Star Trek (TV Series) The City on the Edge of Forever (1967) User Reviews

Forever on Our Minds

[Bogmeister · 10/10 · 5 August 2006]

This is that one episode of the original Trek series which contained a certain inspired, sublime quality, which transcended the limitations of even the best episodes (translation: 10+ stars). We know there is greatness here, but what exactly is this impression that staggers us? Famed writer Harlan Ellison wrote the original teleplay, which was re-written by other hands (causing some controversy that continues to this day) to presumably make it fit better within the confines of Roddenberry's and television's view of the Trek universe. Very briefly, Ellison looked at human beings as more flawed (which, of course, they are) and probably regarded Roddenberry's vision of near-perfect future humanity as a bit too bland. This is television we're speaking about here, when all is said and done, and blandness is de rigueur. But, even the re-writes could not reduce this magnificent piece to anything less than the masterpiece of its day.

The City that the title refers to, on the surface, appears to be the eerie setting we see in the first act, with ruins, as Kirk notes, stretching to the horizon. It is here that we first see the Guardian of Forever, a strange rock-like arch which actually functions as a time portal. We've all seen time travel stories before, with similar devices ("The Time Travelers" from '64, for example). But, it's what happens after we enter the portal that then defines the story and weaves a tale of bitter, even mind-numbing tragedy. There's a chill odor assaulting us even before all this happens, a foreboding, as the Guardian intones 'All that you knew...is gone' after a deranged McCoy leaps into Earth's past. Without having to show the audience anything - anything physical or expository - the story lets us know that the Federation has been wiped away. All that in the span of a few seconds - all gone... just gone. The cosmic hook is that a particular individual, just another citizen in the dim past, can have a profound effect on the course of events within the known galaxy, while others, such as a skid-row bum, would have no effect at all.

The City may also be the city of New York, in the 1930's, for this is where a piece of Kirk (or his heart) will always be - forever, as it were. During the week that Kirk and Spock are forced to live a brief out-of-time life there, the story now stirs in the most potent human elements with the most dire cosmic dilemma - it's a fantastic, unforgettable mix. Unfortunately for Kirk, this was the one scenario he was not trained for. You might note, watching any of the other episodes, no matter how outlandish the threat or problem, it's always something Kirk is able to take control of eventually, to grasp and handle in his own persuasive manner. Not here - gradually, he becomes helpless, caught in the undertow of that perhaps strongest of human emotions after he meets a social worker. As with everything in this episode, actors Shatner and Collins seem to transcend their normal limitations. It's amazing that this episode, at least while taking place in this timeless New York City, is only the length of about half-an-hour; it seems like we're with Kirk & Edith for a good week there, much as it was meant to be.

As I got older, I found it almost too painful to watch the final act of this episode. It's like a piece of music - so well done, you're compelled to listen, but the notes are heart rending and leave that dull ache, as if you're missing something in life. As a comparison, I would bring to your attention another episode, "Requiem For Methuselah" from the 3rd season; it's actually not that bad of an episode, not without interest. But, in that one, Kirk falls in love in the span of an hour and then Spock erases his pain with his Vulcan abilities. Nothing so trite here. By the look on Kirk's face and his words in the final scene, as he dismisses the incredible Guardian, we know he will have to live with this pain forever. 'All IS as it WAS before' the Guardian intones some more. I'm afraid not. Not ever.

The Perfect Confluence

[chrstphrtully · 10/10 · 7 July 2006]

"City on the Edge of Forever" is usually considered one of the best (if not the best) of the series. The praise is well-deserved.

During a meteor storm, McCoy accidentally injects himself with an overdose of cordrazine, which leads him to paranoid insanity. He beams himself down to the planet being orbited by the Enterprise, escapes through a time portal, resulting in the obliteration of the Enterprise's world. Kirk and Spock go back through the portal to try and intercept McCoy (who has interfered with the past), and land in the New York City of the 1930s. They are taken in by Edith Keeler (Joan Collins), a pacifistic social worker, and Kirk begins to fall in love.

As the summary indicates, this episode is the perfect confluence of superb science fiction writing (Harlan Ellison), well-honed directing (Joseph Pevney), and sensitive acting (Shatner and Nimoy in particular). The script is incredibly well-written by one of the best science fiction writers of all time, and uses modest humor (e.g., Spock's clueless insistence on securing platinum, Kirk's explanation of Spock's ears to a policeman, etc.) to keep the story from becoming overly maudlin. For those who believe that William Shatner could not act (i.e., those who had never seen him in his early TV days), his nuanced and sympathetic performance clearly shows how good of an actor he could be. Likewise, Joan Collins acquits herself quite well, and Nimoy is, as always, marvelous. Spock's final line in the 1930s world alone is worth the viewing.

One of science fiction TV's finest moments (so far)

[mstomaso · 10/10 · 29 May 2007]

Before you read any review of this, you should check out 'a l i e n's review - it's the one with the highest vote count, and it's entitled Ellison. This user does a very nice job of explaining Harlan Ellison's various issues with the way the script was handled.

City on the Edge of Forever is a truly remarkable episode of Star Trek's original series. Written by now-veteran sci fi author Harlan Ellison (with help from Roddenberry and his writing team), and directed by one of the original series' most consistently excellent directors - Joseph Pevney - COEF begins with the Enterprise being bombarded by meteors and Sulu knocked unconscious. McCoy injects him with cordrazine and he is fine, but then McCoy falls on the needle and is injected with an overdose. Deranged, McCoy beams down to a nearby planet and the bridge crew follows shortly thereafter.

The rest of the story involves time travel, a bit of romance and some great acting and directing. Kelley, Shatner, Nimoy and guest star Joan Collins give remarkable performances, and bring this fine story to life in a touchingly dramatic and satisfyingly logical manner.

If you want to get somebody hooked on ST, this is a great place to start.

Ellison

[a_l_i_e_n · 20 September 2006]

For years Harlan Ellison has snarled about how Gene Roddenberry falsely claimed his script for "City On The Edge Of Forever" had Scotty dealing drugs. Well, maybe he did, and if so, then Ellison had reason to be annoyed. But setting that issue aside, after reading his original script it does seem that the changes that were made- in some respects at least- were a definite improvement.

Ellison has a mercenary character aboard the Enterprise (not Scotty, of course) exploit another crewman's addiction to an illegal drug so he can get himself assigned to a landing party. That way he can beam down and illegally trade with any native inhabitants. As it works out, the dealer, Beckwith, kills the drug addicted crewman and then finds himself convicted of murder with a sentence of death to be carried out on the planet surface. Upon arrival however, he escapes into the past and screws up history.

Okay, the thing that doesn't seem to work so well about this aspect of Ellison's story is the large amount of time spent in the first act introducing these two new characters. Roddenberry's writers wisely turn the focus back on the regular cast with McCoy becoming the victim of an accidental narcotics overdose that renders him temporarily insane. McCoy becomes the unwitting catalyst for the altering of history, making Kirk and Spock's mission now about both repairing the damage to history- and rescuing a friend. This seems far more emotionally involving than had it remained a pursuit of a sleazy drug dealer through time.

Also, by dispensing with the villainous character, they were able to cut out the slightly uncomfortable fact that they were there for the business of executing a prisoner, and in the original script Kirk seems just a touch too eager to carry out that sentence.

Another flaw in Ellison's version is the introduction of a bunch of rather prosaic characters: long-robed ancients whose centuries old task is the servicing of the mechanisms that make time travel possible on their world. Of course this is just an opinion, but the pulsating Guardian Of Forever with it's booming voice speaking in enigmatic riddles (even insulting Spock by suggesting his intellect is too limited to grasp it's internal workings) trumps a bunch of old guys in robes any day. Making the now automated time portal a full-fledged character is a very good idea because it allows the Guardian to become it's own "device" for delivering exposition, and this seems a more direct method than leaving all the explanations to Ellison's original concept of a group of old men.

Also, when history is changed, Ellison has Kirk and company beaming up to the Enterprise and (as in the later episode "Mirror, Mirror") discovering that the vessel is now a pirate ship called "The Falcon". Kirk and Spock take over the transporter room, locking out the bloodthirsty crew, and then leave the rest of the landing party to fend off the pirates while they beam back down to the planet to try and right history.

Considering there's also the pursuit of Beckwith, as well as the love story set in the 1930's, doesn't it sound like there's just too much story here?

In the streamlined re-write, Kirk leaves the landing party on the planet surface as he ventures into the past of the 1930's to repair history, and this seems quite sufficient plot-wise without the addition of a pirate Enterprise.

One thing that would have been nice to see preserved from Ellison's script occurs in the scene where Edith Keeler has been allowed to die in order to correct history. This is not exactly word for word, but Spock comforts the shattered Kirk by telling him that "no woman was ever loved so much, for you were willing to give up the whole universe just for her." It's a very touching, romantic sentiment (coming from the Vulcan no less!) to end on, and represents one of the best aspects of Ellison's version that didn't survive the re-write.

While much of what did make it into the finished episode was undeniably Harlan Ellison's, the changes that were made to his script do seem to have been appropriate and helped to make this exceptionally well done episode, arguably, even better.

far and away the best Star Trek episode

[HelloTexas11 · 9/10 · 3 February 2009]

It's somehow fitting that the best episode of 'Star Trek' should have taken longer, cost more, and had more controversy attached to it than any other regular season show. There are a number of things one can point to in 'The City on the Edge of Forever' as reasons it should be considered the best, primarily the quality of the writing. Harlan Ellison's original script was not used for several reasons and yet clearly much of what he wrote survived into the final version and it deservedly won a 1968 Hugo Award. The episode seems so much more than just that... it really feels at times as though you're watching a very good motion picture. The eerie beginning, the near-hopelessness of the situation, the interplay between the characters, and that heart-pounding next to last scene where Edith Keeler dies all combine to make 'City on the Edge of Forever' something very special, many times better than the average episode. And just as amazing, it is still 'Star Trek.' There is so much packed into the fifty-minute show and yet it doesn't seem rushed or forced. We actually sit through the opening and first act before Kirk and Spock even arrive in Earth's past. The pivotal character of Edith Keeler is played by Joan Collins (long before 'Dynasty') and it is a perfect bit of casting. The dialogue throughout is sharp and to the point. At one point in the 21st Street Mission where the two officers find themselves portraying homeless men, Spock says, "I'll finish with the furnace." And Keeler promptly adds, "Captain? Even when he doesn't say it, he does." There are many wonderful touches like that throughout the episode. I wouldn't want to take sides in any Ellison/Roddenberry dispute over 'City on the Edge of Forever,' because they both have good reason to feel proud of it. Ellison not only for the original concept and written version, but also for the literacy and magical sense of wonder he imbues the story with, and Roddenberry for bringing it to life within the constraints of a one-hour network television episode, and doing so with the rest of the 'Star Trek' cast and crew masterfully. 'The City on the Edge of Forever' stands apart from other installments in the series, and is a rare achievement.

Probably the best of all...

[joseph t · 10/10 · 2 September 2007]

This episode has it all, a wonderfully written story, catchy title, superb acting, and an unhappy but necessary ending. I recall this story sticking with me through the end of the first season and into the second. The hallmark of a great story is it's staying power, and "City" certainly has it.

First, the writing. As much controversy there is after the fact as to what Roddenberry did or didn't do with Harlan Ellison's original storyline, the fact remains that it is a dynamite story and incredibly well-crafted for the depth of character development and the continuity of the storyline. What can you say about Ellison as a sci-fi writer that hasn't already been said? The guy is a genius, pure and simple. I simply can't imagine a greater contemporary writer. He is one of a Pantheon of great writers, Heinlein, Bradbury, Clarke. That a series like Star Trek would be able to tap his talents is a real feather in their cap.

Regular actors Shatner, Nimoy, and Kelly deliver perhaps their finest performances of the series in this episode. Shatner doesn't miss a beat in his movement from dispassionate mission achievement to a genuine love interest in the Joan Collins character. And Joan Collins demonstrates here her depth as a serious actress. Her portrayal of compassionate social worker Edith Keeler is spot-on. She isn't just another pretty face, another attractive female for Kirk to conquer. She draws him in with her passion for helping others and her gifted insight into the necessity of forging a better destiny for mankind, one individual at a time. Her tragic fate is a mirror for the seemingly senseless and avoidable tragedies of the 20th century. A person dedicated to the service and well-being of others must die prematurely to prevent a greater tragedy. Certainly the eternal question and mystery of our lifetime.

Anyway, "City" is probably my favorite of many favorite episodes of this classic series. Many thanks to Harlan Ellison and Gene Roddenberry for such a masterful presentation of a great story.

Let's get the hell out of here

[snoozejonc · 10/10 · 5 May 2021]

Dr McCoy suffers an accident whilst administering treatment to a crew member.

This is a classic episode with a brilliant story and great character moments.

The plot is a mixture of sci-fi and romance that culminates in a very memorable ethical dilemma. If you like time-travel, period drama and emotion, this one has it in abundance.

From a sci-fi perspective it is a great time travel episode that mixes real life history with the fictional characters. I have always thought a lot about the bad things that have happened in my family history that indirectly led to me being born. People died young, relationships and careers were destroyed, and countless other events happened that resulted in my mother and father being together at the exact time required for my conception. When you add thoughts about about fate and chance, then ask 'what if' it is truly fascinating. 'City on the Edge of Forever' always provokes this type of contemplation about life and the butterfly effect.

Ethics plays a huge role in how the story unfolds as it all leads to a huge climax for Kirk and guest character, Edith Keeler, who has to be one of the most memorable leading ladies he has shared a screen with. As a romance it just about works as well as it can in 45 minute episode, but it's too short a time to really invest in a love story.

There are some excellent moments for Kirk and Spock, with many strong scenes of drama and comedy. Bones also has an important role and his scenes are memorable.

The visuals are simple and effective, particularly the sets, costumes and props. Spock attempting to create miracles in a in a zinc-plated vacuum-tubed culture is superbly done.

All performances are excellent, particularly William Shatner, Leonard Nimoy and DeForest Kelley. Joan Collins is solid as Keeler.

This is often referenced as the greatest Trek episode of all time. It certainly is one of the best, but it really depends what you look for in Star Trek as there are many different types of story. There are some plot holes and some aspects that require a suspension of disbelief, but these criticisms are only minor.

For me it's a 9.5/10 but I round upwards.

Sister Edith

[bkoganbing · 8/10 · 22 September 2013]

Joan Collins guest stars in this Star Trek episode concerned with how the Enterprise has changed the course of human history by a simple act. So much so that the Enterprise ceases to exist and a landing party on a planet that contains a time portal leaves several Star Trek regulars stranded in time and space with said portal.

A temporarily maddened Dr. McCoy jumps through the portal and lands in Depression Era Chicago and Kirk and Spock follow him. Kirk and Spock meet up with Sister Edith Keeler who is not a nun, but she is a woman of charity who runs a soup kitchen there. It is she who even in her drab clothing of the time shows off a lot of inner beauty and charisma. No doubt this woman has leadership potential.

The story is a tribute to Leonard Nimoy's scientific skill as he constructs some device that gives them glimpses into alternate history. Edith Keeler becomes the charismatic leader of a pacifist movement which delays America's entry into World War II allowing for an Axis victory and all that means. Remember he's not on the Enterprise and has to do with the technology of the 1930s.

It is the life of Sister Edith which is the turning point of time itself and in the climax there are some great closeups shots of Bill Shatner, Leonard Nimoy, and DeForest Kelley each expressing different emotions to a tragic event. Worth more than 10 pages of dialog.

Collins also in an atypical role registers well. Usually that woman is dressed to the nines in film and here the part doesn't call for that. But she carries it off beautifully.

A classic for Star Trek lovers.

Amazing - Even 52 Years Later

[jameshoran8 · 9/10 · 9 December 2019]

I have never written a review for any Star Trek episode. However, last night on H&I. I saw COTEOF probably for the fifty some time including when it was originally aired in April of 1967. The more I see it over the years, the more amazing it is and severe admiration is to be Harlan Ellison, the writer. It is wonderfully acted by a restrained Kirk who faces the decision of love vs. humanity. Spock knows this and fears if left alone to make the decision, Kirk would choose love. It is rated the best Star Trek, TOS episode and it's easily to see why. If it's your first time watching this episode, one word....ENJOY.

STANDING OVATION! - (10 stars out of 10)

[BJG-Reviews · 10/10 · 28 November 2019]

The stage curtains open ...

Yep. I'm a Trekkie! And this particular Season One episode, "The City On The Edge Of Forever", is my personal favorite. After all, this is where we find out that Mr. Spock is really Chinese and that his ears was the result of an unfortunate childhood accident when his head got caught in a rice picker - LOL.

In this episode, Bones accidentally injects himself with a dangerous drug called Cordrazine, which makes him reach the limits of insanity. He finds his way to the transporter room where he beams himself down to a nearby planet's surface. Once there, he jumps through a time portal sending him back to the Earth year 1930. Kirk and Spock follow him in because somehow, he does something in the past that alters the future. While they try to locate Bones and stop him, Kirk meets a beautiful woman, Edith Keeler (played by Joan Collins), who plays a key role in their future as well.

I love this episode. It was a tragic tale, but one of the very best that Star Trek had to offer. The love story between Kirk and Edith was brief, but believable. This also showcases DeForest Kelley at his acting best. There are plenty of memorable moments in this one episode alone. I always felt that they could have done an entire Star Trek movie based off of this episode and it's a shame one never got made.

This comes at the very highest recommend possible. A perfect 10 stars out of 10. It is poignant, memorable, well written and well acted. I watch this at least once every year. Without fail. If you haven't seen any Star Trek episodes, like ever ... this is an excellent place to start.

The best of the original Star Trek series.

[longislandjoe · 10/10 · 13 May 2006]

This episode of Star Trek is the best one in its three year history. McCoy accidentally injects himself with medicine that makes him insane. Captain Kirk and Mr. Spock transport McCoy to a planet with a known time machine to transport him back in time and prevent the mistake from happening. McCoy goes through the machine without Spock and Kirk and lands in 1930's NYC. After Spock and Kirk join him in this time period ( they have no idea where McCoy is) they discover Edith Keeler, played superbly by Joan Collins. It appears that when McCoy entered this time period he prevents Keeler from perishing in a traffic accident. Because Keeler was a peace activist and survived instead of died as before she prevents the US entrance into WW II and the world as we know it is destroyed because Hitler is not defeated. Spock tells Kirk that Keeler must die for all of civilization on Earth to continue. Kirk ends up with a gut-wrenching choice to make; to follow his own heart or sacrifice for the good of mankind. The acting by the characters of Kirk, Spock, McCoy and especially Keeler is astounding. The best Star Trek ever. Don't miss it!

City on the Edge of Emotion!!!

[murphyclandonegal · 10/10 · 16 January 2020]

One of the best "acted" episodes in all of Star Trek....small screen or large....and regardless of TOS right on through Discovery. Kudos to Shatner, Nimoy, DeForest and especially Collins. Great story, set design and as mentioned...the performances are outstanding. Definitely among top 3....and that's with all the options available today.

A fun but somewhat problematic time-travel tale.

[BA_Harrison · 7/10 · 28 May 2022]

The City On The Edge of Forever is another time-travel episode of Trek that doesn't hold up if you think about it too hard: The Enterprise is experiencing turbulence caused by ripples in time emanating from the planet below. During the disturbance, McCoy accidentally injects himself with a drug that sends him loopy. The crazed physician beams himself down to the planet's surface, with Kirk and a landing party in hot pursuit. Before they can stop him, McCoy leaps into an ancient stone portal that transports him to Earth, circa 1930. Immediately, The Enterprise and the entire federation winks out of existence, the doc having somehow changed the course of history. Spock and Kirk follow McCoy into the past to try and put things right.

Sounds like a lot of fun, and it is, with the captain and his first in command trying to go unnoticed in depression-era New York; Joan Collins is there too, as mission worker Edith Keeler, who Kirk falls in love with but whose untimely death will ensure that the future remains as it should be. The problem is, when the Enterprise disappeared, so should have Kirk and the crew members on the planet's surface, meaning that they wouldn't be around to rectify matters. I had a good time as Kirk and Spock become accustomed to the early 20th century, and the ending is pure tragedy, as Jim must prevent McCoy from saving Edith's life, but the plot-hole is just too big to ignore*.

*In IMDb's 'Incorrectly regarded as goofs' section, this plot-hole is explained away in later Star Trek productions, but in my opinion, something this obvious should have been addressed in the same episode. And while I'm at it, what was McCoy doing with such a large dose of Cordrazine in his syringe?

6.5/10, rounded up to 7 for IMDb.

Laughably bad script - the worst

[Orson-1 · 1/10 · 10 September 2016]

Apparently mass hysteria is the norm.

Vertigo is now the greatest film and this inane childish episode of Star Trek is thought to be one of the best.

Suffice to say that this is late grade school level writing with a ridiculous plot, absurd dialog and one-dimensional characters plus the absurd casting of the British - accented and five times too glamorous Joan Collins as an American relief worker.

From McCoy inexplicably having 100 times the normal dose in his syringe ( so he can conveniently OD ) to Joan Collins walking zombie - like in front of a car ( to conveniently correct history of which she conveniently is a major player ) this episode is simply ridiculous. Not Star Trek ridiculous, not even Lost in Space ridiculous, but in the entire history of TV ridiculous.

Believe none of the mass clone - like thinking. This is idiot level science fiction from the often over - praised Harlan Ellison.

We have apparently dumbed - down art, entertainment and just about everything so dreck is acceptable, even praised.

Watch it and be prepared to say "Are you kidding" about 100 times.

Shatner's finest performance of the series

[woljm45 · 22 March 2006]

After Bones accidentally injects himself with a shot that causes him to have dementia, he jumps into a time-travel gateway and lands in New York in the 1930's. Kirk and Spock must go in after him and prevent him from doing something in the past that could alter the future. Kirk finds a love interest, played by Joan Collins, but comes to find out that she will play a key role in determining the outcome of Earth's future. Without spoiling it, lets just say it appears Kirk will never have a steady love relationship as long as he is captain. Great job by Shatner and leaves you numb at the end. He even uses the word "hell', which was probably a big deal on television in the late 60's.

Unforgettable, classic episode-perhaps Star Trek's finest hour

[mlraymond · 10/10 · 20 September 2008]

No one who has ever watched this fascinating, unpredictable episode will forget it. From the sheer imagination of the time travel storyline, to the genuinely funny dialog of Spock and Kirk as they attempt to fit in to the world of Depression era New York City, to the tragic ending, this is simply a great episode.

Shatner's acting is superb, showing us sides of Captain James Kirk seldom even hinted at, with a vulnerability and sensitivity that make his doomed love for Edith Keeler extremely moving . Nimoy gives one of his finest performances as Mr. Spock, mixing dry humor with a real compassion and a depth of character that are amazing. We get to know both Kirk and Spock in a deeper way than in most other episodes, with a touching emphasis on their friendship. Edith comments on their obviously strong bond and tells Spock that she can see that Spock's place is by Kirk's side, as if he had always been there.

Joan Collins is simply radiant as Edith Keeler, in a role very different from her usual bad girl image. No wonder Kirk fell in love with her, as even the unemotional Spock could understand the powerful effect she had on his captain.

DeForest Kelley remains offstage for much of the episode, yet he is the focal point of everything that's happening. He does a terrific job portraying Doctor McCoy's paranoia and even grief because of the disorienting effects of his drug induced temporary insanity. One brief moment in his confrontation with the frightened derelict is especially memorable. When McCoy dimly begins to recognize that his surroundings look familiar from historical photos, he smiles and looks happy and excited for a moment, muttering that he'd love to see the hospital of this time period. Seconds later, he collapses into an overwhelming sadness at the thought of the primitive surgical methods used by Twentieth Century medicine, and weeps helplessly, as the bum looks on in a mix of fear and concern.

Which brings us to the origin of all these fine performances: the brilliant story by Harlan Ellison. The ideas, the characters, the dialog so beautifully performed by the actors all began in the mind and imagination of Ellison, and even though he wasn't happy with the changes made in his script, it is still one of the finest pieces ever written for television, of any kind.

City on the Edge of Forever has for years been one of the first Star Trek episodes I refer to when discussing the show with anyone, fan or otherwise. I saw it when it was first televised, and it has stayed with me for over forty years. Everyone connected with this production can be proud of having been a part of such a fine achievement.

Addendum: I have watched this episode four times in the last few days, and each time, am more impressed with the quality of the story telling and the acting. The ending is simply devastating. You believe utterly in Kirk's pain and loss, and Spock's detached seeming, but totally understanding and compassionate attitude. Something draws me back again and again to this episode, even though I can hardly bear to watch the overwhelmingly sad ending. From the comments by many others here, it is obvious that that this episode has had a profound effect on most viewers who have ever seen it. If you have never watched it, see it and you'll understand why.

Portal to the Past...

[Xstal · 8/10 · 16 February 2022]

An opening to everything that's passed, McCoy jumps through as if he'd been recast, Kirk and Spock pursue, after history withdrew, time rewritten with the past no longer past.

Depression era NYC sets the scene as Kirk and Spock pre-empt the arrival of Dr. McCoy whose gone AWOL through a time hole after an accidental cordrazine overdose. The dynasty of the crew in peril if events unfold differently from those that actually took place.

Among the very best

[planktonrules · 10/10 · 7 December 2006]

McCoy is accidentally injected with a stimulant that makes him paranoid and aggressive. He attacks crewmen and beams himself down on a planet the ship is orbiting. There, he jumps into a time travel device that resembles a giant donut and somehow manages to totally disrupt time--so much so that the Enterprise no longer exists. The crewmen who beamed down to look for McCoy before he used the device remain--as if the time change doesn't affect the planet itself but everything else. So it's up to Spock and Kirk to try to use the device to get there just before McCoy so they can prevent him doing something to change time. The problems are timing this exactly right AND figuring out how he impacted history.

Yeah, there seems to be a lot of agreement that this is among the very best (perhaps the best) episodes of the original Star Trek series. And I don't think this is undeserved. Writer Harlen Ellison came up with a dandy script about time travel that is also well-acted and compelling. Guest star Joan Collins is both radiant and a big plus---proving she really could act when she was given a decent script. All in all, a very haunting and moving experience--one not to be missed by anyone--even non-Trekkies.

True Brilliant Science Fiction

[Hitchcoc · 10/10 · 28 April 2014]

I would defy anyone to find a superior Star Trek episode from the original series. McCoy inadvertently injects himself with a drug that renders him temporarily insane. He beams down to the surface and finds himself in front of a cosmic gate that is a portal into all of time. Spock and Kirk see him pass through and follow him, hoping to return him. After they arrive in a big city, they realize that because McCoy entered at a different time, they have to remain occupied until he shows up. The try to do two things. Survive. And create a device that will help them locate their lost doctor. In the process, they make friends with a young woman who has designs on changing the world for the better, Edith Keeler. Spock, who is presented as Chinese (his ears have been damaged by a rice picker, one of the funniest statements ever) and Kirk get jobs at a soup kitchen run by Keeler. Because of the limited power and the lack of appropriate materials, their task is Herculean. Still, they persevere. They are conflicted by the whole business of immutability of time. This is the one issue that always confounds the time travel stories. When Ray Bradbury wrote his story, "The Sound of Thunder," where a man stepping off a path and crushing a butterfly, caused the entire destruction of what would have been a peaceful, benevolent society, he threw this out there. Going back in time requires incredible imagination for a storyteller. The charm of this story involves the rescue of McCoy versus the budding love affair of Kirk and Keeler. I've seen this episode so many times and still love to watch it again. Writing, acting, and production are wonderful and yet they manage to keep it consistent with the characters in the series.

Edith Keeler must die!

[Tweekums · 10/10 · 16 June 2015]

While the Enterprise is investigating temporal anomalies emanating from a planet Dr McCoy stumbles and accidentally gives himself a massive dose of 'cordrazine'. This leaves him ranting like a mad man; screaming about assassins and suchlike. He flees the bridge and beams himself down to the planet. Kirk leads an away party down to the surface where they find an ancient arched device which identifies itself as 'Guardian of Forever' before claiming to be able to send them back in time to any point in Earth's history. As an image of passing time appears under the arch McCoy jumps through and suddenly all contact with the Enterprise is lost. The Guardian informs them that time has changed and the Enterprise is no more.

They ask the Guardian to start again and Kirk and Spock jump through into a period a few weeks before McCoy in depression era New York. They take refuge in a homeless shelter run by Edith Keeler and prepare for McCoy's arrival. Spock works to create a method of viewing the history he had recorded and Kirk grows close to Edith. When Spock finally finishes his work he sees that he has recorded two contradictory histories; one where Edith dies in the near future and one where she does on to work for peace… the question is which history is the 'correct' one, which led to the future being changed and how will McCoy interfere with what is meant to happen?

This episode is considered to be one of the best episodes of the series and rightly so. It uses the time travel device to set up a moral conundrum and surprisingly the doing the right thing will mean allowing a good woman to die. Guest star Joan Collins does a fine job in the roll of Edith and DeForest Kelley's portrayal of the drug-affected McCoy is one of his best performances in the series. William Shatner and Leonard Nimoy are also on top form as Kirk and Spock. The story is well told without excessive melodrama leading to a conclusion that is a genuine tear-jerker. If you are a fan of Star Trek you'll certainly want to see this one.

One of the best, except for, maybe...

[bioneer625 · 10/10 · 28 April 2007]

I agree totally with the other posts. In my opinion, it is in the top three, along with 'An Errand of Mercy', and, of course, 'The Trouble with Tribbles,' which took the #1 spot in an audience choice-pick on (I think) the Sci-Fi Channel. In any event, I can't add anything to the excellent accolades already posted on 'City..', but I can't say I'm surprised, because, after all, despite its extensive re-writes (which I knew nothing about until now), it's still a Harlan Ellison piece, which is to say -- superb. I particularly agree with the person who gave kudos to Joan Collins. I'm not that familiar with her work -- she seems to be cast mostly in fluff roles, meant to extol her beauty -- but this was a terrific performance. Another post alluded to Shatner's acting ability, with which I also agree -- check out 'The Brothers Karamazov', and you'll see what I mean. And Spock, of course, was Spock, except, once again, recognized the depth of human emotion despite his mythic Vulcan stoicism. 'City...', in short, is extraordinary, both as sci-fi AND drama.

One of the very best episodes of the original series

[chrisart7 · 10/10 · 22 January 2010]

We're all wired differently, so I expect we all have different takes on and tastes in things. Still, many regard "City on the Edge of Forever" as the best of the original "Star Trek" series, and it may well be. However, the two-part "The Menagerie" (creating a framing story around the scrapped pilot film "The Cage") has far more story (and colourful settings/situations) to chew on, and "The Naked Time" makes some definitive characterisations of the main cast, as well as being a 'nail biter' of a suspense yarn in the second half of the episode. I suspect Ellison nicked his "We were successful" line of Spock's in "City on the Edge of Forever" from "Naked Time"---if not the whole premise of time travel in a "Star Trek" yarn. Also, the Guardian's statement, "All is as it was," was already spoken by the Thasian in "Charlie X."

"City on the Edge of Forever" is beautifully written and acted, as has been stated by volumes of fans. Some even give kudos to director Joseph Pevney (who said he intentionally shot this episode in the style of a movie rather than a TV show). However, after perhaps a dozen viewings of "City" over several dozen years, it becomes apparent that the MUSIC is also an essential ingredient in its success, and Fred Steiner composed the new cues (using a few old ones by Mullendore and the usual Alexander Courage "Star Trek" theme song). Fred Steiner, just as Max Steiner (no relation) did with "As Time Goes By" in "Casablanca", weaves the theme of "Good Night, Sweetheart" into various portions of "City on the Edge of Forever" to great effect, even in a minor key in the final portion. Very, very effective blend of audio-visual from many contributors, though screenwriter Harlan Ellison (and script doctor Gene Roddenberry) is usually singled out, and deservedly so.

Minor quibbles: watching this episode on DVD without the original commercial interruptions causes the story to progress a bit too quickly. The advertisements actually seem to 'spread out' the progression of time a bit, without which the central love story rolls forward a bit too fast (but we're only talking about a 50 minute episode, folks). Also, it is supposed to take place in New York City of 1930, but the buildings just aren't tall enough. Shatner and guest star Joan Collins even pass by Floyd's barber shop (from "The Andy Griffith Show"!) in a night scene. Matte paintings to heighten the buildings would have helped.

Nevertheless, working with a very limited budget and some very creative people, this absolutely sublime episode captures lightning in a bottle. Watch it and see why.

The only trouble with tribbles is that they are not as good as this episode!

[AlsExGal · 10/10 · 3 April 2021]

I haven't seen this episode lately, but it was well acted, written, and directed. Probably the best episode of the entire series.

McCoy is made delusional when he accidentally injects himself with a dangerous drug. He beams himself down to the planet the Enterprise is orbitting and then jumps through a time travel device on said planet. Now Kirk and Spock are on the planet at the time McCoy enters the time travel machine, and suddenly they can no longer communicate with the Enterprise. Somewhere in time, McCoy has managed to alter the events of history such that the Enterprise no longer exists.

Thus Spock and Kirk go through the time travel device to the same place that McCoy did, which is 1930 Depression era New York City. Edith Keeler (Joan Collins) is a woman who runs a mission there, and she gives them shelter and odd jobs to support themselves while Spock tries to determine what universe altering event McCoy has been a part of, and while Kirk and Keeler fall in love.

For all of the Fox films Joan Collins laid waste to in the 1950s, she is marvelous here as Keeler. She is authentic and you can see why Kirk would have fallen in love with her. Not an inkling of the cheesiness and overacting that made her so bad in the 50s or so good on Dynasty. And it makes you realize that history can turn on such small things.

It took ten months to write this script, and that effort shows. Even if you are not a big fan of Star Trek, if you know something of the nature of the main characters, I really do recommend this one.

touching and solid (for the most part)

[lisafenix · 7/10 · 30 May 2007]

Spock is a bit too emotional, and more people beam down in one trip than there is space for but other than that this is a pretty solid episode. This is (to my knowledge) star treks first look at altered history or of WWII and they pull it off fabulously. Storyline is as follows: McCoy is shot with something that makes him mad (as in insane) and jumps though what turns out to be a living time machine. Of course he alters history so kirk and spock go back to the approximate date of his arrival to fix things. They arrive early, befriend Edith Keeler, who shares many of their ideals, and kirk falls in love with her. Spock meanwhile is trying to find out what McCoy changed and how to fix it. The first glimpse he gets shows that Edith is involved (and the possibility of her death) but not how. At this time neither kirk nor spock know what caused the change; they only know they need to prevent it. By the time the figure it out, Kirk doesn't think he can go through with it.

The episode is especially good because here McCoy has some very good dialog (funny and serious and some that is both) not involving spock! And although spock seems more emotional, he is as logical and dispassionate as ever. kirk on the other hand has quite the battle for values. Most of the drawback comes simply from this being an early episode. They still have some flaws to shake out. But it's all good. 4 out of 5 stars and you can skip the Guardians dialog in my opinion.

not science fiction...or remotely good. one of the many bad time travel episodes

[S_Craig_Zahler · 3/10 · 25 August 2012]

i like some episodes of the original series, but certainly not this one. the popularity of this episode is truly confusing. although i am not expecting Ted Chiang, Greg Egan, Greg Bear, Larry Niven or Arthur C. Clarke in a star trek episode, this beloved episode is not science fiction and this premise--- altering the past and then the future-- was done repeatedly (and better) a decade or more before this piece (by bradbury and in outer limits) without the stultifying "drama."

there are some star trek episodes that have engaging science fiction ideas--- the corbomite maneuver, the changeling, metamorphoses and a taste of Armageddon--- but the many crappy time travel episodes in this series (or slight variations that show "parallel worlds" with gangsters and romans and gladiators and belly dancers and Nazis) are why i cannot fully embrace the show and feel it contributes to people not understanding what the term science fiction means.

more than a decade before this program, Hal Clement wrote mission of gravity and Clarke wrote childhood's end--- so weak time travel episodes (even worse in season 2) as well as the ones with evil kirks and the many creatures that can make your wishes into reality cannot be wholly excused because of the era. it seems like they were out of ideas or just had access to these costumes and sets and wrote something around them.

season three of star trek: the next generation was the first season of this franchise that is predominantly science fiction (even if the risible q character does turn up), and the first one that i, a sci-fi fan, like the major part of.

so for sci-fi fans looking to explore this show start with the above episodes or jump to the next generation season 3 (unless you want to watch joe piscopo, one of the least funny comedians ever, teach an android how to be funny in an episode that was probably not meant to be ironic). or just watch babylon 5, which is good from the very first season.