It’s absolutely inane. Let’s just dispense with that straight away.

Much like last year’s Q episode, “Qpid” (ugh) completely casts aside Q’s original symbolism as an extradiegetic challenge to the ethical underpinnings of Star Trek: The Next Generation in lieu using him as a vehicle to set up a pointlessly safe comedic runaround. It’s depressingly cynical, a Robin Hood romp done only to capitalize on Robin Hood’s popularity at the time, and yet another teeth-gnashingly sexist outing to boot: Q’s assessment of Vash aside, one of the bitterest ironies in the history of the series is that Gates McFadden and Marina Sirtis were the only members of the crew trained in fencing and stage combat (in fact, they’re instructors themselves), and not only were they the only people *not* to partake in stage combat in the one episode where those talents would have come in handy, nobody, not even for just a moment, ever once thought to consult them when teaching the rest of the cast. To add insult to injury, it’s Ira Steven Behr’s only post-Season 3 contribution to Star Trek: The Next Generation and is a sequel to his own “Captain’s Holiday”, an episode the man practically disowns.

(And indeed even here, Behr’s grimdark sensibilities and deep-rooted bitterness show through: The much-vaunted mandolin scene, which I detest, by the way, was meant as another jab at Star Trek: The Next Generation‘s utopianism. Behr sympathized with Worf, whom he imagined being a bloodthirsty warrior stuck in a world he found insufferable “lying awake at night thinking ‘Can’t they just let me kill Geordi?’”. Geordi being a character whom Behr found “sweet” but “kind of underused” and unacceptably lacking in a “dark side”. Behr figures Geordi is the kind of person the Klingons “devour”.)

Lest you think I’m an entirely humourless curmudegon, I hasten to add I’ve nothing against genre romps, even though I tend to like my romps handled with a bit more nuance and sophistication than, well, this. The Star Trek: The Next Generation cast is famously fond of romps: It’s another manifestation of their inherent performativity. They get a huge kick out of spicing up old stock tropes and scenarios by bringing in their own unique sense of bravado, and in the hands of a production team who knew better how to respond to and play off of this there’s a lot of potential for some really clever metacommentary on fiction and narrative styles.

But this is what I think the holodeck is for: It’s a crossroads of storytelling where the Enterprise crew can dynamically interact with fictional worlds, transforming them and each other for the better. The holodeck also serves as a diegetic reinforcement of the show’s themes of performativity and role-playing, a knowing artifice in-universe acting as a microcosm of how they work on the whole. Having Q come in, wave his hands around and turn everything into a Robin Hood story seems a bit of a waste of his character, and a less-than-satisfying bit of metafiction than what the holodeck was already capable of.…

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Here’s another episode I never caught during Star Trek: The Next Generation‘s original run. In fact, I kind of went out of my way to avoid “The Nth Degree” because I always thought it sounded completely ridiculous, a suspicion not helped by the fact it’s always represented in magazines and reference books by stills of the final effects shot; that of the Cytherian ambassador. An effects shot which calls to mind descriptors such as “amazing” and “incredible”, except not in their original unironic contexts. So the other night, I actually sat down to watch this episode critically for the first time.

It’s actually not bad. But I was right about the effects shot.

“The Nth Degree” is in a lot of ways a response to the third season. There’s Barclay back, of course, but it’s also another “Let’s Do” episode, much like “A Matter of Perspective”. In both cases, the tack the show takes this time around is a little bit more nuanced and appreciable than it was last year. We’ll talk about Reg later, but the story we’re “paying tribute” to this time is the award-winning science fiction short story Flowers for Algernon, about a janitor who undergoes a special treatment to rapidly raise his IQ, but it doesn’t take. We’ve actually already looked at Flowers for Algernon once before, in the context of the Dirty Pair TV episode “The Little Dictator! Let Sleeping Top Secrets Lie”, which was likewise an “homage” to the original story. The thing about the Dirty Pair episode though is that it was, charitably speaking, a gigantic shitshow, with excruciating forced wackiness, horrible characterization of Kei and Yuri, casual racism and a plot so overblown and dense it forgot to actually be about anything.

“The Nth Degree”, thankfully, isn’t, and from a plot perspective this is largely due to how it approaches its source material. “The Little Dictator! Let Sleeping Top Secrets Lie” tried to show how anyone who undergoes the same kind of procedure Charlie does in the original story would naturally try to take over the world, believing themselves to be superior to others (as Yuri memorably puts it, “Listen. All intelligent beings eventually grow tired of taking orders from idiots.”), but it ultimately gets lost in its own central conceit of having a fascist regime ruled by a clan of hyper-intelligent mice before it can actually take the ethical stand it needs to, which should have been a commentary on the privilege of education and the elitism that so frequently accompanies it. The show almost gets there, but I had to bring in Avital Ronell’s reconceptualization of stupidity eighteen years ahead of time to redeem it enough to make its own point.

“The Nth Degree”, by contrast, drops all of the troubling connotations that would go along with a fixation on intelligence quotients to hone in on a different angle. It uses the Flowers for Algernon plot to explore what happens when a person undergoes a life-changing, transcendent experience…and then what happens to them afterward.…

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“Night Terrors” is another episode derided by pretty much everyone: From the people who worked on it to the people who watched it, almost nobody has anything kind to say about this story and it’s frequently held up as being among Star Trek: The Next Generation‘s absolute worst of the worst.

You should know where this is going by now. I always thought it was pretty good!

What we’ve got this week is another step in the show’s transition into its next form. Like “Clues”, “Night Terrors” is a story about the Enterprise crew in the thick of a mind-bending cosmic mystery that warps their conception of reality. It’s also a competently mind-bending psychological thriller for the audience as well, with some unsettlingly well-done hallucinatory scenes and a plot that goes out of its way to showcase the power of dream logic and dream imagery. A great many future Star Trek: The Next Generation episodes will be comprised of one or both of these storytelling archetypes in roughly equal measure, and while “Night Terrors” isn’t the best or most ambitious iteration of either one of them, it is a very noticeable first draft.

It’s also not really safe to say that “Night Terrors” is the point where this becomes the show’s default mode, and of course the very best Star Trek: The Next Generation episodes will find ways to blend this with its pre-exisiting commitment to utopian conflict resolution, but, perhaps fittingly, this episode is a sort of vision of things to come-A decent first look at what’s going to be more or less a baseline average for the show going forward. Which is really not a terrible thing as far as I’m concerned.

Also like “Clues”, “Night Terrors” is another strong ensemble outing where each and every character gets to show off their talents and particular skillsets. Deanna Troi obviously plays the biggest role and we’ll talk about her a little later on, but this is a great showing for everyone in the main cast. I think what I enjoy the most about the act of watching Star Trek: The Next Generation from an entertainment standpoint is seeing the crew work together comfortably and effortlessly to figure something out and the trust they have in one another in the process: It’s that “competency porn” idea again, and this episode is a good example of that. The twist this time is that the dream deprivation is testing the limits of their capabilities and sanity both, and the hook is in watching how the crew responds to this.

And in this regard the actors really drive home some stellar performances: I know they always do and I always say they do, but it’s especially noticeable when their acting is bolstered by writing they can really play off of, as is the case here. Patrick Stewart and Gates McFadden are particular standouts for me, as they play Captain Picard and Doctor Crusher slowly and subtly growing more and more frazzled and unhinged, yet never once wavering from their heroic dedication to saving their friends and their ship.…

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I don’t get “First Contact”.

To be precise, I don’t get the reputation it has. On paper, the episode seems pretty straightforward and self-evident: Do a story about the standard procedure for how the Federation handles first contact situations, preferably one where something goes wrong because something something conflict drama conflict. Even though it comes out of a pathological compulsion to answer the sort of question only a vanishingly small subset of the audience was actually asking and is as such something I don’t have an especially deep fondness for just by definition, “First Contact” is at least pretty easy to explain. What I’m not understanding, and have never been fully able to, is why this is considered a timeless classic above and beyond that. Well, at least I certainly hope it’s for reasons above and beyond that.

Obviously, the conceit is to explore Federation first contact procedure by taking the perspective of the contactees such that “First Contact” is unique in the history of Star Trek: The Next Generation by being the only episode not focused on the main characters. It is an interesting change of pace as a result and I can sort of see how this episode could be received as particularly memorable because of that, but to me both “Data’s Day” and “Clues” had already taken respectively unorthodox looks at the Enterprise crew, so this episode doesn’t strike me as being particularly groundbreaking in that regard (though it seems the production team thought otherwise, given the hoops they apparently had to jump through to convince Gene Roddenberry and Rick Berman that this was a good idea). Maybe it just seems underwhelming in retrospect given how often the subsequent Star Trek shows broadened their scope beyond their main casts while this was the first story to try something like this, but I don’t remember feeling I was seeing something really special and groundbreaking at the time either.

Not to mention that, Holy Shit, how stagnant and insular must Star Trek fans be if this is seen as being truly refreshing and experimental?

Maybe this episode plays into an unspoken desire science fiction fans have. Maybe people identify with Mirasta Yale, a space engineer working tirelessly with prototypical Warp Drive in order to realise her dreams of travelling to the stars (by the way, great to see Carolyn Seymour again. I prefer her as a Romulan though). Perhaps they project onto her at the end when she asks the Enterprise crew to take her with them, and they agree. Certainly there’s always been, at least since the early days of the franchise’s syndication, this aspirational drive Star Trek fans have to actually insert themselves into their favourite fictional universe. These were some of the first modern fandom cosplayers, after all, and it’s no coincidence that it was Star Trek that became synonymous with the Mary Sue archetype.…

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