"Requiem For Methuselah" feels more like an episode in Flint's life rather than that of our beloved crew. It's largely a bottle episode, featuring only Kirk's quarters and a quick cut to the bridge (Scotty and Uhura's moment), with a structure that resembles "Forbidden Planet" with more than a few nods to "Squire of Gothos." Though the plot seems derivative, introducing the memorable immortal Flint resolves the mystery most satisfactorily. (At the end McCoy muses about what Flint might come up with? One argument is made here.)

James Daly plays Flint with a down-and-dirty dignity. His renaissance appearance and impeccable domicile enhance the effect. Louise Sorel's nuances allow Rayna to emerge: her use of hands during the waltz, her blank face at Flint's unconnected kiss, and especially her spark at solving the equation "I choose." Speaking of, this form of "teach the android to kiss" is nothing new (cf. Andrea), but it's interesting this time because of the presence of Flint in the background (note how the Kirk/Rayna kiss scene is framed, with Flint's "self portrait" behind them as he himself watches surreptitiously). Supposedly both guest stars disliked their Trek appearance, yet clearly they shine.

The production is largely flawless, excepting the wobbly M4 robot and a minor gaffe when Kirk stares into the main viewscreen, as the helm alternates between a woman and a man at that station depending on the view. Spock is well, more Spockian than usual, playing the piano, surmising their surveillance, cracking the Da Vinci code, even providing enormous emotional insight into Rayna her designer didn't anticipate. (What, no fail-safes?) It's Kirk who's not quite right, prowling with his crew hours away from gnarly death. At only twice his strength Akharin throws Kirk around like a doll, better than a quintuply-endowed Khan. At least when it comes to Rayna Kirk proceeds where Flint shied away, making all the difference. Yet why is Kirk such a young and lonely man that he should find androids attractive at all?

The back-and-forth over billiards between Kirk and Flint regarding the nature of humanity should be more enlightening but the beliefs take backseat to the believers. Flint, the product of solitude, repeatedly acts aggressively, accustomed to getting his way in all things. In the end he remains an old and lonely man. Redeeming the companionship and benevolence of Kirk is McCoy's point at the story's end regarding the things "love" can drive a man to do. Followed immediately, of course, by the Vulcan persuading his suffering captain to "Forget."