TNG Season 3

This was not meant to be.

This war’s not supposed to be happening.

The demons of our future have finally caught up with us. Forced to face a full disclosure of human ugliness before we were prepared, they found us, they fought us and they won. A tragedy of such proportions that its reverberations are still being keenly felt to this day, made even more tragic by the knowledge of how entirely avoidable it was. What happened? What went wrong?

“The Best of Both Worlds” is the episode that just about universally gets cited as the point where Star Trek: The Next Generation stopped messing about, came into its game and at long last stepped out of the shadow of its predecessor. Even in the comparatively recent re-evaluation of the series in mainline fandom that posits the *entirety* of Season 3 as the show’s high water mark, not just “The Best of Both Worlds”, this episode *still* gets wheeled out as Star Trek: The Next Generation‘s finest hour time and time again.

It’s not. It’s not any of those things. But it is important.

Nor is any of that other received history true either, by the way: As I never tire of pointing out, Star Trek: The Next Generation was never cult or unpopular, consistently being rated among the top twenty most watched shows on television for its entire seven year run. In fact, ratings had been steadily climbing over the course of the third season, and while “The Best of Both Worlds” may well be the peak of the show’s early popularity, with damn good reason, I might add, it didn’t do anything more to make or break this show’s success then anything else we’ve been looking at over the past three years. But it can perhaps be said that Star Trek: The Next Generation was still not being embraced by a particular subset of its audience, namely hardcore Star Trek fans, pretty much only because it wasn’t the Original Series. Fans being fans, they loudly voiced their non-directional dissatisfaction at anyone who made the ill-advised decision to listen to them, including members of the production team.

Due to a combination of Trekkers being pretty much the dictionary definition of “vocal minority” and a dangerously myopic view held by Paramount corporate that Trekkers were Star Trek: The Next Generation‘s primary demographic, one can perhaps understand why Michael Piller went into this story with the express intent of demonstrating Captain Picard’s humanity, which fans seemed to think he lacked, by stripping him of it. Piller had grown increasingly distant from his writing staff as the third season went on, rightly figuring most of them would be walking out on him by year’s end (sadly, this was something of a self-fulfilling prophecy, as I’ll bet this is exactly what strained his relationship with people like Melinda Snodgrass).…

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If you’ve seen “Transfigurations” and know literally anything about me, you know what my feelings on it are going to be.

This is plainly the best episode of the entire third season precisely because it’s so unlike anything else in it, with the exception of perhaps “Tin Man”. This is the moment where the promises and themes Michael Piller hinted at in “Evolution” finally come to fruition: It fulfills the potential the earlier episode could only grasp at and is where Star Trek: The Next Generation‘s new mission statement finally becomes clear. Tellingly, it’s not written by any of the current staff writers, but is a concept fleshed out and fully realised by “The Offspring” scribe René Echevarria at Michael Piller’s personal request, in the pitch that actually got him his staff job. Knowing this, the title of “Transfigurations” becomes particularly apt, as change finally does seem to be in the air. It’s a fleeting burst of clairvoyance, a brief glimpse at what this show could be, should be, and has always had the opportunity to be in the last moments before everything implodes in on itself.

It’s curious that this is a story Piller warmed up to as much as he did (even putting the finishing touches on it himself), considering it’s once again a script that seems to go against his central tenet that everything must fundamentally be about the main characters. That it’s so self-evidently successful and beautiful is also the clearest sign we’ve seen yet that Piller might be wrong about this particular conviction, or at least that he ought to refine it a bit. Because in spite of its origins as a story about “how 24th century medicine works up close and personal”, this episode is absolutely about John Doe and the effect he has on the crew, and critically, the effect they have on him.

Doctor Crusher is John’s primary and obvious interlocutor, and yet her actual role in the story is somewhat elusive and deceptive. A number of readings try to interpret this story as her falling in love with him, but that’s not what’s actually going on (indeed, this is a tack even the show itself seems savvy of, given the dinner scene between Bev and Wesley). No, while “Transfigurations” is unquestionably Bev’s best outing so far, what’s happening here is a full realisation of her new role as live sciences mystery solver: John is the ultimate science mystery for her to crack, because in him she (rightly, as it eventually turns out) sees the future of humanoid life, albeit perhaps only unconsciously. The quest for knowledge and understanding, and a hope this will help us know the universe and our place within it even just a tiny bit better, drives and energizes her. And let’s not forget that for all of John’s miraculous and seemingly impossible acts of healing, as both he and Beverly repeat a number of times throughout the episode, it was she who “gave him life”.…

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“ahahahahaha I have no idea what’s going on”

Possibly the kindest thing I could say about “Ménage à Troi” is that it perfectly encapsulates the entire third season in one convenient package. If you want to know what Star Trek: The Next Generation looked and felt like in its third year of existence in soundbite form, look no further because this one episode runs the entire tonal gamut.

It is a comedy episode, or at least a decent stab by the creative team at what a comedy episode should maybe look like, it ticks off the “bring in Majel Barrett for her annual guest spot” box, it gives certain actors room to relax and clown around a bit, it had Gene Roddenberry pop in to make a minor tweak to the script, it’s an episode prominently featuring both the Ferengi and a surplus of silly and embarrassing costumes, has some clumsy attempts at world-building and art direction that manage to completely ruin the wonder of a Star Trek alien society, it’s built around a few surprisingly touching and well done (and obviously Michael Piller inspired) character moments that echo each other (yet that don’t *quite* manage to get a real hold on the people involved) and it shoves Deanna Troi in a box to shut her up for twenty minutes while men talk over her.

Let’s talk about the good first. Namely, this is the first proper “Lwaxana Story” the show has done, meaning the first story actively invested in looking at who she is as a character rather then wheeling her in either to shake things up and set the show straight (like in “Haven”) or to take part in a tragically unfunny sexist runaround (like in “Manhunt”). And true to form Barrett runs with it, delivering a wonderfully interpolated and multi-layered performance that manages to be poignantly sympathetic and broad-strokes comedic all at the same time. Here’s where we get the first glimpse of precisely *why* Deanna and Lwaxana have such a strained relationship, and it’s painfully relatable: There’s an actual “generation gap”, as it were, in play here where mother and daughter have two conflicting and irreconcilable views of what makes for a fulfilling life. And I will say this is sort of the first time this year the show has tried to do something like this and has actually managed to pull it off, as this feels like a genuine extension of what we knew of Lwaxana before that adds genuine depth to her character as opposed to just kind of throwing all of that out in favour of generic angst. The way her unwavering love for her daughter and her well-being shapes all the decisions she makes is actually really touching and heartwarming.

(Although that said, it is a bit weird in hindsight to have the notoriously vivacious and flirtatious Lwaxana Troi suddenly so interested in heteronormative domestic wedded bliss-Thankfully this doesn’t manage to completely take for her later appearances.)…

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Ambassador Sarek.

This episode should not exist.

I don’t mean there are thematic decisions I disagree with, or there are narrative framing problems, or even that the story is morally, ethically or politically indefensible: Indeed, at its heart this is a wonderfully moving story about aging and a loss of self and identity, as every critic on the face of the planet to cover this franchise who isn’t me has already duly noted. I mean the entire ethos of this story, from conception to execution, is predicated on the demands of Hollywood business networking rather than good creative or storytelling sense. It is the most depressingly obvious of cynical pandering, and the fact the actual episode turned out to be this good is actually an incidental nonissue, albeit one that that shows how heroic the writing staff was and how connected to their series they had become by this point, whether willingly or not.

The sad thing is this still keeps my from enjoying it.

Mark Lenard recalls how Gene Roddenberry came to him with the idea do this episode after he visited the offices one day, telling him “you know, it’s about time Sarek comes back! After all, Vulcans age very slowly”. This is the same Gene Roddenberry, it should be noted, who had made it expressly clear that there was to be absolutely *no* crossover between Star Trek and Star Trek: The Next Generation, even going so far as to place an outright moratorium on even *referencing* the Original Series because of his firm, and absolutely fucking correct, belief that the new show needed to stand on its own without constantly leaning on its illustrious predecessor. If nothing else this was, after all “the next generation”, and should be focused on attracting people who were not already established Star Trek fans; “the next generation” of people to grow up on the series’ utopian values ideals, as it were. But values and ideals, it would seem, last only until a respected veteran actor shows up on your doorstop and you decide you need to do a little schmoozing.

But I mean Mark Lenard is a great actor, obviously, and even if the decision to cast him was business motivated, that doesn’t mean the episode had to be a write-off or that the character you’re going to have him play absolutely *needs* to be the one who it just so happens the most obsessively fannish contingent of your audience is going to recognise and expect. I don’t see any reason the show couldn’t have had Lenard fill just about any role they could have thrown his way-It didn’t *have* to be literally Sarek again. Hell, even if you *explicitly wanted* to invoke the Original Series you didn’t need to do that: Diana Muldaur had a stellar tenure on Star Trek: The Next Generation playing someone who quite plainly *wasn’t* Ann Mulhall, Thalassa, Miranda Jones or Bones McCoy yet who successfully stood in for all of them to serve a more nuanced narrative role.…

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“Well, shoot or be damned!”

I’ve been pretty negative on this show lately, so lest you think I go into these looking for things to complain about, here’s another episode I never saw when it originally aired and never managed to catch on reruns. I had no preconceptions about how good or bad it was going to be, but I had read a lot about it and knew it got a lot of praise. So no prior baggage to jettison here, just a solid example of how Star Trek: The Next Generation worked when it was at is supposed creative and aesthetic peak.

And guess what? I still didn’t like it!

My big problem with “The Most Toys”, as has been the case with most things this season, comes down to a philosophical disagreement on my part as to how Star Trek: The Next Generation should be approached (Yes, I rib Bailey, Bischoff and White, but only because I see where they’re coming from and empathize. It’s always healthy to be able to laugh at things you care about, doubly so if it’s traits you see in yourself). I’ll touch on that a bit later (I suppose I have to), but for the moment let’s take a look at something I think will be of more interest to the readers of this blog: I have heard from more than one reader or critic in Doctor Who fandom about a prevailing theory that in this episode Kivas Fajo is meant as a stand-in for The Doctor. Considering Kivas Fajo is an evil psychopath with no regard for sentient life who literally kidnaps and imprisons living beings for his own amusement I find this highly interesting, as I generally thought Doctor Who was understood to be about sort of the opposite of those things.

The obvious explanation would be that, Doctor Who fans being Doctor Who fans and thus having some unfortunate complex in regards to Star Trek: The Next Generation that compels them to view it as the staunch enemy of everything they hold dear because they seem to have a pathological need to define themselves in opposition to something, are reading “The Most Toys” as some kind of malicious satire of Doctor Who’s philosophical and ethical groundwork. Which…doesn’t actually make sense if you watch the story itself. I mean, Fajo himself doesn’t seem to me to bear even a passing resemblance to the good Doctor, apart from I guess the fact he has a quirky and offbeat manner of speech and has a female travelling companion. Over the course of the episode’s runtime, I racked my brain trying to come up with some way this could be read as a parody of Doctor Who or some attempt to put Star Trek: The Next Generation‘s values (well, such as they are at this point in time and yes, I said it) in conflict with it and I honestly could not come up with any way to make even a shoddy simulacrum of an argument out of it.…

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I never liked “Hollow Pursuits”. I still don’t. Make of that what you will.

I would seem to be in the minority, as I am with literally everything else in my life, up to and including Star Trek. Apparently, a whole lot of people relate to Reginald Barclay on a very profound level, some even going so far as to claim he is the *only* relatable character in the entire Star Trek: The Next Generation cast. Now, I like Barclay too, even though I manifestly do *not* share the same connection with him that so many others have: He’s an interesting character and obviously Dwight Schultz is massively talented, no argument there, but, knowing as I do what a sizable subset of Star Trek fandom looks like, I have to wonder about precisely what so many people see in Barclay, what that says about Trekker culture and whether or not that’s even a reading “Hollow Pursuits” can support. And furthermore, there are some structural and creative quibbles I have with this episode that give me pause as to whether it’s actually sending the proper message it ought to be sending in the context of the situation it’s trying to examine.

The thing about Barclay is that, thanks to his awkwardness and sense of isolation (emotions that are not by themselves shameful or problematic, it should be noted) it’s altogether too easy to read him as a more sympathetic and nuanced portrayal of Nerd Culture than what Wesley Crusher affords: He’s an engineer, he suffers from crippling social anxiety such that his only recourse is to escape into a world of make-believe and is constantly and unfairly bullied and alienated by his peers, peers who are even described by Paula Block and Terry J. Erdmann in their writeup of this episode as “the cool crowd”. Indeed, they even go so far as to say

“Rather than mixing with the cheerleaders and the football stars at hot weekend dance clubs, those kids are more likely to spend their time at home reading a little sci-fi, or playing games online, or attending a Star Trek convention. 

Barclay’s a nerd who’s good at solving engineering puzzles, but not at making conversation. he works in a world where sci-fi is reality, online games are life and death and conventions-like baseball-are a thing of the past. So he finds something even better. He finds the holodeck.”

And I’m sorry, but no. No, no, no. This is wrong. So very wrong, and on so many different levels. First of all, it should be stressed, that this was absolutely not the intent of anyone in the creative team. Director Cliff Bole makes it perfectly clear that this episode was not meant to be about Star Trek fans, he would have heard about it if it had and he certainly didn’t see the episode that way himself.…

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Every so often, the fans get it right.

If you think “Samaritan Snare” is completely indefensible and irredeemable in every other respect, you must at least acknowledge that it was responsible for bringing one good thing into the world: That would be “Tin Man”. Writers Lisa Putnam White, David Bischoff and Dennis Russell Bailey were so famously fumed up over the former episode, ambitiously calling it the single worst piece of Star Trek ever filmed that they decided, as all Trekkers are wont to, that they could write Star Trek better than the professionals and set about sending in a submission to Star Trek: The Next Generation with the express intent of showing them how to write their own show. Bailey, Bischoff and White were no rank amateurs, though: They were a team of published literary science fiction writers who had together penned a Nebula Award nominated short story called “Tin Woodman” in the December, 1976 issue of Amazing Stories that was later adapted into a novel and, as it so happens, this episode.

Ironically enough, as much as the trio were convinced they were better than Star Trek: The Next Generation‘s creative team, they would never have gotten their story onscreen without them. Without Michael Piller’s open submission policy, this script never would have seen the light of day, doomed to live out the rest of eternity with all the other unsolicited spec scripts. One is forced to imagine that particular meeting going down a bit awkwardly, since not only was Piller giving them the opportunity to get their script filmed, he was also shouldering the threesome’s ire for the alleged sins of his predecessor Maurice Hurley. But, if René Echevarria could swallow his pride enough to become a beloved and respected member of the team, so could Bailey, Bischoff and White. And, annoyingly, it turns out they were right: They really could turn out a better story than the creative team, because “Tin Man” is nothing short of an absolute triumph. This is the first production since “The Bonding” where it’s demonstrably clear that Star Trek: The Next Generation is unquestionably firing on all cylinders.

It even got Michael Piller himself to sit up and take notice. We know as a general rule Piller shied away from scripts that place too much focus on guest stars and guest characters, believing, largely correctly I feel, that stories needed to be about the regulars in some capacity. And while “Tin Man” certainly doesn’t shove the regulars to the sidelines as everyone is actively involved in the plot and has some not-insignificant stake in what’s going on, the actual “story” as it were can only be read to be about Tam Elbrun and his journey. Although Piller obviously had a hand in rewriting and editing “Tin Man” just as he did with pretty much every story he was on staff for, it’s quite telling, and a testament to the quality of the original submission, that he let that go through and didn’t demand a comprehensive reconceptualization of the story’s whole thematic focus the way he did for “The Offspring”.…

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Pictured: Not Captain Picard.

With the show’s newfound brief to focus on character interiority, we’ve seen the creative team work hard to come up with a specific conception of who exactly these characters are. Now, it’s more than possible to argue that our main cast already had characterization, it was just characterization that was different then what this team eventually decided on and made canon (indeed, I think that’s precisely what happened), but regardless, the fact is the third season has had a series of episodes dedicated to nailing down a new set of personality traits for the Enterprise crew: We had “Evolution” for Wesley, “Booby Trap” for Geordi, “The Enemy” and “Sins of the Father” for Worf, “The High Ground” for Doctor Crusher, “The Ensigns of Command”, “The Defector” and “The Offspring” for Data, “The Vengeance Factor” and, uh, “A Matter of Perspective” for Commander Riker and, um, “The Price” for Deanna Troi.

Yeah, that doesn’t look so hot all laid out on paper now, does it?

The thing about this is that while this season in general and these episodes in particular get credit for “fleshing out” previously vague characters, I happen to think all that happened is that people like Ron Moore and Ira Behr got to completely reconceptualize the entire cast of Star Trek: The Next Generation and they just happened to get lucky that theirs were the interpretations that wound up taking. Either way, perhaps surprisingly, the one character this team has had a particularly hard time nailing down has been Captain Picard. He’s been written particularly changeably this season, and upsettingly so as there seems to have been a trend to depict him as very tight-laced, stringent, stodgy and reactionary (I’m thinking particularly of “The High Ground” and “The Offspring” here, though he has had good moments in stories like “The Defector” and “The Hunted”).

To me, this is writing him horribly out of character. The Captain Picard I know, the one derived from the best moments of the first two seasons, is a boldly progressive and highly principled explorer infatuated with travel and the universe. He’s a romantic at heart, yet someone who is also in possession of a fierce moral code and still a bit socially awkward in places. Even so, Captain Picard should be the first person to stand up against the banal evil of the Federation and to remind humanity that its place is amongst the stars. He embodies all of the ideals the Federation lies to itself by claiming as its own. The Picard of “The High Ground” and “The Offspring” cannot possibly be the same person who stood firm against Federation neo-imperialism in “Too Short a Season” and “Conspiracy”, who made regular trips to the Holodeck to play games with his friends and who went to the hilt for Data in “The Measure of a Man”. He’s not even the same person who chatted with the crew about ships in bottles in “Booby Trap”, directed Henry V or took up painting.…

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What “The Enemy” was for the Romulans, “Sins of the Father” is for the Klingons.

This episode is frequently held up as an important turning point for the series and rightly so, as it defines a lot about what Star Trek: The Next Generation (and Star Trek: Deep Space Nine too, for that matter) is going to look like going forward. But “Sins of the Father” is also the kind of episode that’s exceedingly difficult for me to write about as it’s been extensively analysed and historicized by just about every major publication to cover the franchise. This is the kind of episode I hate because it leaves me with perishingly little new erudition to add to the glut of discourse that already exists. Yes, yes, this episode sets in stone pretty much everything we think of when we think of Worf and the Klingons, yes it’s a strong character piece and yes it’s a major step in the development of more explicit serialization in episodic Star Trek. Yes, the award-winning set design and matte paintings are all gobsmackingly good. And yes, it sets up “Redemption”, about which I have a lot to say, but I’ll save for the fifth season. That’s all true to be sure, but it’s also blindingly and bluntly obvious to the point I don’t even think it’s really worth taking the time to talk about.

But then what is there left to say about an episode like “Sins of the Father”? I could be my usual grouchy self and dispel some myths about the backstage stuff: This episode is frequently touted as being the moment where real characterization, serialization and world building was introduced to Star Trek: The Next Generation. Which would be true except for the minor fact it does none of those things. Maybe it’s just me and my judgment is clouded by over 25 years of familiarity with this show, but I haven’t had a hard time piecing down who people like Captain Picard, Commander Riker, Geordi or Data (or, much as I hate him, Wesley) are so far. The only characters who did seem to lack a bit of detail were Doctor Crusher (who got better) and Tasha Yar (who isn’t around anymore to complain and thus doesn’t matter anyway). So then the argument goes this is the first time a so-called “second tier” character like Worf got a large-scale story arc all to themselves, which would be a fine argument if you chose to conveniently ignore “Heart of Glory” and “The Emissary”. Yes, those particular story threads weren’t ever fully developed on after those episodes, but that doesn’t mean they wouldn’t have been had the creative teams that worked on them stuck around for longer than one season apiece.

Then there’s the argument that “Sins of the Father” was the first episode to introduce serialized, arc-based storytelling to Star Trek and that this was manifestly a Good Idea.…

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