. Unnerved by this, Kirk orders that they leave the galaxy at warp factor 1.

Unfortunately, a magnetic force field appears right about then and the two women on the bridge grab the hands of the men nearest to them because, obviously, right? 60′s. Gary and Dr. Dehner are struck by the magnetic surges while the rest of the bridges’ control panels get various levels of fucked up. Even still, the Enterprise makes it through the storm and Kirk orders Spock to collect damage reports (with a very necessary and much needed hand on his shoulder, naturally). He then checks on Dr. Dehner (who appears to be fine) and then Gary, whose head he lovingly cradles in his hands.

(This tender moment only goes on to show us that Gary has spooky tinfoil eyes now!!! Can’t even imagine how painful those archaic contacts must have been for the actor.) 

Upon return from commercial break, Kirk informs the audience that the Enterprise’s main engines and warp drive have been fucked beyond use. He also has Spock checking out Gary and Dr. Dehner’s records for ESP ratings, only to see that they have some of the highest on the ship (these must be old records though because there’s no way those two are 23 and 21 years old, respectively, at the time of this episode- SORRY, BUT TRUE), concluding that this must be why they were shocked and lived to talk about it. Dr. Dehner returns with autopsy results on the deceased, informing that their brains were burned out with the electric shock. She also vehemently defends ESP ability against Kirk and Spock who are suspicious of whether or not ‘espers’ are dangerous. 

Kirk then goes to check on Gary who’s been under medical observation and we’re granted a deeper insight into their friendship.  

Gary somehow knows it’s Kirk before he sees him or allows him to say anything. He points out that Jim looks worried and Jim replies with a knowing smile, “I’ve been worried about you ever since that night on Deneb IV.” Gary laughs and looks down coquettishly. “Yeah, she was nova, that one.” The fact that we have no idea what they’re talking about and that this conversation barely makes any sense of is no real importance. We’re not supposed to understand. This is meant to feel like listening to two friends who’ve known each other so long and so well they’re almost speaking a shared, exclusive language about experiences and jokes only they understand. Gary talks some about his weird eyes and then he goes back to teasing Kirk. Apparently our strapping Captain was something of a bookworm nerd back in his academy days, who knew?? (His bookishness happens to be one of my favorite aspects of Kirk’s character and one that history so often forgets in favor of him being some kind of machoman womanizer- ugh) To this teasing Kirk responds with a blush that would rival that of a school girl with a crush on her teacher.

(tee hee OH GARY STOP IT) 

Gary mentions how he “aimed that little blonde lab technician” at Kirk probably to distract him from being too tough in his student-teaching position, to which the latter responds with, “You what??!” “Yep. I outlined her whole campaign for her.” “I almost married her!” So, we know Kirk likes the intelligent types as much as he is one himself. Fascinating. (Sidenote: I personally headcanon that the “little blonde lab technician” was Ruth that Kirk ‘sees’ in Shore Leave, but that’s for another episode discussion) Gary warns Kirk to be good to him because he’s “getting even better ideas” now. He also has a forebodingly echo-y voice now to indicate to a wary Kirk that shit’s about to get real.

So, what’s the deal with Jim and Gary? Everything is played rather ambiguously between them, certainly in no small part to indicate to us, the audience, that they’re close and have been for years. To have them discuss blatantly spelled out exposition of their shared past would feel in-organic and I’m glad the Star Trek writers chose ambiguity for this reason. But this ambiguity, plus the sultry way Gary teases Kirk and the affectionate, bashful blushes and smiles he gets in return could easily indicate that their friendship may not be platonic (or perhaps it is now, but hasn’t always been- maybe there was some sexual exploration together at the academy and feelings due to this that Kirk never really shook). There’s subtext enough here to believe so, I think. I’ll leave it to the reader to decide whether or not Gary could qualify as one of the earliest indications that Jim may not be so immune to masculine charms as history would so direly like for us to believe.

Anyway, Kirk returns to the bridge to find Spock watching Gary’s superhuman reading speed that is ever increasing. Spock pointedly asks the rhetorical question, “Is that Gary Mitchell? The one you used to know?”. A rather...knowing question for a being that claims to not understand or experience emotions. Kirk orders a 24 hour watch on Sickbay and all the examinations and tests possible. Gary then looks over at the viewing screen, right at Kirk, as if to suggest he knows he’s being watched.

Back in Sickbay proper Dr. Dehner has arrived to...probably do an examination or something but she’s not coming off as 100% professional. Since she’s being a little bit more receptive now Gary reluctantly apologizes for having called her a “walking freezer unit” and she assures him that “women professionals do tend to overcompensate”. Once again, this has been obligatory misogyny thanks to the 60′s!!! This little song and dance continues between them as Gary changes the readings on his vitals panel and pretends to be dead (just to get Dr. Dehner close to him- smooth, buddy) and recites a love sonnet at random from memory (that was actually written by Roddenberry himself when he was an aviator- the more you know!). 

It’s funny how het flirtation in this show is only different for being more blatant in dialogue and sometimes physicality. The acting choices, reactions, tone of voice, expressions, etc, are pretty much the same when the subtext suggests it’s two men flirting. Just saying.

Lt. Kelso comes in to check on Gary and Gary informs him exactly what’s wrong with the engine. Have you gathered yet that this guy has special powers now? Gee, I hope so, because it’s not as if the show has been making that abundantly clear. 

The Department Heads once again meet in the...meeting room, I suppose, Lt. Kelso showing via a blown circuit that Gary was right somehow. Dr. Dehner is late because she’s apparently in love with Gary now to the point of throwing all sense of professionalism out the window; when Spock points out Gary is transforming into something unnatural, Dehner chides him for not showing more compassion despite those on his planet not having feelings like “we” do. Kirk naturally jumps to his defense and Dehner continues in her tirade, chiding Kirk also for not ‘caring more’ about his close friend. Kirk justifiably reminds her that he and Spock are just doing their damn jobs, lady, JESUS. Also what happened to the professional that wisely rebuffed Gary’s attempts to openly flirt with her in front of her colleagues back at the beginning of the episode? I’m more concerned about Dehner’s changing personality at this point, tbh. 

It soon becomes clear that Dehner’s been withholding information about Gary’s abilities. Her defense for having done this is that maybe a superhuman man would be really great thing, guys, like a better kind of human being. There’s a long, awkward, uncomfortable pause while everyone in the room gawps at the fucked up eugenics bullshit she just spouted out and it’s kind of a glorious moment, honestly. Instead, offers Spock, Gary’s power will likely grow beyond their ability to thwart him and they will become a nuisance to him and who knows what kind of shit will go down then.  Kirk dismisses his Department Heads with the instructions not to tell any of the crew about this. 

Kirk solemnly wanders off to the side, lost in thought and no doubt conflicted about possibly having to watch someone he, well, loves (in what way is up to you) change into a monster. Spock, who can’t seem to go a minute of screentime without himself or some other character reminding us that he supposedly can’t feel or doesn’t understand earth emotions or whatever, stops dead in his tracks and slowly turns around to his Captain. Something has compelled him to stay back and continue talking to Kirk and it certainly wasn’t an order. 

(the emotionless, stoic Vulcan who can supposedly feel nothing ever looks on concerned for his friend and captain. Does anyone in the crew really buy that no emotions story or-...?)

Spock basically restates what Kirk likely already knows (that Gary is dangerous, duh) and we also hear the first very important, vulnerable use of the name “Jim” instead of Captain. They’re alone, after all, and despite all protestations Spock knows how this affects his friend and cares about that. Deeply, perhaps. Even still, Spock isn’t one for soothing platitudes. He elects instead to remind Kirk of the facts of the situation and when he’s defensively asked to provide suggestions and not just state the obvious, Spock says they can basically maroon Gary on the planet they need the lithium crystals from or they can kill him. No pressure, Jim.

Kirk is upset by all of this so he tells Spock to “get out of here” and Spock insists that those are the choices, whether he likes it or not. “Would you try for one moment to feel?” Kirk rallies back, though he seems more sad than angry. “At least act like you’ve got a heart...we’re talking about Gary...” Spock says that the Captain of the Valiant probably felt the same way- and look at where the waiting got him! Spock also says he thinks he and Kirk probably came to the same conclusion. From the look on Kirk’s face we can assume Spock is right about that.

It’s interesting in this scene that the one thing we already know Kirk finds endearing about Spock -his defensive need for logic in any situation- is the one thing that irritates him enough here to throw back in Spock’s face when he presents the cold hard facts about their situation. However, we as the audience should know by now that the fact Spock was affected and moved enough by Kirk’s mood to stay back and talk to him in private indicates that he does care a great deal. What’s more, that logical perspective, rather than some simpering “poor you” sympathy speech, is exactly what Kirk needed to get his head back in the game and do what needed to be done.

This is the part where I’d go so far as to say Spock has been a better friend (boyfriend, in time) to Kirk than Gary probably ever was. Granted, most of what we’ve seen of Gary thus far has been under the influence of the evil tinfoil eyes, but we do know that Gary was one for toying with Kirk’s emotions to get him to behave a certain way (the “little blonde lab technician”). Gary is even more charismatic than Kirk and one gets the impression he knew what to say to get what he wanted long before the powers. Perhaps Gary was good at telling Kirk what he wanted to hear. Spock tells Kirk what he needs to hear and cares enough about him to bother.

In any case, the decision is made; Kirk will attempt to maroon Gary on the uninhabited lithium mining planet. He, Spock and Dr. Dehner return to Sickbay to retrieve him and Gary has become as cocky as he is powerful. He can read thoughts now so when Kirk asks him what he’d do in this position, Gary says, “Probably just what Spock is thinking now. Kill me, while you still can.” He smiles knowingly as Kirk goes and gives Spock a reproachful, sort of scolding head shake, but no sooner does Kirk come back that Gary strikes him with some kind of electric shock. Was this manipulative little smile just a result of evil tin foil eyes or was this some of a rivalry with Spock resurfacing? Hard to say for sure, as we don’t know much about Gary Mitchell prior to the evil powers. 

Once Kirk is struck, Spock, the emotionless Vulcan who we can only assume has no impulse to act on, jumps quickly into action with his phaser because like hell you’re going to strike the Captain and get away with it. He too is struck.

(omg so emotionless, you guys)

Gary goes on some more about how powerful he is and how he needs the right world for his ends when Spock and Kirk somehow take him by surprise and restrain him to the bed (despite the fact that he’s supposed to have super perception and strength, but the plot needs to move after all). They also manage to somehow get him to stand up straight for the transporter despite being unconscious but, again, whatever. 

Everyone beams down and Gary is put in a cell while attempts are made to salvage parts for the engines. Gary attempts some carefully worded manipulation on Kirk, recalling the time he intercepted some poison darts aimed at Kirk and nearly died from it, so why should he fear him now? Kirk calls Gary out on his true intentions and the ego that’s grown along with his powers betrays him when he attempts to launch out beyond the electric barrier. The shock drains his power and for a moment he returns to normal.

As Gary’s eyes return to their familiar brown, he says in a very small, soft, almost frightened voice, “Jim...” and we’re granted a much more vulnerable insight into the depth of his feelings for his friend. Perhaps there was some amount of manipulation to their relationship all along, exacerbated now by the god-like powers, but in this very brief moment we’re allowed to believe that perhaps Gary really did care for Jim in a sincere way as Jim so obviously cares for him. Masterful acting, that.

Unfortunately, it doesn’t last. When Gary’s eyes change back he hisses, “I’ll only get stronger. You know that, don’t you?”. Later, Scotty informs Kirk that the salvaged switchboard fits the Enterprise’s bridge and asks if Spock received the phaser rifle he ordered down. Kirk is confused for a moment until Spock shows up with the aforementioned rifle and he’s angered by this. He stomps over to a corner, followed by Spock who explains his reasoning in that Gary keeps getting closer to escaping the force field. 

“Dr. Dehner thinks he isn’t that dangerous, what makes you right and a trained psychiatrist wrong?” Kirk argues.  

“Because she feels, I don’t. All I know is logic. In my opinion we’d be lucky if we could repair this ship and get away in time.” 

Kirk checks on the now completed self-destruct button that Lt. Kelso has rigged up. He shares a long look with Spock before reluctantly ordering the lieutenant to press the button if Mitchell escapes and there’s no other alternative. 

This conversation between them is interesting because they’re essentially both avoiding the truths of their respective situations. Kirk sounds not unlike Dr. Dehner did when she was arguing for Gary’s innocence; desperate, emotional, smart enough to know better but compromised enough to convince herself differently. Of course, her arguments were fueled by romantic affection and Kirk’s could easily just be that of a strong platonic bond but...the fact that there’s a parallel between them is interesting. 

Meanwhile, the audience should be well aware by now that Spock is quite capable of feeling and acts on those feelings and impulses more than he’d like to admit. I think on some level he and Kirk both know this, so arguing that he “doesn’t feel” wouldn’t really be a convincing argument in this case for someone who knows him so well, if it was meant literally. I think what is really being said here is that Spock isn’t so deeply emotionally compromised by Gary, whereas Kirk and Dr. Dehner are (but not both romantically? Hard to believe). Spock can see and own the difficult truth of the situation where Kirk cannot, or, rather, will not. 

Unfortunately this plan doesn’t work out because Gary becomes wise and takes control of some wires to strangle and kill Lt. Kelso. Back at the cell Dr. Dehner continues to argue that he isn’t dangerous and Gary 100% backs her up on this by electrocuting and knocking out Kirk, and then Spock (who of course tries to shoot him with the phaser rifle after he dares to harm the captain). Dr. Dehner finally joins Gary and reveals that she, too, now has tinfoil eyes. SPOOKY.

Later, the not-McCoy doctor comes to tend to the unconscious Kirk and Spock. Kirk wakes first but asks that the doctor not revive Spock until after he’s left to go after Gary- further evidence to the fact that Kirk is well aware Spock feels and acts on something other than logic, particularly where his Captain’s well-being is concerned; either Spock would try to stop him or come with him for protection, but either way Kirk isn’t risking it. 

Elsewhere on the planet Dehner and Gary are meandering around exchanging awkward dialogue, making the artificial plant section of Hobby Lobby appear around them and eating fruit and drinking water because apparently despite having god-like powers they still need the essentials to survive. Kirk does a poor job of hunting them from the shadows; they don’t need god-like extra perception to hear Kirk stumbling around, knocking over rocks and otherwise letting the whole planet know of what he’s doing. Gary tells Dehner to go talk to him so she can see “just how unimportant they are”. 

The conversation that ensues is the kind that really elevates and defines Star Trek where it is in the pop culture subconscious, one that makes it more than just space people in space doing space things, a layer of complexity that I think has been lost in the translation to the frankly horrific ‘rebooted’ series (my opinion, your mileage may vary). Dehner insists that what Gary is doing is right for her and him and other powerful Espers like them, they are where it will take humanity eons to reach in evolution, but Kirk insists this isn’t true. Though Gary may have ‘god-like’ powers, he still has his inner human frailties and demons that his growing ego won’t resist. A true God needs compassion and wisdom to temper those powers. He begs Dehner to think about this like a psychiatrist would- logically, perhaps? Indeed, Kirk is pulling from that logical need Spock has aptly reminded him of. 

Gary finds them again and physically forces Kirk to ‘pray’ to him while assuring him of his inevitable death. Kirk challenges Dehner in asking her if she likes what she’s seeing, “corrupt power corrupting absolutely”. She decidedly does not and finally strikes Gary with her own powers to stop him. He strikes back and weakens her significantly, but she’s done the same to him and this gives Kirk and opportunity to show off his infamous fighting skills, get his shirt ripped open, and straddle his probable former lover in the sand. Not the first time he’ll have borderline erotic fight like this with another man. In the end, he manages to trap and I guess kill Gary in the burial plot made for him. A strategically placed boulder is all that’s needed to stop god-like powers, I’ll have to jot that one down.

(there’s no good reason for this picture other than Shatner was a really hot piece of ass back then and I like to appreciate that from time to time)

The fight has weakened Dehner too much and she dies too, as I clumsily alluded to happening earlier in this write up. 

Kirk returns to the ship and adds Dehner and Gary to the list of official losses and ends their service records with the honorable notation that they gave their lives in performance of their duties. Spock, looking concerned, seems to sense the difficulty in this for Kirk and comes to stand silently beside him- a subtle gesture of support and condolence, and it would seem sufficient at that, but then he goes on to assure Kirk that, “I felt for him too” where concerned Gary’s helplessness to the power. 

Kirk seems a little stunned at the confession, but the smirk that follows says that he isn’t surprised and is furthermore pleased that Spock would openly admit what he already knows so well. “I believe there is some hope for you yet, Mr. Spock,” he subtly teases with a private grin and knowing look. Spock smiles too, but not until he’s looking forward where no one can really see, not even his Captain. 

Certainly there’s a message in this episode about how absolute power needs morality and compassion in equal measure, but there’s also an interesting disparity between Kirk’s two closest ‘friends’. Even before the god-like powers, Gary is very charismatic and knows exactly what to say to make Kirk grin and blush and giggle, whereas Spock is very honest, straightforward, and no nonsense. Gary seems as if he was always emotionally an open book, whereas Spock for many reasons comes across as emotionally unavailable (even if that isn’t really true). 

Assuming that there was perhaps a romantic, sexual history with Gary and Jim, it would be a natural assumption that Gary allowed Kirk ‘close’ to him pretty early on, though I think the genuineness of that relationship is difficult to really call for sure. Certainly there was a strong bond between them that I don’t doubt the honesty of, but I get the distinct impression that Gary probably did a lot in the way of bait and switch, reeling Kirk in and then pushing him back out when it suited him, manipulating him from time to time.

Spock, meanwhile, is the exact opposite. Not very charismatic, tells Jim what he needs to hear rather than what he wants to, insists despite the bond growing between them and the feelings and impulses that he acts on that he can’t feel. Or rather, won’t admit that he does. Perhaps this has created something of a frustrating barrier for Jim, always feeling as if he’s distant from Spock where Gary would let him in so readily. 

However by the end, it becomes clear that despite his insistence to the contrary,  Spock is the more devoted, the more caring, the more dependable ‘friend’, and maybe Kirk has decided he is more than willing to go the extra mile, however long it takes, to help Spock coax down those walls if he so wishes to further their bond...in whatever form that may take. 

Thanks for joining me on this long ass study of Where No Man Has Gone Before. I’d love to hear everyone’s thoughts and feelings on the episode, what I’ve made of it, things I may have missed, etc. HMU! 

Join me next time for a similarly long write-up and subtext evaluation of The Corbomite Manuever. 

CLARKSON, KELLY

Since we’ve already tackled a fairly diverse musical sampling in this tome, it may not shock you to learn that I sincerely think Kelly Clarkson is awesome-sauce. And I’m not just referring to her talent (which is obviously abundant) or her register of great songs (which is also obviously abundant), I’m referring to her essence—the authenticity she embodies, and how much more fundamentally likeable she is than any other pop star of her stature or epoch. I have not met Kelly Clarkson, yet her entire vocational ethos has been so blessedly free of pretention that I kind of feel like I know her, even though the only thing I know for a fact about Kelly Clarkson is that she is a singer named Kelly Clarkson.

I never viewed one episode of the American Idol season she won and I have never seen her interviewed as far as I can recall. The impressions I have of her character are intrinsic, based on nothing more than the calmative sound of her voice and the traits I instinctively suppose a person whose voice sounds like hers must surely possess (certain voices are just like that—I don’t think anyone on the planet assumes Morgan Freeman is a dick, for instance). By that criteria alone, I am led to believe Kelly Clarkson is a kind human being, the sort of gentle soul who gleans authentic happiness from making other people happy. I am led to believe she is a humble human being, the sort of grateful and unaffected luminary who lends her resources to numerous charitable causes without requiring any fanfare for it. I am led to believe she is a wonderful mother, although I am merely presuming she has kids since I don’t actually know anything about her personal life. And I am so innately certain of these things that if someone told me they have it on good authority that Kelly Clarkson bathes in the blood of kittens to preserve her youth, I wouldn’t believe that person for a second, even if they had pictures (conversely, if someone told me the same thing about Taylor Swift, they wouldn’t even need photos to convince me).

I have an anecdote which supports my hypotheses, even if the anecdote isn’t my own. My cousin Lauren worked at a restaurant in Hawaii for a few years, and on her last day at this café, a vacationing Kelly Clarkson happened to stop in to eat there. Since it was Lauren’s final shift, her co-workers were scribbling farewell messages on her uniform with magic markers throughout the day, inscribing it like the pages of a yearbook. My cousin’s engraved vestment drew the notice of the eatery’s eminent visitor, who amiably asked about its significance; when Lauren explained the circumstances to this world-renowned superstar in her establishment, Clarkson proceeded to gush about how delightful she thought the gesture was and asked if she could add her signature to the shirt. As a result, my cousin is now the proud owner of a decidedly unique piece of apparel which is autographed by a slew of her former hospitality industry peers… and Kelly Clarkson. When Lauren told me this story, I was acutely charmed and—yes, I admit—a little envious. But I was not a bit surprised, because that is exactly the sort of genial exchange I imagine everybody who meets Kelly Clarkson probably has with her (conversely, if Lauren told me that Taylor Swift came into her restaurant, wrote “fuck you” on her t-shirt, then defecated on the floor, she wouldn’t even need the signed garment to convince me).    

While artists like Lady Gaga and Nicki Minaj have allocated periods of their careers to embodying post-apocalyptic femme-bots or community-theater sorceresses or whatever-the-fuck, Kelly Clarkson has exclusively devoted her career to embodying a performer named Kelly Clarkson who doesn’t come across as markedly different than the self-effacing lass named Kelly Clarkson who curls up on her tour bus after her concerts to watch old episodes of Friends (granted, I have no idea if Clarkson is a fan of that particular show, but she sounds like she must be). The only way I would ever recognize Lady Gaga in the wild is if she walked up to me and said, “Hi, my name is Lady Gaga”—and after I nodded and remarked, “oh, that’s kinda neat for you,” I can’t imagine I’d have much else to say to her. Yet if I happened to be at a craft store and I spotted Clarkson browsing the yarn aisles (for some reason, I also presuppose she knits a mean sweater), I would instantly know who I was spotting because she would probably look exactly like Kelly Clarkson always does, and I’d feel duty-bound to approach her, shake her hand, and thank her for being all of the things I assume she is. And if she wanted to hang out for a little while and chat about patterns, I would totally hear her out, because listening to Kelly Clarkson extrapolate on the textile arts sounds like a perfectly pleasant way to spend an afternoon. I have a strong sense that if I were to meet up with Kelly Clarkson for coffee—actually, now that I think about it, she probably prefers tea—we would totally get along; I also have a strong sense that Kelly Clarkson is precisely the kind of celebrity who actually would meet up with a fan for tea (not me, obviously, because I clearly sound like a lunatic right now).  

“The Girl Next Door” is such a tired trope (especially in my case, since the girls who live next door to me are a Goth lesbian couple), but that is indeed the model Clarkson educes: an ingenuous small-town gal-done-good who spent her teenaged weekends canning homemade jam with her grandmother and reading YA romance novels on her porch with a glass of fresh-squeezed lemonade beside her (again, I’m not sure Kelly Clarkson did any of these things; regrettably, my insights into small-town living are limited to the saccharine tableaus represented in the Lifetime Original movies I’ve watched over the years—which, consequently, I presume Clarkson also enjoys). Her comportment evokes a high-spirited yet enduringly sweet kid sister you impulsively want to protect from the leering eyes of the world, and while she is certainly a beautiful woman, my attraction to her has never ventured anywhere near the realm of the erotic (my pop chanteuse crush is Demi Lovato, whose open struggles with bi-polar disorder, depression, and substance abuse—perhaps unfortunately—make her way more my type than Clarkson is). Honestly, I can’t envision making out with Kelly Clarkson; any fantasies my brain might entertain about her would be more likely to involve tracking down whatever scoundrel inspired the fervent pathos in her performance of “Behind These Hazel Eyes” and defending her honor by punching that fucker in the face.

I guess the word I’m really looking for here is “refreshing.” While Clarkson built her renown in a realm of play-acting, her career has been defined by an absence of artifice, which is ultimately a much more substantive thing to define oneself by than prowling around in spangled booty shorts. At her peak, Clarkson’s implicit message to the young women in her fanbase seemed to be, “you don’t have to pretend to be something you’re not; just be who you are and great things will happen.” I’m certainly no prig, but if I had a music-consuming daughter who looked to pop idols for guidance, I’d much rather her absorb that philosophy than the one proffered by, say, Rihanna—whose well-publicized turbulent coupling with Chris Brown would instead tacitly edify my fictional offspring that “ride-or-die” means sticking by your man even after he beats the absolute fucking shit out of you.

Of course, Kelly Clarkson’s ascent was predominantly reliant on her faculty—I doubt millions of people bought her records solely because she’s a nice person—yet in that respect also, she handily outshined her contemporaries. While most of the circa-aughts female pop icons were essentially sonically interchangeable, Clarkson’s soaring vocals always had enough distinctive character to render them unmistakably hers—surely, no amount of Auto-Tune could have endowed the bottom-scraping likes of Fergie with enough juice to do “Because of You” justice. She was also savvy beyond her years, and it was her refusal to let her handlers dictate the course of her career that ultimately allowed her to flourish when so many of her fellow American Idol graduates floundered.

Clarkson’s sophomore album—2004’s Breakaway—turned out to be the best-selling entry in her discography, and will likely forever remain her most iconic opus. But she had to fire her manager and battle just about everyone else in her camp to make that disc happen on her terms. After riding the wave of Idol worship which lifted her safe and satisfactory debut Faithful to its logical ceiling, she was tenacious in her resolve to transcend that threshold and announce herself as an artist capable of achieving far greater heights than triumphing in a televised popularity contest. As preparations for Breakaway began, Clarkson insisted on being heavily involved in the songwriting process—disregarding the protests of her mostly-male producers, who myopically deemed that a twenty-something woman couldn’t possibly possess any insight into what the twenty-something women who comprised the largest audience for the record they were making wanted to hear. She was also adamant about integrating more diverse and dynamic elements into her sound instead of simply settling upon another cycle of tepid pop-contemporary numbers. The result was a monster of a record that offered up five chart-igniting classics and a supporting cast of remarkably strong deep cuts. As evidenced on Breakaway, Kelly Clarkson’s vision of her craft encompassed something much weightier than a series of Pez-dispenser singles and shark-costume dance numbers. She clearly wanted to make a cohesive album that never gave the listener occasion to reach for the Track-Skip button, and she succeeded brilliantly. Commencing with the anthemic title cut, the feisty “Since U Been Gone”, the masterful “Behind These Hazel Eyes”, and the show-stopping apogee “Because of You” in immediate succession, Breakaway is surely a front-loaded disc, but it’s nevertheless one that continues delivering gems long after it exhausts its radio bait: “Addicted” is as solid as anything else on the record, “Walk Away” brims with irresistible quirk, and despite being buried near the tail-end of the track listing, “You Found Me” is more indelible than most other artists’ biggest hits.

This, too, illustrates a refreshing component of Clarkson’s mien—she made an entire record worth listening to, a feat which regrettably few artists on the pop landscape ever seem to bother themselves with. None of the tunes on Breakaway resonate as throwaways; each has something to offer beyond a hummable chorus, and each is solely Clarkson’s domain, firmly entrenched in her esthetic wheelhouse and blessedly devoid of any posturized pandering or blundering Ja Rule cameos. Even at this early stage of her artistic development, she possessed a seasoned understanding of the clear difference between making a song marketable and making a song memorable, and a keen awareness that those two things are not mutually exclusive. Surely, Clarkson was just as aggressively promoted as any of her peers, but her product wasn’t aimed at the audience hungry for gyrating, hypersexual caprice—peddlers like Christina Aguilera already had that demographic covered. Kelly Clarkson wasn’t selling her navel, she was selling a much more durable commodity: fantastic songs performed by an exceptional singer. And the grandeur of her vocal acumen elevated her wares beyond the disposable and into the timeless—indeed, as of this writing, Breakaway remains a thoroughly satisfying listen; meanwhile, nobody would bother spinning an Ashlee Simpson album from start to finish today, not even Ashlee Simpson.

And unlike far too many of her colleagues, Clarkson didn’t require a force-field of studio trickery to bolster her transmission. The organic nuance and passion in her voice floated atop the reverb rather than drowning in it, and the intricate, exquisite descants she conjured revealed hours spent mining her soul for the best way to communicate the emotion each track called for instead of pondering what shoes to wear in the eventual video. Which is probably why “Since U Been Gone” still makes me pogo around my apartment every time I put it on, while every Katy Perry song sounds like it was specifically written for a lipgloss commercial.

Clarkson’s output has waned in the last decade or so—though “Stronger” is a notable high-point—but even if her most significant work is destined to remain behind her, the legacy she built for herself transcends her standing as the first and most successful American Idol victor (at press time, that is; I’m willing to entertain the possibility that Lee DeWyze or one of the seven other winners whose names nobody remembers might still create the most amazing record ever made). After weathering an era replete with shameful moments like the skinhead meltdown of Britney Spears, The Pussycat Dolls pledging the drooling males in their litterbox echelons of filthy sluttery their lowly mortal girlfriends could never aspire to, and Lindsay Lohan being Lindsay Lohan, Kelly Clarkson emerged with her class, her dignity, and her career intact. The reality-TV platform that introduced her to the world is now a footnote, but her catalog continues to stand the test of time. And even though I actually shook Randy Jackson’s hand when he ate at the restaurant where I work (take that, Lauren), Clarkson will always be the American Idol alumnus I feel most closely connected to.

Speaking of… Kelly, if you’re reading this: my last shift at Eureka is on Monday, January 28. If you happen to be in the vicinity of Claremont that night and feel like swinging by, I’d be honored to have you sign my shirt. Just don’t invite Taylor Swift, please; I heard she does some really gnarly shit to kittens.

 January 17, 2019

Plight of Women Employed In Unorganised Sector

The term ‘unorganized labor' stands for scattered and fragmented workforces working individually sometimes loosely associated, in various occupations. Unorganized labor is not formally cohesive in any recognized association and union with defined ideology, goals, and areas of specialization. In India, women constitute nearly half of the total population and they play a vital role in the domestic sphere, in the rural field and also in an urban economy. Yet, their economic status is still low as it reflects from the census data, particularly of those who are engaged in the informal sector of the urban economy. In many- a –case, they are at a disadvantage as their work is in people’s private homes, outside the arena of labor inspectors. Unorganized sector always plays a vital role in terms of providing employment opportunities to a large segment of the workforce in India. Near about 92% of the total employment in the Indian economy during the period 1999-2000 was accounted for by the unorganized/informal sector. A large number of women from rural areas migrate to cities and towns all over India to work in Unorganized Sector. Most of these women and girls are illiterate and unskilled. They work in inhumane conditions in cities as their living standard is extremely poor. It is a recognized fact that there is still no society in the world in which Women in Unorganized Sector enjoy the same opportunities as men. According to the 2001 census, about 96% of Women in Unorganized Sector in India. Problems faced by Women in Unorganized Sector: Lack of education: Illiteracy is the biggest problem because they do not get time to educate themselves. In childhood, they have to start working early which do not allow them to go to school. Insufficient skill & knowledge: Majority of female do not have proper training and skills aligned to their task. This results in excessive stress and inefficient working. The exploitation of female labor: the Female worker is more vulnerable to exploitation by the employer. They can be easily threatened with their job for indecent favors. They are also subjected to severe forms of sexual harassment in the workplace. Insecure job: Absence of strong legislation controlling the unorganized sector makes the job highly insecure in this sector. The non-sympathetic attitude of employer: Temporary nature of employment in this sector does not allow the bond between the employee and employer to establish and become strong. Extreme work pressure: Female are overworked; they work twice as many hours as worked by their male counterpart. In the agriculture sector, the condition is the worst. When measured in terms of the number of tasks performed and the total time spent, it is greater than men as per one study in the Himalayas which found that on a one-hectare farm, a pair of bullocks’ works 1064 hours, a man 1212 hours and a woman 3485 hours in a year. Irregular wages payment: There is a lack of controlled processes in the unorganized sector which results in an untimely payment of wages to the workers. When it comes to payment to female, it is even worst. Wage discrimination: Female do not get similar payment to the male for the same work. The Minimum Wages Act, 1948 safeguards the interests of workers by providing fixation of minimum wages mainly focusing on the unorganized sector and in specified occupations (called scheduled employments) (Section 2 g). The act binds the employers to pay their workers the minimum wages fixed under the Act from time to time (Section 12). Owing to their jurisdiction the Central and the State Governments fix, revise, review and enforce the payment of minimum wages without any discrimination of gender (Section 3). With effect from November 2009, the National Floor Level Minimum Wage has been increased to Rs 100 from Rs 80 (in September 2007). Several states have fixed higher Minimum wages than those prescribed by Central Government for highly skilled, skilled, unskilled and semi-skilled workers engaged in Scheduled employments. Exclusions: Workers: Wages to disabled people and those payable to a dependent family member of the employer Industries: Un-scheduled industries are generally excluded. With every revision of minimum wages, a state can add a minimum wage for an occupation or specify it for a sector.   Even if the Minimum Wages Act prescribes a minimum wage for females in the unorganized sector, females are still exploited and underpaid by their employers. Seasonal employment: Many of the unorganized sector industries are seasonal. These industries include fruits processing, pickle making, agricultural sector, construction sector, etc. They have to fetch another employment when there is no work during the off-season. Physical problems: The working conditions are not healthy. The workplace is not ergonomically designed. This results in workers facing fatigue resulting in physical problems. Female workers are mostly on such tasks where they need to remain in one position such as agriculture. This results on to savior problems such as a backache and knee-ache. Comparative Study of Women in Unorganized Sector in USA and India In the USA, the minimum wage rate for the Women in Unorganized Sector is at least $7 per hour, it can go up to $18 per hour. However, in India, the minimum wage rate is Rs 100 per hour which is very low when compared to other countries. In the USA, the workers employed in the unorganized sector get social security benefits and medical benefits. Women get maternity benefits and a comprehensive system is there to make sure that the workers are not discriminated and are able to work with dignity. Every worker is respected and behaved with, properly. Whereas in India, workers employed in the unorganized sector do not get any social security benefits, for women the benefits are equal to none. The workers are also not treated properly in society. The USA and other developed countries have set an example for the developing countries to follow. Developing countries like India should formulate a policy which ensures all-round development of persons (especially women) employed in the unorganized sector. Legal Frameworks available for Women in the Unorganized Sector Constitutional rights and duties enumerated in Part III and IV of the Constitution of India are pivotal to the demand for protection of laws of women workers. There are a few legislation, which is directly applicable for women workers, such as, The Maternity Benefit Act, The Equal Remuneration Act, The Mahatma Gandhi National Rural Employment Guarantee Act (MGNREGA), etc. Article 14 guarantees equality before the law and equal protection of laws; Article 15 prohibits discrimination on the ground of sex. The Equal Remuneration Act guarantees women equal treatment relative to similarly situated men in the workplace. Under this law, no discrimination is permissible in recruitment and service conditions except where the employment of women is prohibited or restricted by the law. Many studies find that women workers earn lower wages than men workers. The wage differentials between female and male agricultural workers are based on a pre-assumed gender character. Employers and contractors offer simply lower wages to women, regardless of their performance of the job. In the given situation of social and economic neglect, women have no better options. Studies indicate that on average, women’s pay is around 30 percent lower than that of men across all sectors and fields of employment. Employers divide the kind of work to be done between men and women and technically evade the provisions of the Equal Remuneration Act, 1976. The Unorganized Sector Workers Act, 2008 defines unorganized sector workers as those who are home-based, self-employed or wage workers in an enterprise with less than 10 employees. This Act mandates the Central government to formulate a health and maternity benefit scheme for workers covered by it. In reality, this definition also excludes many women working in the unorganized sector, including agricultural laborers, seasonal workers, domestic help or construction workers. Suggestions for Reforms Women in Unorganized Sector Since women workers lack in skill, skill development programs should be provided to them to enhance their skill level. Women workers should be educated and make them aware of their rights and legislative provisions. It is very much essential to create awareness among women workers about the institutional support available to them to protect their rights. A comprehensive law is needed to protect the rights of women workers. Any kind of exploitation including sexual harassment of women workers is to be prevented and stringent action needs to be taken against the wrongdoer. Mass media should be used to communicate the social message relating to women equality. A separate women grievance cell headed by a woman should be established in every organization sector and in case of unorganized sector women to form self-help groups for their protection. Necessary amendments are required to be made in labor laws. There should be proper regulation of unorganized sector industries, which ensure job security, healthy work environment and at least minimum wages, maternity and childcare benefits. The unorganized sector is larger in rural areas as compared to urban areas. The female participation in this sector is more than male. Women worker face grave problems. Their condition is highly unpredictable and has constraints related to their work. It is also clear that self-awareness and education are the magic wands which will fuel the revolution. Manju, “Women in Unorganized Sector - Problems & Issues in India ”(International Journal of Applied Research March 21, 2017) accessed November 5, 2018   Read the full article