TNG Season 2

The scene where Letek and his away team react with horror at the fact that Tasha is allowed to work alongside her male crewmates as an equal, and even *wears clothes*, is actually brilliant: Letek’s objection ticks all of the misogynistic pseudo-feminist boxes-He bemoans how Earth women are “forced” to work and wear clothes, arguing that the Ferengi prohibition of such things is a more noble and respectful treatment of women. Just think about how many male chauvanists have tried to keep women from holding the same positions of men while phrasing it as if they’re concerned about their well-being or consider women in some sense too special to do that sort of thing, or how many “Strong Female Characters” (in the Kate Beaton sense) refer to bras as “unnatural restraints”. It’s a dead-on satire of patriarchal gender norms and assumptions in contemporary Western culture. 

Lieutenant Commander Data, played by Brent Spiner, is an android built by “unknown aliens” who left him with the combined memories of their people before they vanished. Data was found by a Federation research team who reactivated him, and promptly asked for a position in Starfleet, seeing humanity as an ideal form to strive for. He got one once it was determined he was both alive and sentient, which was a moment of great pride for Data. Although he is superior to humans in every respect (memory capacity, physical strength and endurance, etc.) he steadfastly holds onto an “impossible dream” of becoming human. Primarily a comic actor and performer (one of his most notable pre-Star Trek roles was a reoccurring role on Night Court), Brent Spiner was under the impression Data was Star Trek: The Next Generation‘s comic relief, and made a point to play him that way every chance he got.

Though it may not be as catastrophically and disgustingly racist, as “Elaan of Troyius”, “The Dauphin” keeps every ounce of its insufferable sexism, as its entire plot can be succinctly summed up as “bitches be cray-cray”: In no short order, we have Commander Riker flippantly pointing out how someone like Salia won’t “have time” for Wesley (career women-such ice queens, amiright?), Salia giving stereotypical tsundere “hot and cold” “mixed signals”, Wesley actually bemoaning how confusing girls are and this gem of dialog between him and Worf:

Notice how O’Brien, who is an many ways the lynchpin character here if for no other reason than he spans both plots, gives a succinct, yet stirring, speech about being able to choose your friends and co-workers, but not your family. And notice how, in both cases, the story is resolved by an acknowledgment that the Enterprise is home: Worf discovers who his true family is when they re-create the Klingon rite of ascension on the holodeck and Riker decides to turn down the promotion to stay with his fellow travellers.

This episode, from beginning to end, is an aesthetic car fire.…

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The title has a double meaning.

A war game is meant to be a test of someone’s prospective performance in a real combat scenario. But it itself is also a performance; an exaggerated caricature meant to stand in for a supposedly real thing. Symbols and objects are one and the same and the idea of a war is a real war, but paradoxically it’s the very unreality of war games that makes them in the remotest sense ethically defensible. Captain Picard is only half right when he says that “Starfleet is not a military organisation” and that “its purpose is exploration”, of course: He and his crew may think of themselves as explorers and scientists rather than soldiers, but Starfleet is very much a “military organisation”-That is, in fact, its single greatest flaw.

Which is why it’s so interesting that the Enterprise should play a war game explicitly in lieu of the recent revelation of the Borg’s existence. Kolrami thinks this is a needed precaution to prepare for open warfare against the Borg but, even though he’s the only one so far who has witnessed firsthand what the Borg can do, Picard, very tellingly, doesn’t take any of this especially seriously: He remains opposed to the whole concept of the thing from the beginning, and makes it clear that if he and his crew must go through with it, they’ll do so on their own terms. Indeed, its this very “joviality” that Kolrami resents in Commander Riker, seeing it as a sign of capriciousness when really its how he builds trust, community and and camaraderie, as Captain Picard also points out.

The way the Enterprise crew justify their taking part in a war game here is the same one I use to justify my enjoyment of strategy games in real life: By emphasizing the underlying mental exercise while downplaying the unpleasant connotations that tend to accompany tactics and strategy in real life. Commander Riker plays Strategema with Kolrami not to challenge or prove himself against a more experienced opponent (remember the attempt the show made to draw a line between him and his father in “The Icarus Factor”), but for the honour of playing with such a master of the game and because it’s fun. Similarly, he and Captain Picard, and their respective crews, approach the actual training exercise is as essentially an overblown game of Chess or Go. The appeal of the game for them is to guess the thought process of their friends, which, if you look at it a certain way, is another way of showcasing the close, familial bond they share with each other that Kolrami and his Starfleet peers find so upsetting (think back to Dexter Remmick here too). I’ll bet if they had access to Nintendo Wars, the Enterprise crew would likely hang up their phaser rifles for good.

An embrace of the unreality of mental strategy games is a good example of the crew’s knowingly recursive performativity, and an even better example of Star Trek: The Next Generation remaining true to its heritage and themes.…

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Yo.

Yeah, I could have made a really cheeky joke about Benjamin Sisko and Star Trek: Deep Space Nine here, but I didn’t feel like it.

Although she only makes four actual appearances across the franchise, Suzie Plakson is one of Star Trek’s most beloved and memorable guest stars. She’s an incredibly talented performer who can work wonders with parts of any size and wields the broad-strokes brush incredibly deftly. We’ve already seen her once this season as Doctor Selar in “The Schizoid Man”, the specialist who studies Ira Graves and who Captain Picard calls in to help discern what’s happened to Data. Her most memorable Star Trek role, however, is unquestionably K’Ehleyr, who is introduced in “The Emissary”.

K’Ehleyr’s existence is something of a messy subject in the history of Star Trek: The Next Generation. There’s a massively problematic aspect of her character arc (really, the entire arc itself), but that doesn’t come into play until the fourth season, so I’ll save complaining about it until then. At this point, K’Ehleyr is just a one-off guest character: Merely one more example of the second season production team tossing things at the wall in a desperate attempt to make something stick. She’s something like the sixth new character introduced and teased as a potential regular or reoccurring character *this season alone*, which is so embarrassing it frankly speaks for itself. However, K’Ehleyr stands among her wannabe peers as interesting, not only for the fact she actually does come back (albeit only once), but because she overtly replaced one of them. The team were looking to explore romance themes with Worf, and K’Ehleyr was straightforwardly brought in to facilitate that. But she wasn’t the first choice: Indeed, it was Suzie Plakson’s previous character, Doctor Selar, who was meant to be Worf’s paramour.

This is actually fascinating, because Worf stands apart even among his Star Trek: The Next Generation shipmates for having a royally screwed up love life. He’s a character whose canon romances and fan-preferred ships tend to be dreadfully boring and uninspired, but with whom the potential always existed to say something really clever and imaginative about culture clashes and cultural diffusion through them. In this regard Selar is an incredible choice, especially had she become a reoccurring fixture of the Enterprise sickbay. Klingons aren’t supposed to like healers because of their obvious privileging of honourable death in glorious battle, and Selar isn’t just a healer, she’s a Vulcan: If there was one person on the ship who reads on paper like the complete polar opposite of Worf, it’s her. But Worf, at least Worf as we’ve seen him so far, isn’t exactly a full-blooded Klingon traditionalist. He grew up completely disconnected from his people, and while he has an academic understanding of their culture and certainly is no less Klingon than the next proud warrior guy, this does mean his heritage and experience is tempered by his life outside of them.…

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I’ve no particular lead in to these two episodes. They’re both bad, and they’re both bad in ways that are easily explainable and honestly don’t bear much repeating at this point. One would imagine that as the production year finally drew to a close and the slush pile of scripts finally dried up, things would start to get more formulaic and more desperate…which they do.

I’ll say this for “Up The Long Ladder”, though: It’s impressive that Melinda Snodgrass is credited with penning both one of the absolute best episodes in the series (“The Measure of a Man”) and one of the absolute worst (well, this). Knowing who the author is, it is worth attempting to come up with at least some defense of “Up The Long Ladder”, because science fiction fans are all too eager to poke holes in stories written by women. And there are very noble roots in its conception: Snodgrass meant for it to be an overt attack on anti-immigrant sentiments in general and the United States immigration policy in particular. Snodgrass wanted to convey how immigration policies are deliberately designed to make the process as difficult as possible for no other reasons than straightforward xenophobia. There’s also a laudably overt slam against the pro-life movement (how deliberate it was seems to be a matter of contention, though Snodgrass is explicitly on the record as being pro-choice) where Commander Riker immediately destroys the clones of himself and Doctor Pulaski, declaring that the cloning was done without his permission and that he has the right to control his own body. The major issue being, of course, neither theme is particularly prevalent in the episode as aired.

There are three major criticisms of “Up The Long Ladder”. the first is for the aforementioned pro-choice statement, which we can safely disregard as not worth paying any sort of attention to, and the second is the accusation that Captain Picard was wrong because he violated the Prime Directive, which I’m likewise going to ignore. The third is the only one that’s really worth engaging with, and that’s the fairly inarguable contention that the Bringloidi are racist and stereotypical depictions of Irish people. The backstory does seem to be a bit more complex than in “Code of Honor”, however: Instead of being the result of employing actual racists, the missteps here seem to be more the result of sloppy and rushed rewrites. Maurice Hurley is Irish himself, and it was actually he who suggested to Snodgrass making the displaced colonists the descendents of Irish immigrants and was largely responsible for their characterization in the final script. I also haven’t heard about Colm Meaney raising any objections here, and it’s a matter of historical fact that Meaney did at least once step in and request script alterations when he felt the depiction of Irish people was not up to Star Trek standards. This doesn’t necessarily defend the aired product, naturally, but, like pretty much everything about the second season, there might be something to be said for the fact the production team didn’t want things to turn out as badly as they did.…

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There’s a joke I read in Cracked magazine once that stuck with me and that I enjoy paraphrasing. It was in an article about no-budget knockoff animated films and is along the lines of “the most good these movies could ever do is inspiring a baby to pursue a life of filmmaking through helping them realise they could actually have done better themselves”. Though it’s describing an undeniably more negative form of inspiration arguably tied to a certain egoism, the joke definitely touches on a real phenomenon. Sometimes art sparks our creativity not because we resonate with its message and sentiment so much as we are incensed at its structural incompetence.

It’s become a common story in fan circles that “Samaritan Snare” is a textbook example of this, as it upset writers Dennis Russell Bailey, David Bischoff and Lisa Putnam White so much in its opening moments that it drove them to write “Tin Man” a year later in a deliberate attempt to show a production team they considered to be wholly and completely incompetent how “proper” Star Trek should be written. In a now somewhat infamous interview, Bailey absolutely rails against this episode, calling it an “idiot plot” relying on the assumption both the crew and the audience are completely stupid and nitpicking pretty much every major action the characters take throughout the entire story, basically using it as an excuse to trash Star Trek: The Next Generation by comparing it unfavourably to the Original Series. Here’s the thing though. Aside from being a textbook example itself of the reality that whiny, obsessive, nostalgia-driven fan discourse that gets irrationally angry at every single plot hole has existed since the birth of genre fiction and conceding that “Tin Man” is in fact bloody brilliant (and momentarily setting aside the fact the show’s production team in its third season was *completely different* from the one in its second and that Bailey et al are blaming Michael Piller’s crew for the alleged sins of their predecessors), Bailey’s argument blatantly ignores several crucial details about what “Samaritan Snare” was trying to say.

No, this is not the show’s finest hour. I absolutely grant that. But its problems are generally distinct from the so-called Idiot Plot: As Paula Block and Terry J. Erdmann point out in Star Trek: The Next Generation 365, there really is only one idiot here, and that’s Commander Riker. And there is something of a redemptive reading to be had here, as Riker dropping the ball in regards to the Pakled situation was not written into the story out of ignorance or incompetence (in life, it’s generally a good idea to assume your interlocutor is in possession of the same mental faculties as yourself, and isn’t Star Trek supposed to be teaching us empathy?), but rather in an attempt to show that, in spite of rapidly rising in fame and accolades, as first officer, Riker is still young and perhaps not quite ready for prime time yet.…

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One thing should be established right away: This is not the first Borg episode. It is, depending on how you count, anywhere from the third to the fifth, with the deciding factor being how you choose to view “Angel One”, “Coming of Age”, “Conspiracy” and/or “The Neutral Zone”. “Q Who” is not a last ditch effort to give a floundering Star Trek: The Next Generation a life-saving jolt of creative restructuring, it itself is the strangled product of a powerless production team trying to sync up and distill half-formed, disparate and mutually contradictory ideas left behind by their predecessors in an attempt to keep the show as it exists now running a little bit longer.

The only reason, for example, the Borg look the way they do is because it would have been too expensive to make them insectoid as Maurice Hurley originally imagined them, thus severing this episode’s link to “Coming of Age”/“Conspiracy”. Furthermore, the writer’s guild strike prevented anyone from penning a proper follow-up to “The Neutral Zone” (not to mention the fact “Angel One” sucked), so the original intent of making the Romulans Red Herring antagonists who have been wrongfooted by the Borg’s unspeakable ruthlessness is similarly abandoned. There is an attempt to tie it back together in the most forgettable of throwaway lines where Worf describes the planet they come across as bearing the exact same signs as the outposts destroyed along the Neutral Zone, but if you managed to catch that you deserve some kind of medal. It’s a longshot to get people to pick up on that something like that *today*, when everyone marathons TV on Netflix for days on end let alone in 1989 when home video was impractical and you’re asking people to remember what happened in one episode from one night over ten months ago.

That’s not to say the team didn’t try their best under the circumstances to make “Q Who” work: They did, it does, and it shows. The team adapted, which is something of a theme for tonight. “Q Who” is a story about Star Trek: The Next Generation trying to reconstruct itself; it doesn’t quite yet know what it’s going to eventually become, but it knows it has to be something other than what it is now. Every actor in play here seems aware things are more than a little off, and they scramble to compensate and adjust in an effort to make something a bit more tonally resonant. As usual, the key is that each character here is consciously playing some sort of role, but what’s crucial and different this time is that they’re also consciously ad-libbing and playing understudy to each other in an attempt to salvage a performance that’s gone off the rails. Q is the most obvious case: He quite clearly wants to go back to the way he was in “Encounter at Farpoint”, as is right and proper, but because Star Trek: The Next Generation doesn’t allow itself negative or otherwise fungible continuity he can’t ignore “Hide and Q”.…

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Part of the original justification for adding a child character to Star Trek: The Next Generation was to show how regular teenagers could come to terms with regular teenage issues in a utopian setting such as this. The idea was that in this place and at this time, teenagers’ perspectives would be valued and respected as much as those of any other person, and they would be able to resolve their inner conflicts in ways kids don’t always have the opportunity to do in the real world. It’s a nice conceit, and you can see how it would be in theory easy to weave this theme in as a manifestation of the show’s children’s television for adults motif.

And then there’s Wesley Crusher. And episodes like these.

Both of these episodes deal in some way with developing Wesley as a character and both of them fail pretty conclusively at it. To be fair to “The Dauphin” and “Pen Pals”, there isn’t really a whole lot for them to actually go off of to begin with: Of all the Star Trek: The Next Generation characters, and with the utmost of respect to Wil Wheaton who consistently and gamely does the best he can with often unworkable material, Wesley Crusher is the one who has the most seriously and egregiously fatal conceptual flaws, and this makes it *extremely* hard to get behind anything he’s involved in. “Pen Pals” isn’t even expressly about him; his plot only comprises the B-story of an episode that is largely about Data. Problem is, Data himself has picked up Wesley’s slack from the first season to become badly overexposed himself this year, and his story ultimately boils down to another Prime Directive runaround which means it sucks by default. Frankly, the fact that the Prime Directive has gotten us to a point where it would condone us leaving an innocent and adorable little alien girl to die on a planet that is literally exploding should tell us all we need to know about how cartoonishly evil, simplistic and impractical it is as a philosophical worldview.

The only thing remotely of interest in regards to the A-story of “Pen Pals” is Captain Picard’s objection to helping Sarjenka’s people, that the destruction of her planet and civilization might be part of a larger “cosmic plan” the Enterprise is not meant to be a part of. This is obviously intriguing considering the ethical foundation of Dirty Pair and all the Dirty Pair references that have been showing up in Star Trek: The Next Generation lately. Typically when Kei and Yuri inadvertently bring about the destruction of a planet, it’s because something had marked its people very early on in the story as dangerously self-destructive, toxic or reactionary. It’s also not usually the case that the girls’ investigations end in a 100% fatality rating: More often than not there’s a remnant that survives as a reminder to the readers that their mission is a positive and constructive one in spite of what it looks like, and that those who survive will probably end up with a better life than they started with.…

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Of late, Star Trek: The Next Generation has been trying to flesh out its characters a bit beyond the one-note briefs they were originally conceived as. Though the show started strong displaying its potential to be a powerful ensemble series, the first season frustratingly did end up as basically “The Picard, Riker and Data Show”. This season, in spite of everything, has at least made attempted inroads to correct this, with strong highlights for characters like Geordi, Worf, Deanna, O’Brien, Guinan and Doctor Pulaski (the latter if only because they were new additions to the cast).

That’s not to say there haven’t been a huge amount of exposure for the would-be triumvirate though: Picard and Data have both essentially worn out their quota for the entire year already, and Riker isn’t far behind with this episode. Although that said “The Icarus Factor” is straightforwardly the sort of thing that Star Trek: The Next Generation ought to be really good at: At its heart, it’s an interlocking series of vignettes about Riker, his father, Doctor Pulaski, Troi, Worf, O’Brien, Data, Geordi and Wesley, and this is pretty much the ideal structure for this show to handle character pieces because it takes a slice of shipboard life and shows how all these different characters react to a given situation and the kinds of relationships they have with each other.

Unfortunately, “The Icarus Factor” is also something of a hot mess.

This *should* be a relatively simple A/B plot structure with both halves of the narrative demonstrating the themes of family and where you make your home. Riker is (justifiably) estranged from his father because of his behaviour when he was a child while at the same time contemplating a promotion that would take him away from the Enterprise. Kyle (and actually Captain Picard, for that matter) acts as if Will is going to accept even before he’s made a decision precisely because it would put him in charge of a dangerous mission and they assume that he, like his father, can’t resist a challenge. Meanwhile, Worf is feeling lonely and isolated because he’s missing an important Klingon rite of passage meant to be shared with family, and he has no Klingon family to speak of and doesn’t think his friends on the Enterprise will understand. There’s even a bit of overlap when Worf asks to join Riker on his new assignment because the high risk would give them an opportunity to die in glorious battle together, and Worf considers Riker a comrade.

Notice how O’Brien, who is an many ways the lynchpin character here if for no other reason than he spans both plots, gives a succinct, yet stirring, speech about being able to choose your friends and co-workers, but not your family. And notice how, in both cases, the story is resolved by an acknowledgment that the Enterprise is home: Worf discovers who his true family is when they re-create the Klingon rite of ascension on the holodeck and Riker decides to turn down the promotion to stay with his fellow travellers.…

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There came a moment while watching “Time Squared” when I was suddenly reminded for a brief moment of what it felt like seeing Star Trek: The Next Generation for the first time over twenty years ago. Somewhere, in betwixt Commander Riker making breakfast, Geordi and Data trying to figure out how to get the shuttlepod operational, Geordi’s later tech briefing to the staff in the conference room and Deanna’s conversation with Doctor Pulaski in sickbay, this momentarily stopped being “the show I write about for work” and once more became “the show I remember”.

This might be partially because the central conceit of this episode, a causal time loop, reoccurs again a few seasons later in “Cause and Effect”, which is one of my very favourite episodes in the series. Not that the actual plot of “Time Squared” is any sort of precursor or that “Cause and Effect” is derivative; what happens here is far more oblique and mysterious than the time loop from the later story. It’s a bit more accurate to say that what we see here is an example of a branching dimension, and Troi even says as much at one point during the episode. One way to read this would be to roughly compare it with an actual physics theory called the “many-worlds interpretation”, which, put general, states that when witnessing the spin state of an electron, there are two possible observations: One where the electron is observed to have a positive spin “up” and one where it’s observed to have a negative spin “down”. Well, the many-worlds interpretation states that for every individual instance where the particle is observed to spin “up”, there is another world where, for that same instance, the particle is observed to spin “down”, and vice versa. This is frequently extrapolated to the level of physical actions by humans on the macroscopic scale in the pop discourse.

So in “Time Squared”, we have two possible worlds: One where Captain Picard leaves the ship in the shuttlepod in an attempt to save the Enterprise from the energy entity and one where he doesn’t. What would appear to be happening is a temporary intersection between these two universes, and the dilemma the crew faces is that they know from the log tapes that Picard’s attempt to save the ship in the “leave the Enterprise” universe proves to be futile, but they can’t figure out what the other observational state is. And here’s where Star Trek: The Next Generation shows itself to be better than other science fiction, because not only does it not stop here (it would be perfectly acceptable, after all, for a Hard SF work to make a big deal just about doing a story built around the many-worlds interpretation, leaving it at that and waiting for us to tell it how clever it’s being), but this gimmick isn’t even the real point of the episode: Instead, it’s a narrative device to tell a story about Captain Picard.…

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