Mirror, Mirror by: Jerome Bixby and directed by: Marc Daniels

 

“Mirror, Mirror” is written by Jerome Bixby and is directed by Marc Daniels.  It was filmed under production code 39, was the 4^th episode of Star Trek Season 2, the 33^rd episode of Star Trek, and was broadcast on October 6, 1967.

 

It’s kind of funny that the evil goatee used to represent the evil alternate universe version of a good character originated in 1967.  Yes, the goatee to represent evil in general is much older due to its status symbol among the aristocracy, but “Mirror, Mirror” is the origin for the evil bearded double from a parallel world, as well as several other tropes about parallel worlds in fiction.  It also became a ubiquitous idea that only four years later across the Atlantic Ocean Doctor Who would subvert the trope by having their evil double of a good character explicitly clean shaven.  “Mirror, Mirror” is a simple episode designed to explore the question of what an evil parallel universe would look like, an ion storm sending Kirk, McCoy, Scotty, and Uhura to the retroactively named mirror universe in a transporter malfunction.  Their goal in the alternate universe is simply to find a way back and survive this harsher reality, the mirror version of the Enterprise being in the same position above the planet Halkan.  While evil may come in all forms, but Jerome Bixby’s exploration of the alternate characters is mainly focused on Spock, Sulu, and Chekov, with episode guest star Lt. Marlena Moreau played by BarBara Luna being the only other character to get exploration.  There is exactly one scene with the mirror universe versions of Kirk, McCoy, Scotty, and Uhura, which is mainly there to give William Shatner a chance to go completely over the top as the characters we know to be capable immediately capture and subdue them.  Playing the majority of the episode in the mirror universe is for the best as it allows Bixby’s script and especially the ideas of what the universe is meant to be to be realized by Marc Daniels’ direction.

 

Evil is honestly a difficult thing to quantify, though it is obvious that the “evil” of the mirror universe is systemic and baked into the environment the characters have lived in their entire lives.  Bixby is careful to keep the characters recognizable and their motivations entirely clear: Spock being perhaps the prime example.  Leonard Nimoy may be sporting the evil goatee but the mirror universe version of Spock is still completely logical and working towards what he believes to be the greater good.  This version of the greater good, a rebellion on Halkan is his ultimate goal to take down Starfleet’s Empire, but this rebellion will be hundreds of years in the future and Spock is not afraid to use harsh tactics to achieve this goal.  Nimoy and Shatner play off each other perfectly at the climax, Nimoy elevating the performance with nuance and charm.  Kirk is able to use reason to get through to Spock and it is implied that perhaps some of the universe may change sooner than Spock’s initial plans.  The environment has essentially compromised the morality of our characters to be incredibly cunning, advancement in rank is done through mutiny and both Chekov and Sulu have their sites on advancement.  Both attempt a revolt at points during the episode, Walter Koenig as Chekov has his best performance thus far as the failed revolt leads to punishment in the Agony Booth which is only a few shots, but they are terrifying shots.  Spock is also fascinating as while he easily could have taken Kirk down for advancement, he doesn’t actually desire it as he enjoys his position as First Officer and scientist.

 

Sex and sexuality is the other important aspect of the mirror universe that is explored in this episode, generally being used as power.  The costuming of the mirror universe is obviously made for the male gaze, with Nichelle Nichols’ Uhura being put in a costume designed to focus on her midriff and her general figure.  Interestingly, it isn’t just the female characters who get costuming differences, this episode being the debut of a green costume for Kirk that in the mirror universe loses it’s sleeves.  The rest of the main characters are essentially in uniform that has been altered for the insignia of the mirror universe, except the other female characters of course.  Nichelle Nichols actually gives one of her best performances, this episode giving her a larger part in the plan to get back to the universe proper.  There are moments where she is given the general female role of reacting to the danger and horror, but her part in the plan involves using the attraction mirror universe Sulu has towards her as a distraction.  George Takei as Sulu also gives a genuinely sinister and grounded performance throughout that may be his best so far.  The implication is that women in this universe have to use their sexuality for advancement, Moreau being the only other female character and the only character who doesn’t have a main universe counterpart that is known (she does appear for the final scene of the episode which is the fairly standard Star Trek button).  Moreau is essentially a concubine for the mirror universe’s version of Captain Kirk, but Bixby’s script doesn’t actually denigrate the sex work Moreau does: she keeps her agency and being unsatisfied with Kirk she is completely ready to move on to a better position.  Much of her plot does go down the route of being a love interest for Kirk, but she still has agency and power through the relationship, being willing to kill several crewmembers.  By the end she wants an out of the universe as it is heavily implied that despite the power she doesn’t have full autonomy in her position which is fascinating, but clearly reflecting 1960s attitudes.

 

Overall, “Mirror, Mirror” deserves to be the origin of several tropes involving parallel universe, it’s an episode that does them incredibly well.  Jerome Bixby’s simple plot is the perfect vehicle for exploring the differences and using them to further the familiar characters in tandem with the unfamiliar ones.  Some minor aspects have not aged particularly well, but the entire cast is on top form and really sinking their teeth into the script.  Marc Daniels’ direction and Fred Steiner’s music provide the perfect backdrop for the ideas and the camp elements assist in keeping the viewer in the action.  10/10.