6-22. Suspicions.

An experiment sends a shuttle flying into a sun!

Dr. Crusher is impressed by the research of Dr. Reyga (Peter Slutsker), a Ferengi scientist who insists that he has developed a metaphasic shield that will allow a shuttlecraft to fly safely into a star. The Federation's scientific community is skeptical, both because attempts to develop such shielding have always ended in failure and because Reyga is a Ferengi. But Crusher believes the data, and arranges for a team of scientists from different races to come to the Enterprise to see Reyga's work firsthand.

A shuttlecraft is equipped with Reyga's shield technology, and a manned test flight is arranged. Jo'Bril (James Horan), a Takaran scientist, volunteers to pilot the shuttle into a star. The test appears to be going perfectly, everything happening according to Reyga's calculations. Then there is a sudden rise in baryon particles. Jo'Bril begins to collapse, and by the time the Enterprise is able to retrieve him, it is too late for Crusher to save his life.

The autopsy cannot reveal a firm cause of death, and no malfunction can be found in either the shuttlecraft controls or Reyga's technology. Then Reyga turns up dead, apparently from suicide. Crusher cannot accept that he might have killed himself... but her insistence on investigating may put her entire career in jeopardy!


CHARACTERS

Capt. Picard: As someone who has sent crew members on missions that have ended in death, he understands Crusher's feelings when Jo'Bril dies in a test she made possible. He doesn't attempt to comfort her, as such, knowing that consolation at this point is not possible. He is very protective of her throughout, even when she takes action that violates Starfleet ethics, and he does make a keen observation about her situation: "You're the loneliest person in the world right now. No one can say anything, no one can do anything that will help, and you think that it will never go away. And you're right, it won't. But you can get used to it. I know it doesn't feel like that now, but you can."

Dr. Crusher: The best Crusher spotlight episode since Season Four's Remember Me. Crusher is taken out of her comfort zone. First she acts as a "scientific ambassador," taking it on herself to arrange for the scientists to see Reyga's research in hopes of promoting an exchange of ideas. She really doesn't do badly at this, managing to direct the other scientists' skepticism in such a way that it leads to a demonstration of the technology instead of an outright dismissal. But when things go awry, she is put into another unfamiliar role - that of detective. The one investigative tool she is comfortable with, the autopsy, is specifically denied her, and she is forced to search for the truth without that data. Gates McFadden gives a solid performance, and is particularly good in the scenes that see Crusher feeling alone, out of her depth, and defeated.

Guinan: Seen for the first time since Rascals. Even though her role is small, restricted to the bookends surrounding the story, it's still a welcome return. I'm actually impressed at Whoopi Goldberg's ongoing commitment to a role on a syndicated television series during a period when her film career was at its height. Guinan's interactions with Crusher are a lot of fun. She's just the right sympathetic ear to allow the doctor to vent her frustrations, and knows exactly when to listen and exactly when to push Crusher to action. 


THOUGHTS

The second murder mystery of the season, Suspicions is an enormous step up from the leaden Aquiel. The script, by stalwarts Joe Menosky and Naren Shankar, gets right key things the earlier episode got so wrong.

First, the mystery. Whereas Aquiel suffered from a thin mystery that tried to evoke '40's film noir but came closer to '80's Scooby Doo, this mystery is passably intriguing. New revelations and complications come at a steady pace. There's a twist ending, one that admittedly isn't hard to see coming. But unlike Aquiel, the ending works - in part because that character has a convincing motive, and in part because the script lays groundwork early in the episode to make the revelation halfway believable when it comes. In short, this time the dog didn't do it.

Even more critically, this script grounds itself in the character of one of the regulars. The earlier episode may have been from Geordi's viewpoint, but he wasn't specifically used or examined as a character. Other than his (entirely unconvincing) feelings for Aquiel, nothing was at stake for him. He was simply the designated "character of the week," in a script that could have been rewritten to fit any of the other male regulars with virtually no changes. 

Suspicions feels specifically tailored to Dr. Crusher. The mystery is suited to her character, as is the central challenge: She is certain that an autopsy will solve the crime, and the tool of an autopsy on the Ferengi scientist is what she's specifically denied. There are personal stakes. We open the episode learning that events have put her career in jeopardy. As she continues to push for answers, even when Riker urges her to stop, she makes the situation worse and worse for herself. Picard tells her early in the episode that she is alone, and that ends up being exactly right at the close, her investigation isolating her more and more until she finally is truly alone. Effective structure, and very strong use of character.

Viewed in the context of Aquiel, this episode is a reminder that the murder mystery is a valid genre for Star Trek.  As an episode in its own right, it's well-paced and a lot of fun to watch. Not one of the great episodes, but certainly one I'd consider a good one.


Overall Rating: 7/10.

Previous Episode: Frame of Mind
Next Episode: Rightful Heir


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6-7. Rascals.

Ro and Guinan, age 12.

THE PLOT:

Picard, Guinan, Ensign Ro, and Keiko O'Brien are returning from a relaxing botanical/archaeological expedition when their shuttle is engulfed in an anomaly. The Enterprise beams the four to safety - but when they materialize, the four are transformed. Their minds remain intact, as do their memories and experiences... but they now have the bodies of twelve year olds!

Dr. Crusher pores over medical scans of the four, trying to determine what happened and how to reverse it. Meanwhile, the ship responds to a distress call from a Federation science station. It's a trap, however, and theEnterprise has soon been incapacitated by a band of renegade Ferengi, who begin beaming all able-bodied adults to the surface of the planet below to act as slave labor.

All able-bodied adults, however, does not currently include Picard and his companions, who set about making a plan to retake the ship!


CHARACTERS

Capt. Picard: Deals with the situation with even more intellectual detachment than is his norm. The 12-year-old Picard (David Tristan Birkin) hesitates to relinquish command, his first impulse being to go straight to the bridge. He does relinquish command with a nudge from Dr. Crusher, acknowledging that no one will be able to take a 12-year-old captain seriously. Even then, he ponders what he might do while waiting to grow to an adult again. Taking a sabbatical from Starfleet to focus on archaeology is tempting to him, but not enough for him to even hesitate about returning to normal once a solution has been found using the transporter.

Riker: Takes over command of the Enterprise, only to lose it to a bunch of Ferengi. That has to be a bit embarrassing for him. He deals deftly with the Ferengi, however, learning that they are not affiliated with the Ferengi government and playing along with Picard's ploy to retake the ship. The scene in which Riker bamboozles a Ferengi with Technobabble is quite funny, both as a screwball comedy nod and as a send-up of Trek Technobabble in general.

O'Brien/Keiko: It goes without saying that having his wife returned to him as an early adolescent (Caroline Junko King) makes things awkward for O'Brien. It doesn't help matters that Keiko goes into denial about the situation, trying to resume their marriage as if nothing was out of the ordinary. Only when their daughter calls for "mommy" to read her a story, then rejects the youthful Keiko for not being her mother, does Keiko realize how untenable this new situation is. Of the four, she's probably the one most eager to return to normal at the end.

Guinan/Ensign Ro: The young Ro (Megan Parlen) and Guinan (Isis J. Jones) make an entertaining pair, and their scenes are my favorites in the episode. Ro reacts to this situation as she does to just about everything: with outrage. Something altered her body without her consent, which she views as a violation. Guinan looks at the situation in a healthier way. She's a kid again, so she might as well have fun and play. She stubbornly sticks with Ro, refusing to allow the Bajoran the luxury of brooding alone. She coaxes Ro into actually letting herself be a child for probably for the first time in her life, given the state of her actual childhood, in scenes that are the most natural-seeming of the episode.


THOUGHTS

I was dreading Rascals. I've rarely been fond of child-centered episodes of Trek in the first place, and after Season Five's overload of them, I was gritting my teeth when this one came up in rotation. Child actors are brought in to playact the parts of the regulars. Wonderful. There's a return appearance by Worf's irritating son. Even better. And Ferengi too? A perfect storm of crap!

So it was actually a very pleasant surprise that the episode ended up being fairly enjoyable. 

Don't get me wrong: Rascals is not very good Star Trek. The plot progression is obvious, with both the situation and its resolution depending on Technobabble involving anomalies and transporters. The Ferengi were always weak when used as villains, and it begs a huge suspension of disbelief that they can so easily take over theEnterprise, only to be so easily defeated themselves thereafter. 

But the episode moves along briskly. The first half even has some intelligent writing, as we see the impact of this situation on the four. I liked that each of the four had a different response. Picard intellectualizes it, and comes around to thinking of alternative paths for himself if it can't be reversed. Keiko's situation is the worst, as all of her life's major aspects - marriage, motherhood, and career - are unavailable to her in this state. Meanwhile, Ro and Guinan are the least affected - Guinan, because of her general outlook on life and the perspective granted by such a long lifespan; Ro, being given the chance at a childhood that life denied her the first time around.

It's all surface-level, with any serious exploration of these issues curtailed by the Ferengi plot in the second half. Still, Rascals has a handful of charming moments, including a lovely little tag between the adult Guinan and the child Ro, and it's never actually unenjoyable. It's certainly a lesser episode. But to my surprise, it is a highly watchable one.


Overall Rating: 5/10.

Previous Episode: True Q
Next Episode: A Fistful of Datas 


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Thoughts on Season Five

Picard lives another life in The Inner Light,
one of TNG's best episodes.

Season Five saw Star Trek: The Next Generation at its mainstream apex. The high quality of the previous two seasons had washed away memories of the series' weak start, and TNG had crossed over to mainstream success. The frequently-voiced (and in my opinion, wrong) view that this series was better than the original was gaining traction. High ratings, critical success, and a run that already exceeded the original show... in popular terms, TNG was at its peak.

I personally regard Season Five as a comedown from the heights of Seasons Three and Four, but I will be fair and say that it's not because the series suddenly decided to play it safe. Instead, Season Five marks a shift in focus, one that in my opinion comes at a cost.


PERSONAL STORIES:

The previous season saw the series, either by design or happy accident, hit upon a year-long theme: Family. Multiple episodes thoughout that season focused on the crew's relationships with their families, or with the families of former comrades, or with the extended family created by Starfleet in general and by the Enterprise in particular. This resulted in a thematically unified season with several outstanding episodes.

It's little surprise that the producers decided to build on that success. Season Five is extremely character-centered, with at least half of its episodes focused firmly on one character or another, often dealing with either family or with issues closely related to ones in society.

The problem is, this just isn't as artfully done as in Season Four. There's no larger theme unifying these episodes. They are just disparate pieces, most of which don't connect to any larger continuity. The result is that we lurch from one character to another, watching a play that centers tightly on them. Sometimes the play is good, sometimes it is bad - but the next episode generally renders it meaningless either way.

An assault traumatizes Troi... but don't
worry, she's all better by the next episode!

CONTINUITY, OR LACK THEREOF

Take Violations, for example. This is one of arguably too many Troi-centered episodes this season, and it sees her become a victim of (psychic) sexual assault. Yes, it's TNG's rape episode, with the fact of it as a rape episode made explicit in dialogue near the end. But Troi doesn't have to worry about any lasting trauma, because that's all wiped clean for future installments, never to be so much as mentioned again.

The same is true of Worf's paralysis.  Ethics is a rather good episode, with strong performances and a script that is willing to acknowledge both sides of its issue even if it clearly has its thumb on one end of the scale. But once again, something life-altering happens to a main character - and once again, it has no lingering effects. We end the episode with Worf and his son agreeing that they will work on his long recovery "together." Exactly one episode later, Worf is fully recovered, back at his station, and even assisting Riker in an action scene. In the 24th century, debilitating spinal injuries are apparently "just a flesh wound."

This lack of continuity is a blight on the season's ambitions to push the characters to the fore. We get a lot of episodes centered around a member of the regular cast, sure. But we can't really feel close to the characters when the events of a given episode are almost certain to never be followed up! The nature of the series, in which each episode largely stands on its own, is fine for adventures dealing with external conflict. But it doesn't lend itself to really digging into the characters as people, because they rarely get to change in any meaningful way.

Imaginary Friend. Arguably the worst of Season Five's
far, far too many child-centered episodes.

THE CHILDREN'S HOUR

Season Five also sees a significant increase in the number of child-centered stories. Worf's son, Alexander, comes onto the Enterprise full-time. This... is not a good thing. There might be some potential interest in watching Worf grapple with the responsibilities of being a father to a troubled son, but these are washed away by writing that is frankly not up to the task.

Every episode featuring Alexander has to have a happy ending in which his relationship with his father improves. This means that Alexander is never allowed to be truly troubled. The things that concern Counsellor Troi - lying to stay out of trouble, occasional misbehavior, playing when he should be doing classwork - basically add up to him being a normal kid! He hardly comes across as psychologically troubled. At worst, he might have a (very mild) case of ADHD.

Alexander would be hard enough to take on his own. But then the show has to give us multiple children's episodes in addition to the Alexander ones. I will admit that I enjoyed Hero Worship, though I would have enjoyed it more if it hadn't come immediately after the very similar (but much worse) New Ground. Even so, should a television series aimed primarily at teens and adults have a full 20% of the season be episodes focused the misadventures of small children? I would argue that anything more than two child-centered episodes per year is a bit much. 5 - 6 such episodes is definitely too much and would be even if those episodes were good! Not that "good" is much of a worry for the likes of: New Ground, Cost of Living, or Imaginary Friend.

Ensign Ro. One of Guinan's too few appearances this season.

ABSENT FRIENDS (AND ENEMIES):

I missed Q and Guinan this year. Presumably because of both actors' busy schedules, Guinan's role was reduced to a couple of appearances while Q was outright absent. Not taht one Q episode that may or may not have even been any good would have changed the shape of the season. Still, it's always fun to see John deLancie, and even a weak Q episode usually has some good interaction between him and Patrick Stewart.

That said, I think Guinan's absence was more keenly felt. After a major role in Ensign Ro, she vanished until very near the end of the season. I never realized how much she added until there was such a long stretch without her. In fairness, I'm sure the production staff would have loved Whoopi Goldberg to have been in more episodes. Given her stardom at this time, the series was lucky to have her at all. Still, her diminished role was felt this season, even if she came back at the end with some strong material.


THE GOOD NEWS:

I've focused so far on the aspects of the season that didn't work for me. Much of the season did work, and often quite well. The First Duty delivers what is almost certainly TNG's best Wesley Crusher story, one of only a few stories in which he really works as a character. The Inner Light brings us closer to Picard by putting him into a very different world and very different life and watching as he adjusts and eventually embraces these changes. In both of these cases, the season's decision to focus on character stories pays off in a big way.

There are several fine episodes. Darmok and The Inner Light triumphantly blend personal stories for Picard with intriguing science fiction ideas. I Borg uses the emphasis on the personal to tell a very different kind of Borg story, one that reveals the members of the Collective to be every bit as much victims as those they conquer.
Unification brings the TNG cast together with Spock, the original series' most iconic character. Cause and Effect, Power Play, and The Next Phase are good, fun adventures.

I might not think the balance is as good as it could be, but there is still some variety in the storytelling. And if the hit rate isn't as strong as it was in the previous two seasons, it still isn't as bad as it was in the show's first two years on-air.

The First Duty gives us a Wesley Crusher
who is both relatable and interesting.

SEASON SIX WISHLIST:

Season Five featured character episodes, science fiction "concept" episodes, and adventure stories. Unfortunately, I felt that the balance was tilted too much in one direction. Character episodes are a good thing - but not when they become this dominant. I hope to see a more even balance of episode types in Season Six.

I strongly hope that episodes centered around children are minimized. If Alexander is going to stay around, then either allow his issues to be genuinely complicated ones that aren't neatly resolved at the end of each episode, or else drop the whole idea of him being a "troubled child." From what we've seen, he's a fairly normal young boy. If that continues being the case, he should stop being treated like a delinquent who's one step removed from a lost cause.

Mostly, I'd just like to see quality control return to at least where it was in Seasons Three and Four. I know 26 episodes per season makes it hard to tell good stories every time. But there remain too many episodes that feel like they exist solely to fill airtime. When I plow through a few such episodes in close proximity, it kills my enthusiasm for the series.


IN CONCLUSION:

I found Season Five to be the most uneven since the series' early years. This season does feature a few of the series' very best episodes, but it's also overstuffed with filler. That sense is not helped by the insistence on telling stories that should profoundly change the characters, only to see those stories never followed up. If you're not going to deal with the emotional fallout of Troi being assaulted or the long physical recovery ahead of Worf... then just don't tell those stories in the first place!

There is enough good in Season Five to recommend it as a season of television - but unlike Seasons Three and Four, I'd label this one more a case of "rent it" than "buy it."

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5-26, 6-1. Time's Arrow

Data and Guinan, in the 19th century.

THE PLOT

On Earth, work in an underground cavern turns up several 19th century artifacts, including one that's rather disturbing: Data's head! There is no chance that this is Lore or some other prototype.  Examination makes it clear that this is Data, who will at some point be transported back to the 19th century where he will apparently die.  This unsettles the crew and leaves Picard determined to investigate what happened/will happen.

Geordi finds the fossil of a microscopic lifeform in the artifacts, one which points to the planet Davidia II. Picard orders the ship there. They discover that aliens are on the planet, existing out of phase with them so that no direct interaction is possible. Data is able to phase himself to match them - only to find himself transported back to San Francisco, 1893.

The android does the only thing he can: Continue the mission, investigating the situation with the materials available to him in the 19th century. Meanwhile, Picard and his crew discover that the aliens are using neural energy from victims plucked from the 19th century as food. He joins Riker and an Away Team to follow the alien time corridor back, to learn what he can of what they're doing and to stop them - and hopefully, save Data's life in the process!


CHARACTERS

Capt. Picard: His trust in Guinan continues to show; when she tells him that his presence on this mission is absolutely necessary, he barely hesitates before joining Riker on the surface. Past references by Guinan to their friendship finally come full circle when Picard sacrifices a chance to return home to stay with her in the cavern - becoming the bald man who was kind to her and who helped her when she was in trouble, even if the way this plays out is a bit more pedestrian that what might have been imagined when those references were originally made in Booby Trap and Ensign Ro.

Riker: Feels just slightly out of character a couple times in this episode. After Data disappears into the past, he explodes that nothing could be more important than Data's life - which just doesn't jibe with his past ability to move past deaths and apparent deaths to focus on the mission. Later, in Part Two, he shouldn't need Worf to point out to him that the captain would prioritize stopping the aliens over recovering him - The man who gave the order, "Mr. Worf, fire," already knows this.

Data: Instead of being unsettled by the prospect of his own death, he tells Geordi that he is actually relieved:"Until now it has been theoretically possible that I would live an unlimited period of time... (Death) provides a sense of completion to my future. In a way, I am not that different from anyone else... I am mortal." Data's poker playing skills have improved substantially since Season Two; he is able to raise a substantial amount of money in the 19th century by beating a group of card sharks at their own game.

Guinan: 19th century Guinan is a bit too much like our Guinan in less ridiculous outfits for my tastes. She's barely phased by the appearance of Data and later Picard, and goes along with them with hardly a word. It's made clear by dialogue in Part One that this is before the Borg destroyed her people. A missed opportunity - I would have preferred this be an embittered Guinan, a refugee after her planet's destruction. Still, Whoopi Goldberg is as good as ever in this role, and it's fun to have her around for more than a one or two scene cameo.


THOUGHTS

The Best of Both Worlds changed the nature of season finales for TNG. For this series, every season that followed would end on a cliffhanger, to be wrapped up at the start of the following season.  This worked well in Season Four, with Redemption's first episode being almost as good in its own way as The Best of Both Worlds had been. Even if things became a bit rushed and overly-easy in the second half, the sense of significance remained. Time's Arrow, however, sees the law of diminishing returns coming into play. Though enjoyable enough, it just doesn't feel "big" enough for a season finale, not after the previous two. 

Still, that isn't enough to condemn it as a story in its own right. This is an enjoyable adventure. The cast is in good form, with Patrick Stewart, Brent Spiner, and Whoopi Goldberg all doing sterling work. The scenes in the past are great fun to watch, particularly the scenes in Part One that see Data adjusting to his new surroundings and using his poker winnings to construct a device to detect time disturbances.

I do have some issues with the requisite period "celebrity cameo," in this case Jerry Hardin's take on Samuel Clemens (Mark Twain). Though I normally enjoy Hardin as an actor, he goes over-the-top here. His Clemens is so full of exaggerated tics, he becomes distracting and even annoying.  This is particularly true in Part Two, when he is allowed to take center stage for far too much time.  The scenes in which he follows the crew back to the 24th century only to be won over to Starfleet thinking after one speech by Counsellor Troi are downright painful, and represent the low point of the entire 90 minutes.

The time wasted on the Samuel Clemens Comedy Show would have been better spent on Picard and Guinan, in my opinion.  Their interactions in Part Two are meant to be the foundation of their entire relationship.  But while the function is fulfilled, with Picard potentially sacrificing his future to look after her, there's no resonance.  This entire thread of the story, which is potentially its most interesting thread, is relegated to two perfunctory scenes before Picard returns home.  Would Guinan be grateful to him?  Sure.  Would she vividly remember this brief interaction through the centuries that followed?  I doubt it.

Despite its shortcomings, however, Time's Arrow is a well-made two-parter. The location shots are eye-catching, and the effects work is strong. The aliens in human form are genuinely creepy as they stalk the streets of San Francisco.  By allowing us only glimpses of their true form, instead showing them to us through their mask, the production sidesteps any laughable creature effects. And in keeping with Guinan's portentous words about coming "full circle," the episode's final shot does exactly that, ending the proceedings with a memorable visual flourish.

Time's Arrow is far from the kind of "event episode" that has marked the last two season changeovers, but it's sprightly and fun to watch. The 90 minutes of its run goes by quickly, even if some areas are underdeveloped while others linger far too long. It's hardly an ideal finale, but judged simply as a regular episode, I'd rank it as a pretty good one.


Overall Rating: 7/10.

Previous Episode: The Inner Light
Next Episode: Realm of Fear


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5-23. I Borg

Hugh of Borg (Jonathan Del Arco)

THE PLOT

The Enterprise is exploring an uncharted system when it receives a repeating signal from a Class M moon. The crew investigates and finds a crashed ship with a single survivor: a Borg!

The lone Borg (Jonathan Del Arco) is beamed up to the ship on Dr. Crusher's insistence. She stabilizes him, and he quickly recovers. Guinan is appalled that Picard would beam a Borg on board, but the captain has a plan. They will implant a virus in him, then return him to the Collective. The virus will spread, and the Borg will be destroyed from within.

It's a sound plan. Atypically ruthless for Picard, but effective and within their abilities to achieve. But as Geordi works with the Borg, whom he and Dr. Crusher dub "Hugh," he starts seeing hints of individuality and personality.  And he begins to wonder if they are truly doing the right thing...

CHARACTERS

Capt. Picard: The instant Riker says the word "Borg" over the intercom, Picard's entire bearing changes. He doesn't become overtly angry. Instead, he grows brittle and distant. He settles on a course of action that will destroy the Borg and shuts out alternatives.  In short, he becomes a lot like the alternate Picard of Yesterday's Enterprise. His actual rage only flares up when Guinan confronts him with the individual Borg also being a person, something Picard is desperate to avoid facing.

Geordi: Initially approaches his work with the Borg as an engineering problem. But as the Borg becomes "Hugh," and Geordi sees hints of the vulnerable individual buried inside the programming, his innate compassion emerges. He doesn't stop the work, but he does express his doubts. At the end, when Hugh is returned to the collective, Geordi insists on staying with him right up to the moment he is beamed away, so that his friend won't have to be alone while he is re-assimilated.

Dr. Crusher: While Geordi's compassion feels genuine and makes him more likable, Dr. Crusher's reaction feels false and strident. If her resistance started after Hugh began showing signs of individuality, then she would come across better.  But because she is arguing against treating the Borg as an enemy from the very first, she just comes across as stubborn and self-righteous.

Worf: "Kill it and make it look like it died in the crash!" I applaud the episode for allowing one of our heroic regulars give voice to this cold-blooded yet obvious solution to finding the Borg. Worf is very much in the background this episode, but his constant vigilance is worth noting. He is extremely careful when letting Geordi into the Borg cell, watching the prisoner's movements like a hawk. He waits until Geordi has left the cell before following, and backs out so that he never takes his eyes off the Borg.

Guinan: Writer Rene Echevarria remembers that Guinan's people were all but destroyed by the Borg, and mines that to good dramatic effect.  Her hard, brittle anger is compelling, becoming the center of every scene she's in.  Whoopi Goldberg's scenes opposite Patrick Stewart are wonderful, two first-rate performers soaring through some good, meaty dialogue.


THOUGHTS

After several subpar throwaways, TNG returns to form with one of the best episodes this season. The idea of revisiting the Borg in the form of a lone unit, cut off from the hive, was a terrific one. If they had just done another "Borg attack" episode, they couldn't possibly have topped the excitement of The Best of Both Worlds, and the threat of the Borg would have been undermined by their inevitable defeat. By taking a completely different approach, I, Borg sidesteps comparisons to Best of Both Worlds even as it builds upon its foundations.

Following up on the experiences of Picard and Guinan gives real dramatic heft to the story. We usually see Picard as thoughtful, able to look at every side of an issue as a matter of course. Guinan listens attentively, and responds to anything put to her with patience, compassion, and humor.

With the Borg, that's turned on its head. Picard was kidnapped, assaulted, made helpless and turned into a weapon by the Borg. Guinan watched as her people were all but exterminated by the Borg. The word "Borg" is itself enough to drive them both to rage. Guinan doesn't even listen to Geordi as he talks about the Borg "like it's some lost child." She lashes out at Picard for bringing it on board, and at Geordi for showing it compassion.

Picard's anger is even more interesting. First because his anger manifests in a way that fits so well with his character. He turns his fine, analytical mind to how the problem of this lone Borg can be used to Starfleet's (and his own) advantage. But even more interesting is how neatly his plan parallels what was done to him. The Borg took him and turned him into a weapon against his own people by assimilating him. Now he has taken a lone Borg, and he plans to turn it into a weapon against the Borg Collective through use of a virus. His revenge is, in effect, to do to the Borg exactly what was done to him.

This is also a good-looking episode. The shots of the Enterprise flying through this uncharted region of space are eye-catching, and the planet sets are well above the series' average. Director Robert Lederman uses close-ups to good effect in the scenes between Picard and Guinan, Geordi and Hugh, and especially Picard and Hugh. He also sometimes allows lines to play off-camera, focusing on the reactions of the person listening rather than on the speaker. This enhances the impact of this thoughtful script, making us really notice how the characters react to what they hear.

An excellent episode overall. Almost enough to wash away the bad taste left by the previous three installments.


Overall Rating: 9/10.

Previous Episode: Imaginary Friend

Next Episode: The Next Phase

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5-22. Imaginary Friend

Isabella (Shay Astar) becomes angry.
You won't like her when she's angry.

THE PLOT

Clara (Noley Thornton) is a little girl whose father has recently been assigned to the Enterprise. With so much moving in so little time, Clara has been unable to keep any constant friends, so she has invented one: Isabella, her imaginary friend. Clara's father is concerned, but Troi tells him not to worry. Imaginary friends are not at all unusual for a girl Clara's age.

But as the Enterprise passes into a nebula, a particle of light comes onto the ship. It flies around for a bit, unseen by any of the crew, until it comes to life as... Isabella (Shay Astar). This fully-formed Isabella urges Clara to go to parts of the ship that are off-limits to her. When Clara starts to reject her, Isabella takes action, declaring that Clara will die with everyone else on the ship "when the others come!"


CHARACTERS

Capt. Picard: Talks down Isabella at the end by pointing out that the cruel, unfeeling rules the grown-ups have are actually there to protect children like Clara. It's far from the best "Picard speech" of the series, and Patrick Stewart's heart doesn't really seem to be in it this time. Compare this against his speech in The Drumhead, and the difference is palpable - but then, I'm sure Patrick Stewart can tell the difference between a good script and a bad one, and it's hardly surprising that his acting is far less enthusiastic with a bad one.

Troi: At first, she tries to simply humor Clara's imaginary friend, recognizing that Clara knows this is just a comforting game. When the child begins blaming misbehavior on Isabella, Troi responds by weaning her away from what seems to be a delusion. Appropriate action under normal circumstances, but it sparks a violent reaction from the all-too-real Isabella.

Geordi: Shows the same compassion to Ensign Sutter (Jeff Allin), Clara's father, that he has previously shown to Barclay. He takes the time to listen to Sutter's concerns about being constantly on the move and how that must affect Clara, and he offers words of encouragement.

Guinan: After a very long absence, it's actually nice to see her back. She has good scenes opposite both Clara and Troi, as she relates the story of her own imaginary friend. She counters Troi's strategy to "wean" Clara away from Isabella with her own belief that a child shouldn't have to give up an imaginary friend.


THOUGHTS

I know Star Trek: The Next Generation was always intended to be suitable family entertainment, and that's a perfectly fine thing... but exactly when did it become a children's show? While I have nothing against a well-scripted child episode, 1 - 2 such shows per season is quite enough. Instead, Season Five has been overflowing with episodes about children and their issues. If I want to regularly watch "The Children's Hour," chances are I'm not going to tune into Star Trek!

Yes, I'm turning into Picard as he was in Season One. But I'm increasingly thinking that version of Picard had the right idea: "No children on the bridge!"

Imaginary Friend is hardly the worst of the child-centered episodes of Season Five. The nebula scenes provide some decent effecs shots, and there are some good character moments scattered about. In addition to the Geordi and Guinan scenes already mentioned, there's a lovely throwaway moment in which Worf sternly warns Clara and Isabella away from Engineering, only to laugh warmly at the children's antics as soon as they can't observe.

Despite scattered good moments, this is not a good episode. It's an  inevitable problem with child-centered episodes that much of the effeciveness depends on the performances of inexperienced actors.  While Noley Thornton is fine as Clara, Shay Astar is wooden as Isabella.  It would be genuinely creepy if Isabella came across as innocent and sweet, then innocently hurt when Clara starts to avoid her. Instead, she comes across as a "mean girl" from the get-go, largely because of the acting. It's understandable in a child actress, but it does drag down the episode.

Finally, let me reiterate that I am entirely sick of child-centered episodes of TNG at this point. Unless one of the staff writers has a really good script that demands a child's point of view, I would personally prefer that children be kept to a minimum from here on out.


Overall Rating: 4/10.

Previous Episode: The Perfect Mate

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5-03. Ensign Ro

Guinan befriends the prickly Ensign Ro.

THE PLOT

When a Federation colony is attacked by a Bajoran separatist group, Picard is assigned to find the leader of the group and stop him from conducting further attacks, using any means at his disposal. For the purpose of this mission, he is assigned a Bajoran officer: Ensign Ro Laren (Michelle Forbes), who was disgraced after an incident that left several other officers dead years prior.

Though neither Picard nor Riker particularly want Ro on their ship, Starfleet's orders are firm. And it isn't long before Ro proves useful, steering them toward a helpful Bajoran contact and assisting Picard in negotiating with him for information. Shortly after, however, it becomes clear that Ro has her own separate agenda - one that may put the Enterprise crew in jeopardy!


CHARACTERS

Capt. Picard: Though he is resistant to the order to accept Ro on his ship, he does treat her fairly. He is up-front with her about the crew's reaction to her assignment, but (unlike Riker) he is not unnecessarily harsh. He listens to her suggestions about who to contact within the Bajoran camps, even when Ro is less than fully professional in giving her opinions. It is only when she actually appears to live down to her reputation, going against Picard's orders, that he shuts her out. Even then, his faith in Guinan quickly overcomes his stubbornness, giving him the small push he needs to listen.

Riker: Shadows of Hollow Pursuits, as Riker treats Ro harshly from the instant she arrives. He makes no secret of not wanting her on the ship. Picard supports him in demanding the highest level of performance, but Riker's attitude differs from Picard's in that he refuses to give Ro a chance. Her reputation is such that he is against her before he has even laid eyes on her - which I actually find worse than his behavior with Barclay, who at least was genuinely guilty of sustained substandard work.

Guinan: Sees Ro sitting alone at a table in Ten-Forward, rebuffing any attempts by the others to talk. This intrigues Guinan. She approaches Ro, brushes aside her attempts to push her away, and effectively forces her friendship onto the defensive Bajoran. When she pierces Ro's defenses just enough to see that there's a basically decent person underneath, Guinan declares Ro to be her friend - itself enough of an endorsement for Picard to listen to Ro against his own inclination.

Ensign Ro: The first of several appearances by Michelle Forbes as the brittle Bajoran ensign. Forbes is a solid television actress with a strong presence, and she and Michael Piller's script manage the difficult balancing act of establishing the character and giving her a central role without seeming to "hog the limelight" from the regulars. Ro has an interesting backstory, and her bitterness makes a refreshing change from the tight-knit and highly social regulars. Forbes keeps the character sympathetic even while being antagonistic. Her physical performance is particularly well-judged, with Ro's bearing (crossed arms, maintaining a physical distance from others) conveying a person who is constantly on the defensive, ready to react against threats real or perceived.


THOUGHTS

The Cardassians made a strong first impression in The Wounded, their debut episode. This builds on that, establishing the backstory of the Cardassian occupation of Bajor. Watching this episode, I could actually see the backstory for Deep Space 9 falling into place - which makes sense, given that Deep Space 9 would debut only a little more than a year after this.

It's fun, with the benefit of hindsight, to watch the pieces of the first (best) TNG-era spinoff fall into place. But Ensign Ro is also a good episode on its own. Michael Piller and Rick Berman craft an episode that works both as an introduction a new recurring character and as a self-contained story. There are enough character moments to showcase Ro's backstory, and Michelle Forbes makes the most of the opportunities in the script. At the same time, the story moves along quite briskly, building considerable momentum by the episode's midpoint.

Introducing a new character to an established series is always difficult. Many series fall into the trap of overselling the new addition at the expense of the regulars. That trap is largely avoided. Even though most of the ensemble is relegated to the background for this episode, strong roles are written for Picard and Riker. It is also key that while Ro is crucial to the successful outcome of the mission, she doesn't "save the ship while the stupid adults flail about helplessly." Instead, she goes to Picard with additional information to which he has not been privy, and he is able to handle the situation from there with his accustomed competence. Ro is shown to be resourceful and intelligent, but this is done without diminishing Picard.

In short, another good episode. Three shows in, Season Five is off to a very promising start!


Overall Rating: 8/10.

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