"Charlie X:" A troubled adolescent with powerful telekinetic abilites comes aboard the Enterprise and horrifyingly subjects the crew to his undisciplined, torturous powers. Writers Gene Roddenberry and Dorthy Fontana serve up a mature and utterly captivating yarn of space horror that further explores the "power corrupts and absolute power corrupts absolutely" theme, which was well presented in the (second) pilot "Where No Man Has Gone Before" (episode #2). Highly memorable. GRADE A+

"Balance of Terror:" The Enterprise plays cat and mouse with a cloaked (i.e. invisible) Romulan ship in this space version of "The Enemy Below." This is Mark Lenard's first role for Star Trek as the Romulan commander. He is much better known as Spock's Vulcan father Sarek, who first appears in the second season episode "Journey to Babel" (episode #44). Interestingly, Lenard would also go on to play a klingon in "Star Trek: The Motion Picture." He thus holds the distinction for being the only actor to play a Romulan, a Vulcan and a Klingon on Star Trek. Bottom Line: Okay, but generally boring; ridiculously overrated by some. Grade: B- (I'm being generous)

Balance of Terror is in the tradition of the WWII submarine cat and mouse hunt. This early episode really tries to convey a sense of claustraphobia yet at the same time being lost in the vastness of deep space. More importantly the episode explores the them of prejudice and racism.

Balance of Terror-This Romulan battle episode was one of Star Trek's best shows. This episode demonstrates that while science fiction expands the range of possible stories, generally some of the best stories are the most universal. This episode could easily have been transported to the deep, and renamed Das Boot. The basic premise is simple enough, but the story is divided into discrete sections, each of which contains a surprise. I can't think of an episode which more often faded to commercial with actual drama. We are allowed right inside the Captains' minds, so we feel both their uncertainty and fear about encountering each other, and see them reformulating their strategies and estimations of each other as the chess match unfolds.
The episode is further assisted by Mark Leonard's acting (he's even better here than in Journey to Babel) and a dramatic score. The wedding scene also does not detract, since it reminds us that everything is affected by war. Kirk also is at his best here. Over the course of the episode he shows brilliance, compassion, and forgiveness. He also consoles, mediates, accepts criticism, is decisive, and stands up to injustice. Other pluses here include the stance taken on racism, and the fact that the brain trust, even at this early stage in the show, was not afraid to give Kirk a worthy adversary. (5 stars)