#kodos

(the second image is from this best post because on trekcore this very micromoment was missed)

This is often overlooked in Shatner's acting, leading to each of Kirk's romances in TOS being perceived as "he's really into it" when he clearly isn't most of the time, purposefully or compulsively using flirting/seduction as a defense mechanism or method of achieving goals (which, okay again, makes him much closer to a noir femme fatale than the classic hero-lover). Kirk is not so much a straightforward impulsive hero as a subtle, measured manipulator. Yes, he does have great kindness and impressive courage, but the most important thing that drives his actions is an almost Vulcan control, ability to adapt quickly, calculating steps ahead, and easily using cunning and deception if the situation requires it.

And even among his inner circle, Spock is perhaps the only one who really sees his true face under the mask of "golden retriever sunny cheerful guy", which is why in TCOTK he immediately dismisses the possibility of Kirk's sincere interest in Lenore, which leads to the further discovery of Kirk's past on Tarsus IV. Even McCoy believes to the last in the sincerity of Kirk's feelings towards Lenore /Did it ever occur to you that he simply might like the girl?/ + /You really cared for her, didn't you?/.

Kirk's entire affair with Lenore is built on absolute mutual insincerity from the very beginning, and each of them is perfectly aware of why they are doing it. And this is actually incredible to watch, because perceiving it as sincerity, you obviously constantly feel some kind of imbalance in the acting and it's hard for you to believe each of them, but once you change the angle of perception and understand that it's all an act, it works absolutely wonderfully in halftones, when the body language and micro-expressions of both very similarly express simultaneously attack and defense:

This is perhaps Kirk's most evenly distributed (in question of power) insincere romance, and a great illustration of how specific Kirk is in navigating power in TOS, always remaining almost femininely limited in this regard, leaning towards cunning and manipulation, and never moving towards the masculine "I take/I have right." This is an incredible dance in the rhythm of cat vs cat, where each is sure that they have the other hooked, but at the same time, absolutely don't trust them. Lenore, while perceiving Kirk as her own victim, is clearly in enemy territory herself, and Kirk hardly ever trusts Lenore at all, and that's the most important thing to me about their dynamic.

Thinking back to their dialogue, which takes place immediately after his conversation with Karidian, I think about how meaningless it's to take it in the context of feelings (as well as his dynamic with Lenore in general), but how important it's in the context of understanding that Kirk is not simply asking "if Karidian is Kodos, to what extent is Lenore defined by that?", that he actually already knows what the answer will be. (It's a question he asks about himself, too. To what extent is he defined by Kodos' actions?)

LENORE: You talked of using tools. I was a tool, wasn't l? A tool to use against my father. KIRK: In the beginning perhaps. But later, I wanted it to be more than that. LENORE: Later. Everything's always later. Later. Latest. Too late. Too late, Captain. You are like your ship, powerful, and not human. There is no mercy in you. KIRK: If he is Kodos, then I've shown him more mercy than he deserves. And if he isn't, then we'll let you off at Benecia, and no harm done. LENORE: Captain Kirk. Who are you to say what harm was done? KIRK: Who do I have to be?