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**Shore Leave (S01E17)**

Airdate: December 29th 1966

Written by: Theodore Sturgeon
Directed by: Robert Sparr

Running Time: 50 minutes 


The episodic nature of *Star Trek: The Original Series* (TOS) ensured that its episodes would inevitably vary in tone, ranging from cerebral explorations of existential themes to more lighthearted, whimsical entries. This inconsistency was evident even in the series’ infancy, with the first season’s *Shore Leave* standing out as one of its earliest examples of a “fluffy” episode. While the show’s creators often aspired to blend science fiction with philosophical depth, *Shore Leave* leans into fantasy and surrealism, prioritising escapism over intellectual rigor. Its blend of campy set pieces and psychedelic imagery sets it apart from the series’ more ambitious installments, yet its uniqueness also underscores the creative limitations and budget constraints inherent to 1960s television.  

Written by Theodore Sturgeon, the acclaimed science fiction author known for his philosophical and emotionally resonant storytelling, *Shore Leave* marks an intriguing entry in the TOS canon. Sturgeon’s influence is perhaps most famously felt in *Amok Time*, an episode that redefined Vulcan culture and became a cornerstone of Star Trek lore. However, *Shore Leave* reveals a different facet of his talent: a playful, almost absurdist approach to exploring human psychology. Sturgeon’s script, while uneven, demonstrates his ability to weave personal anxieties and desires into a narrative framework that balances comedy and existential inquiry. His later *Amok Time* would showcase a more nuanced and impactful integration of character depth, but *Shore Leave* remains a testament to his willingness to experiment with the series’ boundaries.  

The episode’s plot, though simple, is emblematic of its tonal quirks. When the *Enterprise* arrives at the Delta Omicron system, the crew discovers a seemingly uninhabited but lush planet, prompting Captain Kirk to grant his officers shore leave. However, the planet proves to be an illusionary playground operated by a mysterious Caretaker (played by Oliver McGowan), who manipulates the environment to manifest each visitor’s subconscious desires. Dr. McCoy encounters Wonderland’s absurdity, Sulu is drawn into a nostalgic gunfight, and Kirk confronts repressed memories of his Academy rival Finnegan (played by Bruce Mars) and a former lover Ruth (played by Shirley Bonne). Meanwhile, Spock’s struggle to beam down—due to the planet’s drain on the ship’s power—adds a layer of tension, while the Caretaker’s revelation underscores the episode’s central theme: the dangers of indulging unchecked fantasies. Though the resolution is somewhat abrupt (Kirk permits the leave but warns of potential pitfalls), the narrative’s surreal progression highlights both the crew’s vulnerabilities and the planet’s capricious nature.  

The episode’s central premise—a planet that grants its visitors’ deepest wishes—is far from original. Indeed, it echoes the 1956 film *[Forbidden Planet](https://peakd.com/hive-166847/@drax/retro-film-review-forbidden-planet-1956)*, which similarly explored the consequences of technology amplifying human desires, albeit with a darker, more cautionary tone. Yet *Shore Leave* diverges by leaning into whimsy rather than existential dread. The inclusion of a giant rabbit early in the episode—a nod to *Alice in Wonderland*—serves as a visual metaphor for the psychedelic era’s influence on 1960s pop culture. This choice, while perhaps anachronistic for the show’s 23rd-century setting, reflects the era’s countercultural ethos, positioning the episode as a product of its time.  

One of *Shore Leave*’s most notable features is its use of location shooting, a rarity in TOS due to budget constraints. Scenes filmed at Vasquez Rocks Natural Area Park and an Africa USA animal preserve brought a tactile authenticity to the story, contrasting sharply with the series’ typical studio-bound sets. While these outdoor sequences added visual variety, they also revealed the show’s limitations: Sturgeon’s original script, which reportedly included elaborate fantasy sequences, had to be scaled back to accommodate the production’s financial restrictions. The result is a patchwork narrative, where the crew’s encounters feel episodic rather than cohesive. Despite this, the episode’s status as a pioneer in TOS location shooting is undeniable, paving the way for future episodes to utilise the same locales.  

Though *Shore Leave* is unlikely to rank among TOS’s most revered episodes, its charm lies in its willingness to embrace absurdity and its focus on character quirks. The cast’s performances, particularly William Shatner’s hammy delivery as Kirk and DeForest Kelley’s gleeful immersion in McCoy’s Wonderland antics, elevate the material. For *Star Trek* fans, the episode offers a curious glimpse into the series’ early experimentation with genre-bending storytelling. Its playful examination of the crew’s subconscious desires adds depth to what might otherwise be a forgettable romp. Additionally, the episode’s influence endures through *Once Upon a Planet*, a 1973 episode of *Star Trek: The Animated Series* that revisits the concept of a planet manipulating reality.  

Ultimately, *Shore Leave* is a mixed bag: its plot is derivative, its execution uneven, and its budgetary compromises evident. Yet its surreal imagery, location shoots, and the cast’s energy make it an entertaining curio within the TOS canon. For audiences seeking a lighter entry into the *Star Trek* universe, or fans eager to dissect the show’s earliest missteps and triumphs, *Shore Leave* remains a fascinating, if imperfect, artifact of 1960s television.


RATING: 6/10 (++)


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