Showing posts with label Rob Bowman. Show all posts
Showing posts with label Rob Bowman. Show all posts

Saturday, June 25, 2011

4-03. Brothers

Data and his father.
THE PLOT

The Enterprise is rushing a boy to a nearby Starbase after a practical joke played by his brother goes badly awry, creating a medical emergency. They are less than 24 hours out when Data abruptly changes. He goes silent, and then relentlessly takes control of the ship. All attempts to stop him fail, as he overcomes every action Picard takes with seemingly no effort at all. When he reaches his destination, he uses a series of force fields to block security as he walks to the transporter room (in, incidentally, a genuinely cool scene), and then simply beams down to the planet below.

When Data regains his proper consciousness, he is startled to find himself no long aboard Enterprise, and he has no memory of his actions. Any questions he may have are quickly silenced when he sees where he is: The laboratory of his creator, Dr. Noonien Soong (also played by Brent Spiner). Soong used a homing device to call Data back to him. He is dying, and he has one last gift for his creation: An emotion chip, to allow Data to experience the simple emotions that have so far been denied to him.

But Soong's signal has called someone other than Data to the planet. Lore, Data's evil predecessor, survived being beamed out into space, and has joined the family reunion...


CHARACTERS

Capt. Picard: Intently focused on getting the ship back under his control. He responds to the takeover of the Enterprise with speed and determination that would almost certainly have trumped any human hijacker. Despite this, when he sends the Away Team after Data, his instructions - "Bring him home" - make it clear that this incident does not change his view of Data as a member of his crew.

Riker: Continues to be the designated "stern authority" for the ship's general population. Riker is the one who talks to the boy whose practical joke created the medical emergency. He is careful in handling the boy - He's not too harsh, just stern enough to make the point. He is also quite stern with Data when they recover him from the planet, though he does allow Data time with Soong when the android requests it.

Data: This episode is a field day for Brent Spiner, who gets to play three roles - four, if you count the "possessed" Data who takes over the ship at the episode's start. Spiner is terrific, as expected. The first 15 minutes shows us a Data devoid of the usual human warmth. He barely says a word until speech is needed to trick the computer into locking out Picard. He moves quickly and emotionlessly through the ship like an unstoppable force of nature (or technology, as the case may be). The Terminator on a starship, only without the body count. Once Soong re-activates Data, and his more familiar personality emerges, it's really startling just how different Spiner's truly machine-like Data of the beginning was. Spiner remains very good at showing Data as a full character without breaking that character by showing genuine emotion. The final shot of the episode, as Data reacts without reacting to the statement that "Brothers forgive," is a particularly fine nonverbal beat, the perfect one to close out the episode.

Lore: In Datalore, the "evil twin" was almost certainly intended to be a one-shot character. But it was a rare episode and character from the dire first season that actually worked. The creation of the more human, but sociopathic, Lore was genuinely memorable, and brought out a whole new side of Brent Spiner's acting. It was probably inevitable that the opportunity of the character would be picked up down the road, and this episode does that. Writer Rick Berman pares back on the outright "ee-vil" nature of Lore, instead presenting his misdeeds as a reaction to layers of resentment that have built steadily through the years. Lore's genuinely emotional reaction when Soong announces he is dying is a particularly strong moment.


THOUGHTS

After three years acting as a producer for the series, Rick Berman makes his TNG writing debut with Brothers. Not that Berman hadn't had substantial (and steadily growing) input into scripts prior to this point. But Brothers marks the first time that he receives solo credit as a TNG writer. Despite Berman's current (only partially deserved) reputation within Trek fandom, the resulting episode is not just good, but very good.

Attention is captured right away, as we see Data "taken over" just before going into credits. The first third of the episode is dominated by Data's takeover of the Enterprise. A bravura set piece, as we see Picard and his crew attempting every act they can think of to reclaim control of the ship, only for Data to anticipate and outmaneuver them at every turn. It is among the best openings of any Trek episode I can think of.  Credit to not only Berman and Spiner, but also to director Rob Bowman, who keeps this all moving quickly and keeps it all visually dynamic.

The bulk of what follows is very talky, with conversations between Data and Soong and Lore and Soong, but it remains good. Brent Spiner differentiates all three roles with unique acting tics for each character. Lore's distress that his "father" is dying plays as genuine - but is replaced by something crafty (fueled by resentment) when Soong reveals the chip he has created for Data. The interplay between the three characters works and, just as the back-and-forth between Soong and Data begins to get old, Lore is dropped into the mix to add some tension and danger.

The episode ends in a way that begs for a follow-up. Lore's next return will definitely be something I'll be looking forward to.


Overall Rating: 9/10


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Saturday, February 5, 2011

2-22. Shades of Gray

THE PLOT

Riker and Geordi are on an Away mission to an unexplored planet, when Riker is jabbed in the leg by something unknown. Dr. Pulaski determines that whatever stung Riker, "it left something behind." A microorganism, rapidly reproducing along Riker's nervous system, moving toward his brain.

Pulaski works tirelessly, but cannot find a way to neutralize the organism before it reaches Riker's brain. The only way she can keep him alive is to stimulate his brain directly with electrical impulses. This results in the unconscious Riker reliving images from his past - images which ultimately may prove to be the key to saving him!


CHARACTERS

Capt. Picard: Present.

Riker: His first reaction to being jabbed by an unknown entity on a swamplike alien world is to... shrug it off and insist he's fine? Apparently, he is unfamiliar with the word "infection," and needs a remedial course in basic health and safety protocols. He tries to set an example for the crew, even as he is dying, by making nonstop jokes. When Troi appears and starts babbling about his feelings and how he's her "Imzadi," he wisely collapses into unconsciousness.

Troi: Marina Sirtis deals with the horrible material she's given by overacting every line to its fullest camp potential. She stands by Riker's bedside, wailing like a banshee to take us in and out of every set of clips. Sirtis hasn't been this bad since early Season One, so I find myself blaming the material more than her for this lapse.

Dr. Pulaski: Any doubts that Diana Muldaur is a far better actress than Gates McFadden should be erased by an episode that puts clips of both of them side-by-side. Dr. Crusher is staggeringly bland and flat in her line readings, while the early scenes of this episode proper and the clips of some of Pulaski's appearances show Muldaur putting a lot more nonverbal beats and character tics into even very similarly-scripted scenes. Not that Muldaur comes out of this episode unscathed. Once the "clip show" phase of the episode begins, she allows Sirtis to carry her along into the overacting, resulting in some unintentional comedy... though not enough of it to redeem this mess.


THOUGHTS

An overspend on Q Who? combined with the writer's strike to leave the show with little money and minimal production time at the end of the season. The solution? A time-honored method of dealing with low funds: a clip show! To the best of my knowledge, the only traditional clip show ever seen in Star Trek.  I'd say The Menagerie doesn't count, as The Cage had not previously been broadcast and was therefore all new to viewers of the time.

In the late 1980's season finales were still basically "just another episode." There was the odd exception ("Who shot J. R.?"), but the tradition of the season finale being something BIG didn't really take hold until the 1990's. One of the key season enders in creating the tradition of the "big" season finale was actually this series' third season ender. "Locutus of Borg" is one of a handful of Star Trek: The Next Generation moments that the casual man on the street (at least, over the age of 30) is almost guaranteed to remember, because it did generate mainstream conversation.

But this is one year before that, when the last episode of the season was produced on the pocket change that Gene Roddenberry, Rick Berman, and Maurice Hurley could find underneath their respective sofa cushions. The first season finale was weak.  This one is absolutely wretched.

I'd question some of the clip choices. All right, even though it was a badly-shot scene in a terrible episode, obviously Tasha's death is going to go in there. But the Playboy Planet in Justice? The first-ever holodeck scene? Anything with Wesley, or anything at all from Angel One or The Last Outpost? These aren't exactly the series' highlights. They're recycling many of the blandest scenes from the weakest episodes! What are the producers trying to do, make the original material in Shades of Gray look good by comparison?

Oh, and apparently negative emotions, such as fear and anything that kicks in the survival instinct, will drive back the infection. So upon learning that he's dying, Riker throws off the infection instantly, right? I mean, surely his survival instinct would kick in and drive back the infection? No - apparently not. I guess when Troi comes in and starts lecturing him about what he's feeling, it saps his will to live. Actually, I can sort of see that.

An episode which starts off badly, and then gets worse as it goes. A clip show that insists on showing mostly bad clips from bad episodes. Bits from Angel One, The Last Outpost, and Up the Long Ladder? Check. Bits from Q Who? or The Measure of a Man? Strangely absent. That's not even mentioning that these clips are supposedly Riker's memories, which makes it odd that an extended clip from Heart of Glory is shown in which there are many cutaways to scenes Riker was not present for!

Meanwhile, in the main plot, stopping the infection's growth magically eradicates it instantly, with no lingering side effects. Yay!

To summarize: It's bad. A particularly bad capper to a mostly pretty bad final six episodes. I'm half-surprised the viewers returned for Season Three.


Rating: 2/10.

Season Two Overview

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Sunday, December 19, 2010

2-10. The Dauphin

Wesley falls in love. Oh joy.


THE PLOT

The Enterprise picks up Salia (Jamie Hubbard), the 16-year old girl who is to become ruler of Daled IV, a planet that has suffered a long and devastating war. Her parents each belonged to one of the planet's two warring factions, and it is believed that she can bring peace to her world - a world she has never seen.

Not long after she beams aboard, she and Wesley catch sight of each other. She's never seen a boy her own age before, so she can perhaps be forgiven for finding him attractive. He becomes instantly obsessed with her. But given that her protector, Anya (Paddi Edwards), is a shapeshifting alien who is jealous of her charge to the point of insane paranoia, Wesley's innocent flirtation could prove fatal!


CHARACTERS

Capt. Picard: The security of his ship is his first priority, and his current mission is his second. It pains and somewhat embarrasses him that both of these priorities require him to meddle in Wesley's fledgling romance, but he does a good job of explaining to Wesley exactly why he has to interfere in areas he'd as soon stay out of.

Worf: Gets the most entertaining moment of the episode, describing to Wesley the Klingon mating rituals. "The woman roars. And throws heavy objects... (The man) reads love poetry. He ducks a lot." Michael Dorn's delivery, going from aroused to chagrined, is hilarious. Dorn is also quite good opposite Paddi Edwards, and the scene in which the two protectors - one of the girl, one of the ship - quietly challenge each other is the episode's strongest dramatic beat.

Cute Space Babe of the Week: Jamie Hubbard is Salia, the future ruler of a world at war and the object of Wesley's affections. Hubbard is cute enough to be a very believable object of a teen boy's obsession, and she has a likable screen presence. She and Wil Wheaton actually play rather nicely opposite each other, and Salia and Wes make for an appealingly geeky teen couple - something which helps greatly in selling the episode.


SHUT UP, WESLEY!

For the most part, Wesley is surprisingly easy to take, even if he does spend the first half of the episode going up to virtually every member of the command crew whining that he doesn't know how to approach Salia. OK, OK. When you're 16, approaching a cute girl appears a lot more daunting a task than it actually is. Once Wesley does summon up the courage, he does a good job of observing her wants and supplying her with what would make for a really pretty good date (well, until the whole running out crying part, in any event).

Unfortunately, anything likable that he manages to build up through the episode is defused by pouty Wesley in the scene in which Salia goes to his quarters to say good-bye. He has a change of heart (unmotivated) to avoid their story ending on a down note... but then we get mopey Wesley for the tag, which is just as irritating as it sounds.


THOUGHTS

By all rights, The Dauphin should be terrible. It's a teen angst story. It's a Wesley episode. But director Rob Bowman retains a strong visual eye and a good sense of pacing, even in these shallow waters. Add in an above-average guest cast, with a terrific performance by Edwards, and this ends up being surprisingly watchable.

It's still a far cry from the type of Trek episode I prefer. Centering around my least favorite TNG character, this is ultimately a hackneyed story of teen angst. It's moderately well-told, with appealing performances and strong direction. I cringe to imagine how this would have played as a Season One episode, but the cast and crew seem to have found enough maturity and confidence by this point that they can produce something competent and even enjoyable out of these shallow waters.

After A Matter of Honor and, particularly, The Measure of a Man, this is unquestionably a comedown. But it is a pleasant surprise, in that it at least manages to provide an enjoyable 45 minutes.


Rating: 6/10.

Previous Episode: The Measure of a Man
Next Episode: Contagion


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Sunday, December 12, 2010

2-8. A Matter of Honor

THE PLOT

The Enterprise is participating in a Federation officer exchange program. A Benzite officer joins the ship's crew, and immediately decides to impress Picard by making suggestions for procedural improvements. This goes down about as well as expected. Meanwhile, Riker joins the crew of a Klingon ship as First Officer - a change that will take some getting used to, given Klingon advancement practices include assassination of one's superiors.

Riker adjusts to his new assignment surprisingly well. He responds to the Klingons' honesty and courage, and seems to enjoy the chance to be more physical and less formal than usual. But when an organism is found eating away at the Klingon ship's hull, the Klingon captain decides that the only explanation is an attack by the Enterprise. Now Riker finds himself serving a captain who is determined to interecept Enterprise and destroy her!


CHARACTERS

Capt. Picard: Has little patience for Mendon's attempts to impress him with suggested procedural changes, politely but firmly impressing on the Benzite that the Enterprise does follow a chain of command. When he learns that Mendon knew about the organism and kept it to himself, he becomes less polite, making it very clear that he expects his officers to inform him of any potential dangers immediately.

Riker: After spending the first seven episodes of Season Two being little more than a bridge prop, Jonathan Frakes finally gets an episode where he becomes the focus again. I'm as glad that the series took a break from Riker-centric episodes, as Season One had too many episodes where he was basically the star of the show, too many of which were not well tailored to Frakes' acting strengths. This episode is very well-suited to him. He seems to enjoy turning up Riker's more roguish qualities, and it may be the most relaxed performance he's given in the series to date. We also see Riker's shrewdness at play, as he uses what he has learned of Klingon culture to resolve a seemingly irresolvable problem without bloodshed.

Worf: Considers it his duty, as chief security officer, to prepare Riker not only with information about Klingon chain of command, but also to give him some extra tools to make sure that he survives his temporary assignment. He gets some genuinely amusing reactions to the annoying Mendon, making it clear that he finds the Benzite irritating and being vaguely (and entertainingly) threatening about it.

The Klingons: One thing that can be said for Next Generation is that it was this series that took the Klingons from the mostly one-dimensional baddies of the 1960's run (a role they maintained in the '80's movies) and turned them into a genuinely multi-layered culture. Season One's Heart of Glory began this process, but A Matter of Honor takes it much further. These Klingons are not just warriors.  They are men and women with a lust for life, a strong sense of bawdy humor, and a genuine cameraderie. Even their tendency to assassinate the man above them is justified within their culture, and it is with this episode that the theme of Klingon honor starts to become dominant with regard to that race.


SHUT UP, WESLEY!

Wesley decides to befriend Mendon, for apparently no other reason than him looking like his friend Mordock.  This part of the Mendon subplot is actually perfectly fine, and I'd go so far as to say that it reflects well on Wesley that he remains friendly with Mendon even when the Benzite becomes truly irritating. However, it tips a little too far into Wesley the Wonderful territory when he decides to stop all dramatic momentum by giving Mendon a 2-minute pep-talk that stops the episode dead in its tracks.


THOUGHTS

At last, a genuinely good one! Unnatural Selection was a competent episode with a decent pace, but it still was far from top drawer Trek. A Matter of Honor presents a story that carries some genuine tension and interest as we get our first detailed look at the Next Generation Klingons.

I've already praised Frakes' performance in this. The other regulars largely fade into the background, though Picard, Worf, and Data all get some decent moments. This isn't an ensemble episode, though. This is Frakes' show, and both he and the character of William Riker do very well here. I particularly enjoyed the genuine friendship that builds between Riker and his potential rival, his Klingon Second Officer.

One area in which this episode is strongly distinguished from most of the other episodes of this season is in its directing. Rob Bowman is one of the few Next Generation directors to really grasp the dramatic possibilities of lighting. The scenes on the Klingon ship work particularly well, in part because it's a good script that's well acted, but also because of the more dramatic lighting utilized for the Klingon scenes. When the show cuts back to the Enterprise, that familiar floodlighting really stands out by comparison, though Bowman still finds minor ways to keep things dynamic where possible. I was left almost wanting to keep following the Klingon ship, simply because it was so much more visually interesting than this version of Enterprise.


Rating: 7/10.  A good one.

Previous Episode: Unnatural Selection
Next Episode: The Measure of a Man


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Sunday, October 17, 2010

1-20. Heart of Glory

THE PLOT

The Enterprise discovers a badly-damaged freighter, drifting in space in the Neutral Zone following a battle. Before the ship breaks up, they are able to beam back three survivors - Klingons. One of them is badly injured, and dies despite Dr. Crusher's best care. The other two are made welcome by Picard, who allows Worf to show them around the ship.

Shortly after, Picard is hailed by a Klingon vessel. The Klingon captain reveals that Korris - the lead Klingon survivor - is actually a criminal.  Korris stole the freighter and destroyed a Klingon ship that had pursued him. Picard sends a security team to confine him until he can be transferred to the Klingon ship. By this time, however, Korris has had a lot of time to bond with Worf and remind him of what it means to be a Klingon. When it comes time to act, can Worf be relied on to act in the Enterprise's interest?


CHARACTERS

Capt. Picard: Sympathizes with Worf's desire to protect Korris from execution, but sees no alternative to turning Korris over to the Klingons. He is willing to allow Worf to speak with the Klingon captain on Korris' behalf, and puts his faith in Worf's ability to deal with Korris in the end. On the other hand, before Worf's refusal to join Korris against Enterprise's security, Picard doesn't take it on faith that Worf will necessarily choose Enterprise over the first Klingons Worf has seen in some time.

Geordi: The first part of the episode gives us a lot more detail on the unique properties of Geordi's visor, as he and Data arrange for the visor's visual images to be transmitted to the bridge's viewscreen. This adds an interesting layer to what would otherwise standard first act, as the discovery and rescue of the Klingons is complemented by Picard seeing first-hand how much information Geordi's visor relays simultaneously. Geordi has had to train himself to focus only on the useful information, and filter out what he isn't actually interested in.

Worf: The series' first Worf-centric episode, and it's long overdue. For most of the first season, Worf has been basically set dressing. He stands in the background and growls a few lines, but it hasn't really seemed as though Next Generation's writing staff had anything in mind for him as a character. The ambition for Worf up to this point has seemed to start and end with "Klingon on the crew - cool," and anything beyond that has been mainly due to Michael Dorn's ability to run with any scraps he's been given.  This episode finally starts to take some of those scraps and spin them into a character.

We learn a lot more about Worf's background. Though a Klingon, he was raised by humans after being orphaned. Though he clearly had a good relationship with his foster family, his Klingon blood called to him, and kept him from truly fitting in with the farming community where he was raised. Much of Korris's rhetoric does speak to him... but in keeping with his conversation with Wesley in Coming of Age, we see that Worf has come to place more value on fighting his own internal weaknesses - possibly an effect of having been raised among humans and incorporating some human values around his Klingon instincts. It's good characterization, very well played by Michael Dorn, and it's easy to see why after being underused in Season One, Worf nevertheless went on to become one of the franchise's most popular characters.

Villain of the Week: Vaughn Armstrong is Korris, the Klingon renegade who longs for the glory days when the Klingons were pure warriors, destroying anything in their path. He values everything Klingon, and sneers at anything that he sees as limiting the purity of a Klingon warrior existence. In a sense, he's Worf's id - what Worf's Klingon impulses would like him to be, and what he battles inside himself probably on a daily basis.


ZAP THE REDSHIRT!

Redshirt count: Two. A pair of security guards get in the way of the Klingons. The second one at least manages to take one of the Klingons with him, leaving the way clear for Worf to face down his id, mano-a-mano, at the episode's climax.


THOUGHTS

Heart of Glory is another fairly strong episode. It's not as good as Coming of Age (who'd have thought a Worf-centric episode would be not quite as good as a Wesley-centric one?).  But as an entertaining 45 minutes of television, it gets the job done. It also begins Next Generation's move toward making the Klingons into a fully-rounded and complex culture - something that never really happened during the 1960's series or during the pre-Next Generation movies. In the older series, the Klingons were basically "the bad guys." There might be an occasional Day of the Dove to create individual Klingons with character complexity. But it was really Next Generation that made them into a fully rounded, complex race with a complete culture of their own, and this episode is the start of that.

The episode benefits greatly from having Rob Bowman as its director. Bowman ekes out some strong images from the sequence in which Riker, Geordi, and Data investigate the damaged ship. The "Geordi's visor" POV bits now look almost painfully dated, though they certainly didn't in 1987. But other visual cues - the three of them standing in front of the bright light and steam caused by dangerous gas levels in particular - still hold up. Bowman actually managed to get the lights turned down for this sequence (a rare feat, in TNG's nearly universally-overlit first season), which makes the setting feel more claustrophobic and more convincingly dangerous. He even managed to make me believe that the door Data forces actually might be heavy. Extra points for using a riff on the "Klingon score" from the Trek movies when the Klingons are discovered.

The episode moves along quite well, with some very good scenes between Worf and Korris in particular. But there are a few script weaknesses. One is the nature of the climax. It's so convenient that there's a spot in Engineering where a random intruder can simply go up a shaft and fire a phaser at a shiny thing to destroy the ship. Surely the shiny dilithium techno-gizmo should be something that should have to be accessed using security codes, not openly vulnerable to any random loony with a phaser? It was something I couldn't fully suspend my disbelief over, and something that weakened the episode's finale for me.

There's also a bit of questionable continuity here. In a throwaway line near the start, Picard mentions that they haven't had any dealings with the Romulans in a long time. That seems strange, given that Enterprise recently had to rush off to deal with the Romulans.   I understand that the Romulans will play a part in the season finale, and so they're trying to build them up with references here and there. But this is not a case of something potentially conflicting with an obscure bit of continuity from 10 or 20 years earlier that only a hard-core Trekkie would catch, let alone care about. The show is contradicting itself, within the span of about a half-dozen episodes!

These are minor enough points overall, more than made up for by this being another good episode, and by the overall arc of improvement of this season's second half. I might still have some niggles and nit-picks, but Heart of Glory definitely gets another strong score from me.


Rating: 7/10.

Previous Episode: Coming of Age
Next Episode: The Arsenal of Freedom


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Saturday, September 4, 2010

1-9. The Battle

THE PLOT

When the Enterprise is hailed by a Ferengi ship, Picard and his crew are instantly on their guard. However, the contact with the Ferengi appears to go as amicably as could possibly be expected. Then the Ferengi produce a gift for Picard: the Stargazer, his former ship, which engaged a Ferengi vessel in battle long ago.

Picard is quite eager to accept this gift. But he doesn't get much chance to enjoy it. He is suffering from increasing headaches, which have no cause that Dr. Crusher is able to ascertain. Meanwhile, Data checks through the logs of the Stargazer, and finds that the official logs offer a very different account of the battle than Picard's own version...


CHARACTERS

Capt. Picard: Gets to spend a lot of the episode clutching his head and groaning, and is remarkably free of any suspicion when the Ferengi, sneering openly about the battle in Picard's past, unveil their "gift." Delivers the moral of the story ("with revenge, there never is [any profit]"), with a straight face. Still, Patrick Stewart has grown nicely into the role of starship captain. Now, we just need a few more episodes that allow Picard to be something other than useless baggage.

Riker: Is yet again put into the "hero role," figuring out the Ferengi plot and resolving the crisis while Picard is as useful as a fourth wheel on a tricycle. Pushes Data to find a way to counteract the self-consciously named "Picard manuever" (Data's solution seems one that would have been thought of within days of Picard issuing his report, but nevermind), gets Geordi and Data to poke holes in the faked log on the Stargazer. He even lays a groundwork for genuine friendly negotiations with the Ferengi, in his interactions with the Ferengi first officer. I've noted this in other reviews; but at this point in the series run, Riker seems more like the series' lead than Picard does, with only Patrick Stewart's immense screen presence keeping Riker as a "supporting character."

Dr. Crusher: Her personal connection with Picard shows both in Picard's willingness to discuss his problems with her, and in her concern over his increasing headaches. Will not be fobbed off with Picard's assurances that, "It's just a headache," and insists on running test after test.


BRATS IN SPAAACE!

A Wesley-light episode, but he does get a choice annoying bit. Wesley the Wonderful, the Child Prodigy of Perfection, plays around in Engineering and figures out that the Ferengi have been transmitting technobabble that's interfering with Picard's BRAAIINNN! Cue much smugness from Wesley, who leans against a wall sneering, "Adults," after disclosing his Fabulous Findings to Troi and Dr. Crusher.


THOUGHTS

After the disaster of their introduction in The Last Outpost, I'm a bit surprised at how quickly a second Ferengi episode was produced. The Battle is better than The Last Outpost. Unfortunately, it still isn't particularly good.

This is early days, so the production team still is attempting to portray the Ferengi as a genuine, sinister threat - a role that just doesn't suit them. The Ferengi plan appears poorly thought-out at best. Why does Damon Bok even bother to plant a fake log entry if his plan of revenge involves pitting Picard against the Enterprise? All the fake log entry (which is easily dubunked by Riker) achieves is to tip his hand. Also, how does Bok arrange all this without his crew apparently being in any way aware of his plans? As with many early TNG episodes, you could fly the Enterprise through some of the holes in the plot.

Another severe issue with the episode is that, prior to Wesley's revelation, not one single person aboard the Enterprise so much as entertains the thought that maybe Picard's headaches and the Ferengi are linked. Picard's headache begins just before the Ferengi arrive, and then intensifies when the Stargazer arrives. Yet, even after the filler... er, subplot with the false log entry, not one person aboard draws the blindingly obvious conclusion!

Consistency's not strong here. When Picard beams himself over to the Stargazer, the reason no one can beam after him is that the shields have been put up. A few minutes later, the Enterprise crew get a transmission from a hallucinating Picard, which is cut off... when he, um, puts up the shields?

A few things do mitigate the bad writing. Patrick Stewart gives a solid performance and his screen presence anchors the episode. The Ferengi are no longer interchangeable "aliens" who act in lockstep; their captain, Daimon Bok (Frank Corsentino), is motivated by personal vengeance, while the Ferengi XO actually has some decent interplay with Riker, "first officer to first officer." The episode is moderately well-directed, which carries it over some of the plot holes. And as silly as the climax is, there is a touch of tension.  Credit for this, I expect, belongs squarely with director Rob Bowman, thus far the  only TNG director to show any signs of actually understanding that television is a visual medium.

It's still pretty weak fare, and still looks clumsy and anemic by comparison with any of the other Trek shows I've been reviewing. Script problems aren't helped by some of the production values (notably, the glowy spheres). But at least there are a few symptoms of the improvement that would eventually save this show.


Rating: 4/10.

Previous Episode: Justice
Next Episode: Hide and Q


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