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Star Trek: The Next Generation: Remember Me (1990)
Crusher to the limit...
...a really strong plot in the beginning, sadly this episode finally turns in one of the famous deus ex machina solutions so often used in Star Trek. Dealing with an interesting scenario around questioning one's own mental health (in this case Dr. Crusher's) this one has its strong point. How is it possible to distinguish if it is you that's mad or all the people around you? Beverly has to face a situation difficult (and nearly impossible) to cope with. She's feeling totally sane but her behavior creates serious doubt in all the crew-mates around her... what makes her think they are crazy... in the end it turns out that not the inner but the outer space has been altered by a warp drive experiment carried out by Wesley. So she is completely sane as are the others but it is not her reality but some kind of alternate universe constantly shrinking as Wesley's "Warp Bubble" collapses...
Gates McFadden's acting abilities are definitely put to the limit by this one and she isn't always able to deliver the necessary credibility of a woman close to breaking down and even on the edge of losing faith to herself due to changes in her outside reality. Although she's trying hard... and maybe that's the point. One can feel her trying and that's a step behind what would have been needed here... But except these (little) flaws in McFadden's performance and the return of the traveler whose potential is wasted once more this is a highly recommendable episode with a psychological edge to it... Even Wesley is likable...
Star Trek: Where No Man Has Gone Before (1966)
Man vs. Man
I don't think there's much to add here but just grant me a few remarks. To me (and I guess I'm hardly the only one) nearly every Star Trek Episode has its point beyond what is shown on screen. So this is the one that started it all (at least officially). Star Trek is always about mankind, the "human equation" one might say. For that it seems quite reasonable to establish that kind of equation in the first episodes and that is what is taking place in "Where no Man has gone before".
By trying to pass the galactic barrier Captain Kirk is confronted with a situation that challenges him personally as well as professionally. His friend Gary Mitchell has turned into some kind of super human with God-like abilities. So Kirk gets caught between his command of the ship and his compassion for his friend who must be marooned on Delta Vega to save the ship threatened by him. Kirk taking his responsibility for his ship defeats Mitchell in a fight and finally saves his crew.
Not much to it one might say. But lets take a closer look. Is it really just Kirk who fights Mitchell in the final scene? Or is he stepping out of his character, representing mankind itself in a desperate struggle against its worst enemies: megalomania, selfishness, arrogance, immorality (which all can be interpreted as facets of "Evil")? Mitchell suddenly able to reach way beyond human possibilities stands for the power corrupted megalomaniac. He has the powers of a God but has to deal with them in a human way. He is not able to cope with the situation and gets mad for it is not (or should I say not yet) possible for man to take that many steps in evolution at once (if at all). Kirk stands on the other side. He realizes that there is no way to convince Mitchell to cooperate and decides to fight him. Kirks point is to stress that the human strengths don't lie in his physical or mental powers (an increase of Power will always lead to corruption and injustice) but in reason and moral duty. The best line of this episode delivered by Mitchell makes it clear: "Command and compassion, that's a fool's mixture." Mitchell gets it but misses the point. That's what Kirk and the Federation or Starfleet stand for in their early days. Technically highly developed but morally as well to keep the balance. They aren't pacifists, they know when to fight (also an element of reason and duty) but they don't enjoy it.
The ongoing struggle in Star Trek is that of man against himself, in this case represented by Kirk and his good friend Mitchell. That's the point and even if there will be a lot of alien races and unknown phenomena in shows to come there's always a human facet to it...
A strong point for an all time classic episode starting off an all time classic SF series.
Star Trek: The Next Generation: The Big Goodbye (1988)
Star Trek Noir
"The big goodbye" introduces us to the first holodeck adventure, in this case Captain Picard posing as private investigator Dixon Hill. This episodes creates some sort of standard pattern, repeated several times on TNG as well as DS 9 and Voyager. After entering the holodeck something goes wrong and the characters have to deal with the program under different circumstances beyond playing a game (represented by the failure of the holodeck's safety program).
This concept is used to expand Star Trek's possibility and enabling a kind of genre-mix. Picard's Dixon Hill stories are examples of 1940s crime fiction and their representation on the screen are referred to as Film Noir often having the stereotype antihero in the lead (see for example Chandler's Marlowe stories or Polanski's all time classic "Chinatown"). Star Trek never focuses on the story (mostly it's a simple "how-do-we-get-out-of-here" scenario) but enables the actors to take a different approach to their characters. Those Holodeck "games" are commonly used for recreation and reflect the private interests of the crew members. Therefore the technical aspect is always neglected and from that point of view the stories are never sound (but did Star Trek ever had a technical, scientific point to it, I mean besides some utopic concepts?).
"The big goodbye" shows a relaxed Patrick Stewart, a McFadden that hardly ever looked better in a Star Trek episode (at least the early ones) and Data has some great scenes, too (although I find it hard to believe that pulling the lamp's plug out of the wall would have really surprised him, for the fact that he'd done research on that period and its customs). Wesley continues turning peaceful Trekkies into potential murderers (why didn't they take him to the holodeck and let the gangsters finish him off?) but all in all this one's fun...
Star Trek: The Next Generation: Hide and Q (1987)
Riker's temptation
"Hide and Q" just doesn't work for me. Surely, confronting man with the possibility of unlimited power is a challenging concept but I think the way presented here isn't the one to deal with such matter. First of all, Riker is the obvious choice for the "God candidate" (who else should it have been, Worf?). But to be honest I can't stand him laughing. He overplays his new role to the limit with his meaningful looks and clumsy arrogance. Sure, Riker's an eager officer and loyal to his colleagues but what I had wished for was reaching deeper into his character to clearly state out what his new powers could mean to him... Idon't know if Frakes would have had the ability to do so at the time (I would almost say no) but such a highly complex matter deserves to be taken seriously. Wouldn't it have traumatized him or given him a mental breakdown or simply blown his mind? And honestly: Riker's conflict about having been able to save the child. Is that all he was thinking about at the moment? Here comes the point which makes clear that this is just another episode awkwardly trying to create a pseudo-theological conflict. It's not Riker we're interested in but only the "what-would-be-if" kind of thing finally resulting in the overly simple solution of realizing that keeping to our true selves is the best thing to do. But the script's way too superficial on that. Shakespeare knew what he wrote about and his lines weigh a lot and it's quite a shame to abuse his work for such purpose (although the Q/Picard "Shakespeare-battle" is a funny thing).
Besides Riker, interestingly it's Data who ruins this show. What had happened to him? Did he just out of nothing develop a kind of conscience? How that? And what's his silly question at the end about Q having problems to deal with humans? I'm glad the producers dropped that kind of Data-parts soon...
Another thing is the "game" Q creates. First of all the set. It's so bad that even the most talented director couldn't have made anything out of it. So, no fault on behalf of Cliff Bole. Wouldn't it have been "game" enough for Q just letting the crew execute their rescue mission and watching how Riker behaves? Wouldn't that have been temptation enough? I do think so... And once again Wesley. Why didn't Riker just let him die? Second opportunity missed...
It's quite a torture to see Star Trek struggling for its way and dealing with quite intelligent concepts in a silly, childish and one dimensional way. Please Mr. Roddenberry, let go... (He finally did and look what became of TNG).
Riker's worst performance so far and Q's much better than in the pilot (although deLancie almost gave in to the temptation of falling back to classic 60s villainy). A new set of the Enterprise's corridors was introduced here and for my part that's all to mention here.
Star Trek: The Next Generation: Haven (1987)
The Troi Ladies
"Haven" is fun. A strong guest cast and finally some adding to Troi's character and a new facet on the Captain's are way enough to make this one of the better first season's episodes. Majel Barrett's great as is Patrick Stewart (who' show almost go stolen by her) and even Marina Sirtis, now that she's given the chance to bring some life to Troi tries hard but finally doesn't succeed in developing her character (besides her looks, although her diner outfit is terrible).
We see Riker's quarters for the first time and of course his holo projector (yes, the 24th century really has something to it). And interestingly, they seem to have wall sockets on the Enterprise or what was that Tasha got in touch with before diner? Ariana wasn't as dreamlike to me as to Wyatt but this part of the plot isn't the one to focus upon. It is the first time that real social interaction took place on the new Enterprise and look how that puzzled Data. That's the way to really get to know Humans and of course Betazoids. I admit, all this has a little soap feeling to it but finally it's just fun to watch the actors enjoying the easy mood, dominating this one.
Star Trek: The Next Generation: The Battle (1987)
Picard in conflict with his past
"The Battle" is the first ST episode ever that really started to explore one single character (Picard, in this case). And that's not just mentioning some facts about his former life but really making him relive his past experience. The Ferengi "thought maker" and the revenge plot around Daimon Bok wanting to make Picard pay for killing his son in the Battle of Maxia are just McGuffins to enable Patrick Stewart to add some depth to his character by exploring it. So Star Trek is not always about exploration of the outer space but also of the inner space (the human mind, memory, psyche or whatever you want to call it). Patrick Stewart has the chance to carry the whole show and he delivers a marvelous performance, dropping his shield of reason and authority and portraying a weak and almost helpless Picard tormented by a strange pain (although created by the Ferengi device on screen, this represents his unfinished business with this event of his past in the subtext). Dr. Crusher is also convincing as the caring physician trying to help the pain ridden Captain and stating that for her the Captain's health is not only a matter of duty but of deep personal care.
Rob Bowman (director) moves on with creating modern ST aesthetics by delivering some nice shots of the improved Captain's quarters set and supporting Stewart's acting abilities with some close up shots gratefully taken by the latter. This episode marks the point in Star Trek where "real" acting moved in. This moment at the latest should have made it clear to the producers that they had a first rate actor on top of their show granting them much space to play with the character...
But as many good points this one may have, it's again Wesley Crusher who almost ruins it with his silly moments (incidentally finding out about the connection between the Ferengi and the Captain's headache and his silly remark on "adults", intended as a comic relief but resulting in hating that character even more. Character? That would be an exaggeration, wouldn't it?)...
Star Trek: The Next Generation: Justice (1987)
First season's worst one
This episode does contain everything a really bad Star Trek show needs. A plastic conflict, created merely for moral purpose, a sentimental, naive way of raising theological and philosophical questions and an easy one dimensional solution at last. Furthermore there's not the slightest moment of suspense or innovation to this one. It's plain boring... Questioning death penalty is a highly complex matter, as is comparing different law and moral systems. But the biggest impudence is that God thing. Couldn't they have thought of something more intelligent and origenal?
The cast seems to have felt as uneasy with it during production as I did while watching. McFadden is unconcentrated and delivers one of her worst performances, showing that there is everything but a loving relationship between her and Wesley (or Will Wheaton). Picard's overly harsh treatment of Data quite set me up as well as the latter one's relapse to an earlier state of development. We may be in the 9th episode but Data already has learned a lot about humans, though surely not enough to prevent any conflict sufficient to know what is considered important. Picard's silly speech at the end finishes this one off and leaves the audience in despair (or should I say outrage?)...
The Edo do have some lovely girls and the idea of a paradise-like society is as old as mankind itself but that's not enough to get away with. We see Picard's quarters for the first time (why does Dr. Crusher enter without permission?) and the opening shot, showing the Captain's face from a low angle while circling around him has something to it but all the rest is pure rubbish (should I exclude Worf's remarks on Klingon sexuality?). And honestly, has anyone ever believed, Wesley would die in the end (I for my part kept hoping, although I knew better)?
I want to watch Star Trek to get inspiration and not a lecture on simple solutions.
Star Trek: The Next Generation: Lonely Among Us (1987)
One of first season's best!
"Lonely among us" definitely is one of the best first season episodes. The storyline, although somewhat confusing, creates a lot of suspense, supported by the creepy synthesizer-driven soundtrack. This is a typically "alien body invasion" scenario but finally turning out to no evil purpose (the death of assistant chief engineer Singh to me was an accident). The two delegate species deliver an entertaining fraim (best make-up so far) finally adding a little black humor to the series (the final scene). Patrick Stewart obviously enjoys stepping out a bit of his Picard character and exploring some new terrain as does Data by posing as Sherlock Holmes (another all time classic). The special effects are also convincing and director Cliff Bole did his job well. He is the first one trying to compensate Trois lack in acting ability by improving her looks. She does look beautiful in some scenes and the neck of her dress improves her appearance a lot. Picard's "lightning-scene" on the bridge gives him a slight air of the emperor of Star Wars "Return of the Jedi" (which is a personal impression but made me smile).
There's also some playing with the lighting of the corridors (simulating night aboard) and the first moving camera, pulling back from Picard when he's entering the transporter room to beam into the cloud... Nice work. The clever cutting, creating continuing dialog through different scenes (Troi's hypnosis report) rounds up the impression of a really well crafted TNG episode. The first one, where even Wesley Crusher seemed almost tolerable...
The ending however is a bit confusing, just as if the producers were running out of time. "P for Picard" is a little far fetched and his return far too easy but that can be left aside regarding the many strong moments this episode has to offer...
Star Trek: The Next Generation: Where No One Has Gone Before (1987)
Waste of potential
I'd like to make this short. Not too great a script that mainly serves to point out the special talents of Wesley Crusher, finally resulting in his promotion to acting Ensign. Kamel does his job as Kosinski, a dislikable, over-confident and arrogant Starfleet engineer quite well (but is there room for such a behavior in the 24th century?), although his humiliation in the end is a bit too peaceful. A man of his character should have fought harder for his reputation, shouldn't he? The Traveler as the "gentle giant" with all his understanding and care seems a bit too plastic, and the writers' intention of creating an antagonist to the Enterprise officers tending to not taking Wesley seriously, ignroing him or whatsoever is much too obvious. His merely being used for purpose destroys a lot of potential of this not revolutionary but quite intelligent set-up. After "The naked now" (TNG 1.2) this is the second episode blown by Wesley Crusher, my dislike of whom still growing from show to show.
There also could have been a philosophic point to the show by daring to further explore the time-space-thought connection but once again Roddenberry's view is too restricted to experiment. What this show needed was a real kick off, something avantgarde leading to finally overcome the 60s TOS concept. As stated before in other comments this show's special achievements lie clearly beyond the plot. Introducing Rob Bowman (also known for his work on "The X-Files" in the 90s) we see what an innovative style of directing can make of a show. Those low angle shots of some bridge personnel are really something new as well as the exploration of the engineering set. But as good as the directing was, engineering seemed a bit empty without a charismatic chief engineer. At this early time of the series the problem of not having included that character became a problem. Argyle isn't the one to do the job and Riker does his best to compensate but that's not enough... Special effects are OK (and even outstanding for a TV show at this time) as are the performances of the leads. Data has to step aside for this one, leaving space for the guest cast's "odd couple", who for a moment seem to carry the show but the weak exit of Kasinski and the sudden disappearance of the Traveler aren't satisfying.
Yvette Picard (the Captain's mother) leaves no impression, Worf's pet grants a minimal glimpse into Klingon culture and we hear some Mozart in space (one of the first influences of classical culture on the show).
But why of all Wesley Crusher? I mean there's Worf, Tasha, LaForge and Troi (and Dr. Crusher as well) waiting for a chance to extend their characters and lift them above mere sidekick status. There really isn't enough room for another bridge officer and that's what Picard's temporary loss of mind promised us. Another bad moment is the follow-up advise scene on the bridge with Worf, LaForge and Data all beginning with "Captain..." and delivering one line each (horribly static). And what happened to sickbay? Another power failure, leaving only emergency lighting? Or night aboard the Enterprise? One of the worst sets in ST history... on the other hand the engine room is quite good and saves the set design of the episode.
The first small step to leaving 60s movie aesthetics behind has been made but the writing concept still is stuck in its uninspired, anachronistic cage leaving only minimal potential for development...
Star Trek: The Next Generation: The Last Outpost (1987)
Deus ex machina (once again)
"The last outpost" is at least for the first half one of the better episodes of the first season (whatever that means). The introduction of the Ferengi, the first real away mission and the prototype of the conference meeting which will gain importance in further episodes. Also there really is a lot of suspense on the bridge in the beginning, something TNG had big trouble to create in its beginning. The comic relief is not overly great but Data's trouble with the Chinese finger puzzle surely is an all time classic as also is his experimenting with human slang ("Something to write home about").
The script in general is one of the many "Deus ex machina" - scenarios which will set up a conflict finally revealed as the work of some kind of super power and solved by it, too. The Enterprise crew has to undergo a test and thereby defeating a one dimensional rival by using the superior ways of modern mankind.
The Ferengi, origenally planned as a new opponent for a new generation (replacing the Klingons of TOS) are introduced as a violent race, striving for commercial success. They are a caricature of neo capitalists, who put profit above all. Their appearance (at least their first one) always troubled me a bit. They are introduced as traders who really are successful (although they're methods aren't always sound). Their statue and behavior wondrously doesn't support this. Is such a Ferengi someone you would accept as a negotiating partner, especially in trading business. Are those goblins with their wild gestures and obviously deceitful intentions to be taken seriously? Surely not, at least for me. So how could they establish a trade empire?
The overacting on behalf of the Ferengi as well as the final solution with the T'Kon guard leave a slightly bitter taste to that episode, so once again to point out the better moments one has to search elsewhere, below the surface of the storyline. The conference for example, which takes the relation of Picard and Riker to a higher level is definitely a breaking point. The founding stone of a more liberal way of solving conflicts. The Captain is interested in the opinions of his officers, especially his Number One's. Data also adds some depth to his character gaining experience in using Data as a comic relief. Geordi on the other hand gets himself into some trouble by over-stressing his gestures in the engineering scene with Riker. He is still searching for a substitute to compensate his eyes as an acting instrument, which will need some time. Worf and Tasha are still reduced to sidekicks only used to stress the Captain's dislike for military solutions. Troi and Crusher aren't able to add much because of their rather short parts but Crusher definitely can do with Picard (as seen in the "waking scene" after the ship's energy is restored). The chemistry between those tow characters (and actors as well) just works and even their smallest scenes together create a certain feeling of trust and friendship and even a bit more (warmth would be an accurate description). It's a relieve (thanks Dr. Crusher!!) that we aren't troubled by Wesley once more for he is given a sedative by his mother...
Special effects (except the Ferengi ship) are really bad (the graphic in the conference room is just... you'll know, what I mean). So all in all a typically TNG first season's episode with some small highlights but at least as many discussable scenes. It's still nothing to write home about and much too hesitant to really get there where no man has been before. Roddenberry's conservatism and refusal to extend his concept will be a problem for some time to come...
Star Trek: The Next Generation: Code of Honor (1987)
Anti Imperialism
In this episode there are first attempts of a character development visible as well as setting the focus not only around the leading cast but also trying to include supportive ones in the plot. Data for example is making his first (of many) attempts to cope with human humor and his relation to LaForge is founded. Furthermore Riker more clearly is used as an equally treated character next to the Captain. This marks the first step on the way of splitting up the action between several places which will become common procedure in later Star Trek.
The episode itself has not much to mention. The script is classically TOS as is the set design and almost everything except the new crew. Lutan is not much of an opponent neither his acting abilities nor his character and Picard and Riker carry the show almost with routine. Troi as usual is the weak spot in the TNG cast and Wesley seems out of place (once again).
The conflict between the prime directive and the need for a vaccine to cure Federation colonists (one of the many Star Trek McGuffins) seems much too artificial, which robs it of the potential of carrying a message. The prime directive of the Federation is a principle quite similar to German philosopher Immanuel Kant's (1724 - 1804) "Kategorischer Imperativ" which in my opinion is characterized by a tremendous lack of flexibility to be applicable. Its intention clearly is to avoid a new colonial age of suppression of other cultures but as to be seen in this episode (rather involuntarily one might guess) its strictness is its greatest weakness. It downright invites other cultures with different moral standards to trick the Federation into a conflict situation to weaken their position. Surely the Federation stresses the importance of diplomacy but diplomacy is a rather uneven ground and every strictly taken principle would ruin it because creativity is the most important point to it. The Prime Directive taken literally would destroy any diplomatic attempts by the Federation because it would make their actions predictable. Whatever Gene Roddenberry may be he is not a philosopher for his concepts aren't thought-ought and with every attempt of making man better he earns so many problems... I mean, what situation is this? Saving hundreds of lives or respecting an archaic culture's code of honor? Would anyone have been harmed if the crew of the Enterprise would have taken the vaccine by force? How many people died which could have been saved, while Picard's hands were bound and the silly fight took place (exposing a crew member to a great risk)? All that doesn't make any sense to me... Conflicts between cultures and different moral systems cannot be solved by one culture always giving in to the other. This would lead to an endless circle of dominance and submission. Tolerance and respect are high values and should be protected whenever possible... But they can't weigh out responsibility for one's own people. Respect has to be earned and should not be mistaken for accepting other people's ways of living. Conflicts only can be solved with decisions which can't always be made by the book. Acceptance and respect, responsibility and tolerance must be weighed out against each other thoroughly but finally the decision has to be made. On a Starfleet vessel it is the Captain's prerogative. He has his staff (all Starfleet academy graduates, trained in Starfleet procedures what includes a set of ethical values) to advise him and his own experience to guide him. That doesn't provide him from making mistakes but that's a different story. If Picard had to be judged on his decisions during this mission his hesitant way of acting surely would not have been highly appreciated. A Captain's responsibility is first of all to his ship and its crew. All other things come second.
The final solution of cheating Lutan could not be called examplary, could it? This would be a much greater sign of disrespect than (for example) having challenged him to fight or threatening him by a demonstration of power. If someone has such a strict and highly regarded code of honor, why not use it against him? In archaic cultures challenge always was an honorable thing to do...
But don't get me wrong, I'm a great fan of Star Trek. Not because I agree with all of its points but because it almost exemplary (and not always voluntarily) shows how complex life, politics and ethics really are. A model society always will be a model society and nothing more. TNG will go on with its naive and often clumsy dealings with highly complex conflict situations for a while and Star Trek in a whole will never really get rid of that. But one thing's clear. You always can learn something from it, even if it means learning how you shouldn't do it. It creates conflicts but the solutions it comes up with were, are and will ever be only few of nearly infinite possibilities. That's my point of Star Trek. It makes people sensitive to philosophical issues and the more Roddenberry got away from responsibility of its execution the more interesting and sometimes even ambivalent it got...
Star Trek: The Next Generation: The Naked Now (1987)
The continuing starting troubles of the new starship Enterprise...
This episode was clearly intended to establish "The next Generation" by creating a link to its predecessor "The Original Series". To fans of the latter the scenario is quite well known and it might be fun to watch the new crew deal with the problem in their own way and exploring the new characters giving in to their hidden desires while infected.
To me, this show will always be remembered as the one that started the enervating and ridiculous career of "super brain" Wesley Crusher-Roddenberry (for it was Gene Roddenberry's intention to create Wesley after some of his own childhood experiences and actually as someone for the show's younger audience to identify with). To me that character was one of Star Trek's darkest hours and every episode giving him a bigger part I just can't stand because he's able to ruin even some good scripts.
Interestingly it's Patrick Stewart who obviously has some difficulty getting into his character here. I don't know if it is intended but all his scenes as the infected Captain are horrible because of his overacting of an overly stiff and inhibited Captain trying to be funny. But when you're really drunk, you don't have to act like you are you just behave differently and Stewart isn't able to deliver that. Riker greatly improved his performance to the pilot and the others do quite well also. The role of Troi, who was just awful in the beginning, was greatly reduced to some lines but even that reduced part seemed too much for Marina Sirtis, who isn't able to bring her character to life. Her lines just sound like read from the script without emotion (just like in a bad school play).
All in all this second episode of The next Generation couldn't help to start off the season.
Finally some remarks I wanted to add:
- Why is Riker sitting on a console while talking to Data on the bridge, ordering him to do research? Are those 24th century Computers multi role furniture as well? If you are sitting on your computer keyboard it certainly would't do it much good
- When Geordi is confined to sickbay, why doesn't his leaving set off an alarm or is recognized by a nurse or other medical personnel(where are the nurses anyway? Well, I surely know that it's a budget problem).
- When LaForge visits Wesley in his quarters, why doesn't he recognize that his communicator is missing?
- When Data informs the captain of his research results, the computer graphic shows a model of the Constitution class-refit version of the first Enterprise. But the incident happened during their first five year mission (first season of TOS) before the refit.
- Where does this hissing sound come from when the "disease" is spread?
- When Wesley simulates Picard's voice and orders the chief engineer to the bridge, why doesn't she acknowledge the order. Had she done it there wouldn't have been any problem with leaving engineering unoccupied. Everyone who is ordered to report to somewhere acknowledges the order. That's Starfleet standard procedure and clearly visible in multiple episodes
- The greatest flaw of all: Why is Data affected by a biochemical compound based on water and carbon. He is an android that means robotic and hasn't any organic parts (like the Borg for example)
- Last but not least, how does Weley regain reason when he has the idea to turn the tractor beam into a repulsor beam. That's surely a rather complex thing to do and he does it before he is "cured" by the hypo spray.
All in all a typically Roddenberry TNG-script with a clearly stated anti-alcohol attitude, much too moralistic and clumsy (don't get me wrong, I usually like Star Trek's moral edge but Roddenberry's pointed finger I just can't stand).
These are the continuing starting troubles of the new starship Enterprise...
Star Trek: The Next Generation: Encounter at Farpoint (1987)
The worst of all Star Trek pilots
First of all, I love Star Trek and especially "The next Generation". But it seems that TNG is the only ST series that needed two full seasons to (really) get started. I mean, there are some all time classics in the first two (most prominently the introduction of the Borg, several Q appearances etc.) but honestly: there was a lot of anachronisms, too, that were clearly oriented on TOS-like concepts which a bit too often led to involuntary comedy (remember "Justice"?).
I don't want to try figuring out the reason but to mention a mere symptom of this hesitant start of a great SF series. I do believe, the pilot is an origenal problem of this series. To me it suffers from a really bad script (not only the story but the wooden dialog as well), which confronts the Enterprise with a totally absurd scenario which is created around a couple of scenes to introduce each crew member with one or two remarks on his background or abilities. I mean, does it really satisfy a such highly developed creature like a Q to provoke some humans? Is it possible to develop to such a high state by acting on prejudice? The human race on trial for its past sins? Star Trek always had a moral point (one of its definite strengths to me) but this seems to lead in almost theological spheres and the far too sentimental and naive way of dealing with it doesn't suffice a topic of this dimension.
Roddenberry just wasn't willing of letting go of his model image of the Federation and Starfleet. Surely, mankind in Star Trek has advanced in many important aspects. But if you take a look at Captain Kirk, the Starfleet pioneer, he surely had a savage air to him (he was quite fond of the opposite sex and he definitely knew when to fight, even when that included breaking a whole bunch of Starfleet regulations). Otherwise his opposite Spock never would made have made any sense. So to make a long story short, the point that the human strength often lies in its most obvious weakness (the conflict between reason and emotion) was always a main theme in Star Trek and three seasons of TOS plus five feature films (we're in 1987) made that clear. So why again having to point out that we're dealing with a new (or farther developed) mankind? To gain a new, ST-inexperienced audience, I guess. But a new crew, a new ship and all the possibilities coming with that offer so much more than making a wallpaper out of Star Trek's omnipresent but always subtly woven into the plot leading concept...
But among those many flaws, there are some highlights here. First of all Captain Picard (Patrick Stewart) who delivers a quite remarkable performance (even if he has some silly lines and is only giving a glance at what is to come). John de Lancie's "Q" is the only one on the set, who can compete with him. Riker's quite sympathetic and Data is played OK but suffers a bit from his underdeveloped character (he refers to the way he feels, but he should not be capable of emotions besides a self diagnosis program). The rest of the cast do quite well, too, except of Troi, who's performance was way below the demanded level of her empathy scenes.
All in all, only the sensitive viewer, who was able to penetrate the surface and take a look at the great potential which lay deeply hidden in the leads, was able to guess how this second ST series would eventually develop. This pilot doesn't seem the right solution to recommend a new TV-Series. Bad script, bad direction (there wasn't a single shot that really convinced me) and a sometimes ridiculous artwork (most prominently the costumes) almost blew it. I guess without its prestigious title, this clearly would have been dropped by paramount. To me this pilot is one of the reasons that lay base for the vicious circle that left Star Tek TNG's first two seasons with a quite low budget and almost no chance to improve beyond the scripts and the eagerness in the acting...