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Reviews
Star Trek: Deep Space Nine: The Nagus (1993)
The Ethics of Friendship or How to Get Thrown Out of an Airlock
This episode hits every right note, from its humour and parodies to its emotional rawness. It balances an exploration of two societies and their ethics systems, Human and Ferengi, with the interpersonal conflict between father and son. Jake and Krax find it challenging to live up to the expectations of Sisko and Zek, with a literal challenge spurred by the fake death of his father being imposed on Krax.
The interactions between Jake and Nog as well as Jake and Sisko are beautiful, inspiring examples of friendship and loyalty. This is superbly juxtaposed with the interactions between Quark and Rom as well as Rom and Nog.
It is always a nice reversal when the kids teach the adults a lesson and this episode's lesson is star trek's MO: the benefit of cross-cultural experiences.
Star Trek: The Next Generation: Hide and Q (1987)
ST TNG: Hide and Q; Micro-Brain
'Hide and "Q"' is the most entertaining when it is surprising visually, kinetic in its choice of character conflicts and competitive and humorous with it's dialogue.
Other than a few minor directions given to Riker to make him hypocritical and arrogant, such as his cross-armed stance and reiterating Q's "incredible gifts" line, he is on the most part very sympathetic and correct. The writers are more likely in Picard's camp and in defense of his slippery slop fallacy but in my opinion Riker is noble in his choices, especially that of saving the girl. The final 'confrontation' between Riker and Picard is a manufactured, tangential one which does not reflect any previous statement of intent or characterisation of Riker, although on it's own is a fine piece of moralising.
The show still has issues with pacing and feels very drawn out at the latter stage of its episodes. Denise Croby frequently overacts and Tasha Yar's characterisation as a man-craver and object of desire is frustrating. Picard also yells line after line to the detriment of his likeability. Finally, the design of the planet and atmosphere is bare and underwhelming, with the shots lacking visual interest.
Q certainly has many humorous lines about Worf and Klingons, as well as interesting costume changes and expressive movement and emoting.
Star Trek: The Next Generation: The Battle (1987)
ST TNG: The Battle; "First Officer to First Officer"
'The Battle' is yet another episode which begins with mystery and interesting ideas but is too thinly plotted and lacking depth and therefore peters out half-way.
The dynamic between Dr. Crusher and Picard continues to be playful and entertaining. The direction in the first scene of the crew aboard the Stargazer is wonderfully fluid in its blocking. I also like the Battle of Maxia story as told by Picard in the conference room very much, especially his humility. The writing, however, is weaker when it concerns his getting 'lost' in the events of his past.
On the other hand, the Ferengi are still eye-rolling caricatures, although they are at least able to remain somewhat dignified compared to their appearance in 'The Last Outpost'. Riker, as far as I'm aware, can generally manage two emotions: confusion/concern and glee. His eye twitch to denote concern is so cliched it becomes laughable.
Kazago's "As you humans say, "I'm all ears"" is a horrible pun. I also found the music underwhelming and misused. As has frequently occurred in previous episodes, poor writing choices that break the rules set up seemingly at will result in plot developments being more frustrating than exciting. I would also note a pattern of rushed endings that force a "clever" moral wrap-up in a far too mechanical manner.
Star Trek: The Next Generation: The Last Outpost (1987)
ST TNG: The Last Outpost; Confident Then Shaky
This episode is the first so far to provide what feels like the typical TNG dilemma and story structure. Therefore, it has a very steady, logical and plodding rhythm to it which makes it comforting and easy to watch. I found the set-up of this episode to be the most technically sound, writing and pacing-wise which gave it tension and atmosphere.
On what is likely a very subjective level, I take issue with Michael Dorn and Marini Sirtis' line delivery, as well as some of Frakes' acting choices. On the other hand, Picard, Data and Geordi have been quite strong, although the 'woo-hoo' line from Geordi was over-the-top. I personally enjoyed his "my hero" remark to Data as he is unstuck by Picard from the Chinese finger trap very much, as well as "oh, you had to ask" towards Data not understanding a rhetorical question.
Is this the first appearance of the crew's conference room scene? I was pleased to see it by episode 4 of season 1.
I find the presentation of the Ferengi's visual hails underwhelming, as well as their weapons, their physicality and much of the planet's surface. The dilemma which takes place on the planet is confusing and silly and is reminiscent of the sensibilities of TOS.
The coda was nicely done, although there is something slightly unsettling about the way Frakes' portrays amusement.
Final note: Data's wonderful "nothing to write home about" is a redeeming quality of the latter half.
Star Trek: The Next Generation: Justice (1987)
ST TNG: Justice; Pubescent First Contact
In watching this episode there is no 'justice', no peace. The premise is so illogical, the plotting is so nonsensical and the conflict is so unconvincing that there is no tension or entertainment to be found. It is pure ridiculousness and discomforting to experience.
The writing still boasts a serious flaw in the redundant repetition of dialogue. There are also many obnoxious musical choices and exposition dumps. Wesley telling the mediators "I'm with Starfleet. We don't lie" gives me so so much second-hand embarrassment. A lot of characters have their sentences interrupted which feels unnatural.
'Justice' also begins with what may be the weakest teaser yet. This is Dr. Crusher's first underwhelming performance, with the actress overacting and the plot alienating her unnecessarily through it's prioritisation of Picard and the Edo female's dreadful back and forth.
The characterisations broadly are uneven, which isn't helped by the poor acting. In the scene with the intrusion of the entity, Picard is looking way past the entity rather than at it, making the scene ring hollow.
The society is supposed to appear happy and free, but with everyone spouting platitudes such as "joy and happiness" mindlessly it instead feels mind-numbing and debilitating. They also have no issue or cultural shock when the Federation, who are interstellar travellers, beam down to their planet which is still completely earthbound? This isn't questioned until the conclusion when the Edo female assumes they are gods. Finally, the conclusion is laughably anticlimactic.
Star Trek: The Next Generation: Lonely Among Us (1987)
ST TNG: Lonely Among Us; Indubitably
'Lonely Among Us' had the most entertaining arc yet, that of Data's first appearing interest in Sherlock Holmes. This is a wonderful bit of characterisation aptly built off Data's problem-solving programming. He also has some stellar lines outside of this, such as "I believe I said that."
This episode also simultaneously introduces Picard's interest in 'Private Eye' work, as well as allowing him to chew some scenery with exuberant vocal delivery.
On a final note of positives, I would describe the general tone of both A and B plots as cute and neat. The Selay and Anticans are well designed and enjoyable to watch.
The detriments start most prominently with the obliviousness of the crew, who should be far more perceptible of the changes in their co-workers and friends than they are. It becomes a laundry list of frustrations, with choices that attempt to excuse poor writing. Picard and the entity should not have been able to return to the energy cloud with such minor interference.
Both plots are arguably uneventful, although I sympathise with the reading that the entity is without warning taken from its home by the ship's surface/electronics and simply wants to return home. Unfortunately, the various effects that the entity has on others such as knocking out Worf and later killing Mr. Singh feels random and undermining (in the latter case).
On the other hand, it is difficult to sympathise with the B plot especially since the comedic tone did not resonate with me. It is clearly trying to be lighthearted, especially with it's final reveal but it left little impact on me. Part of the reason is that some of the cultural differences between the species and the Federation (voiced by Yar) convey Roddenberry's preachiness/Federation's grandstanding.
Final note: The special effects sequences and likely green screening are unconvincing, making the acting look goofy.
Star Trek: The Next Generation: Where No One Has Gone Before (1987)
ST TNG: Where No One Has Gone Before; The Travelling Salesman
Perhaps too slowly paced, since it takes 20 minutes for the episode to get to the 'imagination' universe. Also, those 20 minutes are less enjoyable due to utilising Riker, Wesley and a first-time engineer, three weak characters.
The highlight of the episode is the 'imagination' universe that provides very good characterisations and visuals (except the fire), as well as a subtext for the isolation that the members of the Enterprise feel being away from home on any given mission. Many of these thoughts could be regarded as activities they fear losing or have already lost and for others more general fears.
I could do without the Wesley characterisations and importance. Unfortunately, the interesting 'sci-fi plot' feels secondary or purposed to simply elevate Wesley's position and development as a genius child which sullies the episode.
The direction was very good, with some thoughtful choices of lighting and engaging uses of slow zooms.
Final note: Picard's shockingly conspicuous ADR'd line
"have the boy sent to the Bridge, Number One" is a cracker.
Star Trek: The Next Generation: Code of Honor (1987)
ST TNG: Code of Honor; "the proper value of women"
There are two opposing examples of dialogue I wish to highlight that illustrates the fluctuating writing quality of TNG.
When Troi states the supremely obvious "One can see the importance of honor here, sir", I feel unashamed in saying she is a completely useless character so far. On the other hand, there is good characterisation of Riker when he says "but I warn you. If you get hurt, I'll put you on report, Captain."
Tasha Yar and Beverly Crusher are unevenly characterised, at times being given lines that are beneath them by painting them as more hysterical or more impressionable than the others, whilst at other times delivering lines showing their self-awareness and confidence.
The writers still haven't pinned down Picard's character, with a few scenes feeling rather out of character and unconvincing such as when he talks to Lutan in private before the duel. The rivalry or antagonism between Lutan and Picard is so poorly written, as well as the melodrama around the 'first love' conceit. A major source of frustration is that to many cheap techniques for exposition are used.
As always, Data is interesting and well characterised on the whole, adding some humour to the affair. What stands to be the most enjoyable moments from TNG are the close and personal character study scenes, with this episode including an exemplary Data and Geordi repartee.
Final note: the sound effects again sound cheap and unconvincing.
Star Trek: The Next Generation: The Naked Now (1987)
ST TNG: The Naked Now; Underbaked Fluff
On a character level, I continue to enjoy Data's contributions to the show. His naivety to some human language and behaviour is amusing and is also complimented in this case by Worf. In a few scenes including these, the dialogue is humorous and engaging.
I liked how Dr. Crusher and Picard exit the last scene they have together while drunk. I continue to enjoy Dr. Crusher's character and her relationship dynamics. On the other hand, Picard's attempt at acting inhibited is the least believable and least entertaining.
I must also confess to disliking the 'tension' between Riker and Troi, finding no chemistry there.
Technically, I believe the writing of Wesley's scenes is the most fine-tuned, as Wesley's motivations were well set-up from the first episode. We know that he wishes to be a part of the crew and to be part of the bridge, so the fact that he fashions his own in order to 'help' and communicate with the other characters is clear. The technique he uses to aid the ship in its peril is a pay-off from his model's mechanics that he extrapolates to shut off the engineering section. It is unfortunate, but you cannot give the same level of reasoning to the justification of others' actions or their apparent level of drunkenness at any time.
The plot as we know is largely a remake of TOS' "The Naked Time" and therefore it already feels tired and cliched. I also continue to be frustrated by the plot devices that serve to redundantly 'inform' the audience what exactly is happening. It's condescending and distracting when characters deliver exposition in this way, or when sound effects such as the "wooshing" sound of the virus being transmitted is used.
On the whole, there is some memorably funny dialogue and acting but also a lot of stupid, unconvincing and boring story and character choices that are forgettable.
Star Trek: The Next Generation: Encounter at Farpoint (1987)
ST TNG: Encounter at Farpoint Parts 1 and 2; Thinly Plotted Artifice
Encounter at Farpoint: Part 1 feels narratively inconsequential, a plot as framing device for what part 1 says will be and should have been the first "adventure" or "exploration" of the Starship Enterprise. Part 1 serves to introduce us to the characters, settings and ethos less through inherent action than with artificial exposition.
On a purely character and ethos level, this crew and its principles are very likeable, with early favourites being Data and Picard, although Riker brings an important independence to the proceedings.
The visual effects and music are exciting and dramatic draws for the show.
Dr Crusher was well characterised in Part 2, with McFadden demonstrating subtle acting chops.
On the other hand, Deanna Troi's character relies on carrying herself in an almost constant trance-like state, whether her mind is "open" or "closed" which is very distracting. Her character also deflated the emotional resonance of many scenes by pointing out its intended effect on the audience.
There were a number of occasions where repetitive dialogue is very noticeable, usually only a few lines apart, that feels wholly unnecessary.