The Empath

Star Trek fan Joyce Muskat, fresh out of UC Berkeley, was working as a newspaper reporter when she wrote her first television script, "The Answerer". It was inspired by the 1933 science fiction novel When Worlds Collide, and also by an ancient Egyptian custom of inviting a person to speak on behalf of another who was being judged.[2] Muskat was also working at a local theater, and wanted her story to be shot on a bare, surreal set, like a stage play that focused on the characters. Her theater employer, playwright and screenwriter Robert Fisher, liked the script and, acting as her agent, submitted it.[3] Star Trek producers Gene Roddenberry, Fred Freiberger and Robert Justman all thought it had promise, but agreed there would have to be some changes. Muskat reworked the script based on their input. Freiberger, Justman and Story consultant Arthur Singer made further changes and Singer also gave the story a new title, "The Empath". Since Muskat was not a member of the Writers Guild, Star Trek would be saving money, which was becoming very tight.[4]

Star Trek associate producer Robert Justman had worked on an episode of The Outer Limits called "Nightmare", which also dealt with men being brutally interrogated by aliens on a minimalistic set. The episode was directed by John Erman, and Justman hired him for "The Empath", given their similar themes.[5] Erman in turn hired a few actors he had previously worked with. He remembered Kathryn Hays from his time as a casting director, and recommended her for the part of Gem. She had also impressed Gene Roddenberry in an episode of Naked City that he had written.[6] The actors who played the Vians (Lal and Thann) were friends of Erman. Willard Sage (Thann) had also worked on the Outer Limits episode. Alan Bergmann played the main Vian, Lal. He was reluctant at first, as the part sounded limited and he didn't like the idea of wearing grotesque makeup, but Erman eventually persuaded him, and promised to expand his role.[7]

Filming began on Thursday, July 25, 1968.[8] There was a delay due to Shatner, Nimoy and Kelley being unhappy with elements of the script, and various injuries and illnesses including Kelley suffering a back spasm.[9] The scenes on the surface of the planet were filmed first, then the cast and crew moved to Paramount's giant Marathon stage 1, dressed as the surrealistic underground chamber. Guest star Kathryn Hays recalled, "A cyclorama went around the entire studio set right up against the walls and that, along with the floors and ceilings, was painted black, so it looked like we were out in space."[10] Filming finished on Friday, August 2, one full day behind due to the problems at the start of the shoot. This was to be cinematographer Jerry Finnerman's last Star Trek episode; he had been with the show since the first episode.[11] This was also the only Star Trek assignment for director John Erman. He did not enjoy the experience, due to Shatner and Nimoy wishing to direct themselves. Erman later said, "Nobody was like Bill and Lenny. I don't remember any other actors saying what those guys said, which was, 'Oh no, my character just wouldn't do that.' That was the ultimate put down for a director."[12] Guest star Alan Bergmann recalled, "Mr. Shatner and Mr. Nimoy seemed to be in conflict. They struggled over better camera positions and made life difficult for the director."[13]

"The Empath" has a distinctive music score, composed by George Duning. His use of the Yamaha organ was, according to the composer himself, the first time that the electronic instrument (newly arrived from Japan) was featured in a Hollywood film score. The enchanting theme for Gem was used in many subsequent episodes during tender, romantic scenes.[14]

"The Empath" was broadcast on NBC at 10pm on Friday, December 6, 1968, and was the second most-watched season three episode (after the season opener, "Spock's Brain"), with 34 percent of the audience share. It was not repeated on NBC in summer 1969 because the torture scenes were considered too graphic for the earlier time slot.[15]

In the UK, the BBC decided to cancel the scheduled 16 December 1970 screening of the episode (it was listed in the Radio Times), following the screening of "Miri" two weeks previously, which had received a number of complaints from viewers. This caused the BBC to look at Star Trek more closely, resulting in the banning of both episodes along with "Plato's Stepchildren" and "Whom Gods Destroy". Fans writing to the BBC prior to another repeat run in 1984 received this reply: "There are no plans to screen the four episodes because we feel that they deal most unpleasantly with the already unpleasant subjects of madness, torture, sadism and disease." The episodes were not screened by the BBC until the 1990s.[16][17]

This was one of DeForest Kelley's favourite episodes. He said, "I thought it was so dramatically done. The entire stage was blacked out in black curtains, and everything was done in 'pen spots'. It was so unique in production values and the cinematography on it."[18] Guest star Kathryn Hays recalled in an interview, "I’ve often thought that was an interesting role for me to play. I loved playing that. It was technically very interesting. That show was fascinating to work on from a technical point of view. It was so different from a regular show."[19] Guest star Alan Bergmann said, "Given the minimal sets and the ludicrous pajama-like costumes of the regulars, the episode was quite successful in text and production."[18] Writer Joyce Muskat said, "When I saw it, there were a lot of changes. But the storyline of Gem learning something is the same, and the idea of the stark setting and four characters interacting was still there. So I couldn't find fault with it. I was very satisfied."[18]

In 2015, Polygon ranked "The Empath" as one of the three best Spock-centric episodes of Star Trek.[20] They praised the episode for its moralistic conclusion and what they call the best acting performance by Nimoy, who plays Spock.[20]

A 2018 Star Trek binge-watching guide by Den of Geek, recommended this episode for featuring the trio of characters Kirk, Spock, and Bones of the original series.[21]

• Cushman, Marc; Osborn, Susan (2015). These are the Voyages - TOS: Season Three. San Diego: Jacobs Brown Media Group LLC. ISBN 978-0989238182.