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Star Trek: The Next Generation – The Enemy (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

The Enemy is just a fantastic piece of television. The third season of Star Trek: The Next Generation has maintained an impressive consistency up to this point, despite all the difficulties bubbling away behind the scenes. However, The Enemy is the point where everything seems to have finally settled down and the show is truly comfortable churning out episodes of this sort of quality.

It’s a very typical Star Trek plot, with one of our leads trapped on the planet surface and forced to team up with an enemy soldier in order to survive. It’s a very standard morality tale about how the enemy is not as different as we might like to think; it’s an exploration – in a very Star Trek style – of how two people can overcome their differences in order to survive  a suitably desperate situation.

The Enemy is a demonstration of just how well-oiled The Next Generation had become at this point in time, and how even the most standard of plots could be executed with considerable skill.

The show's quality is climbing...

The show’s quality is climbing…

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Star Trek: The Next Generation – Booby Trap (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Booby Trap is a bit of a mess. The writing credits for the episode, featuring four different writers credited with getting the idea from basic story to finished script. This wasn’t at all unusual in the show’s third season – consider the writing credits for Yesterday’s Enterprise – but it gives an indication of the chaos unfolding behind the scenes on the third season of Star Trek: The Next Generation.

It’s Michael Piller’s second credited script, and his first writing credit since he took over the writers’ room. (Although he did, along with Melinda Snodgrass, do a pass on Ronald D. Moore’s script for The Bonding.) As such, it is written with a very clear idea of where Piller wants to take the show, one that shines through a somewhat uneven and all-over-the-place plot, which often feels like several different scripts blended into one.

Building on what came before...

Building on what came before…

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Star Trek: The Next Generation – The Bonding (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

The Bonding is a pretty pivotal and momentous episode for Star Trek: The Next Generation. On one hand, it’s the first episode overseen by incoming executive producer Michael Piller. Piller would go on to become one of the most influential producers to work on Star Trek. Aside from steering The Next Generation towards success, he also created Star Trek: Deep Space Nine and Star Trek: Voyager, as well as overseeing the production of the first three Next Generation films.

However, The Bonding is also the first script written by Ronald D. Moore. Obviously, the version that made it to screen had been revised and tweaked by Melinda Snodgrass and Michael Piller, but The Bonding still feels like a Moore script. Ronald D. Moore would go on to be one of the more influential writers on The Next Generation and Deep Space Nine. He also worked (very) briefly on Voyager, before departing and heading up his own reboot of Battlestar Galactica.

So The Bonding is the beginning of something new, an original direction for The Next Generation. Featuring a powerful and wonderful opening half, The Bonding suffers a bit from falling into conventional Star Trek tropes towards the end of the episode. However, it’s still a clever and powerful piece of television.

A bit of shadow...

A bit of shadowplay…

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Star Trek: The Next Generation – Who Watches the Watchers? (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Who Watches the Watchers? continues a strong start to the third season of Star Trek: The Next Generation. It is the last episode of the third season produced by Michael Wagner. He would depart the show and leave Michael Piller in charge of the scripts for the rest of the season. It’s also the third-to-last credit for writers Hans Beimler and Richard Manning, who had both been around from the first season.

The writing duo would work on Yesterday’s Enterprise with Ira Steven Behr and Ronald D. Moore, but also finish Allegiance before departing the show at the end of the third season. (They were rather enraged by Piller’s tactless “writing 101” memo, sent later in the season.) Manning and Beimler would go on to write Paradise for Star Trek: Deep Space Nine, and Behr would convince Beimler to return to the franchise for the fourth season of Deep Space Nine. Beimler would be Behr’s most faithful writing partner on that spin-off, teaming with Behr throughout the sixth and seventh seasons in particular.

In many ways, Who Watches the Watchers? returns to some of the themes that the duo had touched upon in their strongest script of the first season, Symbiosis. It’s a complicated morality tale about the ethics of Starfleet and the burden of the Prime Directive.

The answer, apparently, is Liko.

The answer, apparently, is Liko.

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Star Trek: The Next Generation – The Survivors (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Michael Wagner remains something of a forgotten figure among Star Trek fans. While anybody familiar with the behind-the-scenes workings on Star Trek: The Next Generation is aware of the contributions made by the wonderful Michael Piller, and quite a few would be familiar with the work of Maurice Hurley during the first two seasons, Wagner’s four-episode tenure as executive producer and head writer is something of a mystery.

Situated right in the middle of that four-episode run, and the only Star Trek script on which Wagner does not share a credit, The Survivors seems like the most obvious indicator of what Wagner’s version of The Next Generation might have looked like. Of course, it’s impossible to extrapolate from a single episode of television, let alone a single episode of an era that was over before it already began, but it is interesting to look at how Wagner’s work here differs from the style that would be imposed by Piller.

The Survivors is a decidedly high-concept science-fiction mystery, feeling almost like an episode of an anthology featuring the regular cast. Built around a guest star, The Survivors is very much radically opposed to Piller’s vision of character-driven Star Trek.

"Nice house. Can't see much about the neighbourhood, though."

“Nice house. Can’t see much about the neighbourhood, though.”

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Star Trek: The Next Generation (DC) Annual #3 – The Broken Moon (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry. This is actually supplementary to the first season of the Next Generation, specifically the episode Conspiracy.

If you were to construct a list of the most niggling unresolved plot threads in the history of the Star Trek franchise, “what was up with those things from Conspiracy?” would likely rank up there alongside “so, did Bajor ever join the Federation?” Funnily enough, author S.D. Perry would tie those two dangling plot points up in her Deep Space Nine relaunch book, Unity.

However, several other writers have tried to figure out what exactly was going on with those mind-controlling parasites who appeared at the end of the first season of Star Trek: The Next Generation and were never heard from again. According to Ronald D. Moore on Inside the Writers’ Room on the third Next Generation blu ray box set, various writers for the show tried to revisit the idea, but Roddenberry hated that episode so much nothing was ever developed.

The Broken Moon, the third annual for DC’s Next Generation comic book series, offers its own take on the mind-controlling parasites. While writer Michael Jan Friedman wisely avoids revealing too much about these creatures, the story suffers because it never figures out anything interesting to do with them.

It always bugged me...

It always bugged me…

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Star Trek: The Next Generation – The Ensigns of Command (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

The Ensigns of Command is a Data-centric script from Melinda Snodgrass, the writer responsible for The Measure of a Man. It was the first episode produced in the show’s third season, even if it was the second to air. As with so many third season episodes, The Ensigns of Command was beset by behind-the-scenes difficulties. These issues plagued the episode through all stages of production – from the script through to post-production.

It is a wonder that The Ensigns of Command turned out watchable. While it certainly can’t measure up to Snodgrass’ earlier Data-centric story, it is an intriguing character study that benefits from a focus on character and an understanding of Star Trek: The Next Generation works. While far from an exceptional or defining episode of The Next Generation, it’s a demonstration of how far the show has come that even an episode as troubled as this could look so professional and feel so satisfying.

A fun shoot...

A fun shoot…

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Star Trek: The Next Generation – Season 2 (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Although, as Rick Berman argues in the documentary Making It So, the first season of Star Trek: The Next Generation “was at least in syndicated ratings terms, extremely successful”, there was trouble brewing behind the scenes. The show lost two-thirds of its regular female cast members, and the season ended with a whimper rather than a bang as the 1988 Writers’ Strike cutting into the development of the final couple of scripts.

The second season was no less plagued by problems, even as the show proved a ratings and commercial success. The show’s writers’ room was in disarray, with conflicts erupting between Tracy Tormé and Maurice Hurley over scripting for the show – leading to the use of both of Tormé’s WGA-approved pseudonyms on consecutive scripts from the writer. Episodes were coming over budget and behind schedule, necessitating a clip show to round out the season.

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Even on the set itself, new cast member Diana Muldaur had difficulty fitting in the cast, and did not wish to return after the second season. Katherine Pulaski would disappear from the show (and the franchise) with little fuss – her last appearance being in the rather disappointing Shades of Grey. While The Next Generation was successful by just about any objective external measure, it had yet to really find its own internal balance.

Still, the second season of The Next Generation did show hints of improvement. The show was finding its feet. While the average quality of the episodes was nothing like what it would become in the show’s third season, even the more middling instalments of the show’s second season (like Contagion or Where Silence Has Lease or Peak Performance) were leaps and bounds ahead of where the show had been in the first season. It was getting where it needed to go, but not nearly fast enough.

tng-timesquared19

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Star Trek: Deep Space Nine – The Lives of Dax: Sins of the Mother (Audrid) by S.D. Perry (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry. This is actually supplementary to the first season of the Next Generation, specifically the episode Conspiracy.

The Star Trek: Deep Space Nine relaunch was the first truly successful attempt to continue a Star Trek television show past its final episode. Of course, there had been novels written before taking place after the finalés of the various shows, but the Deep Space Nine relaunch was the first conscious attempt to directly build upon the events of the series and structure the novels as something of an “eighth season” to the show. If I get through the seven years of Deep Space Nine, I am seriously considering covering the novels.

What’s interesting is that the novels didn’t quite come to be in an instant and decisive sort of way. There was a hazy grey period where books were published after What You Leave Behind, but not necessarily structured as part of that “eighth season.” Two of those books, The Lives of Dax and A Stitch in Time were retroactively welcomed into the relaunch. Indeed, this short story from S.D. Perry proves to pretty essential to the relaunch as a whole.

Like Deep Space Nine itself, the novels picked up and developed on particular themes and plot threads. The entrance of Bajor into the Federation is the most obvious, a plot point set up in Emissary and never completely resolved in the show. However, one particular plot thread seems to have emerged from out of nowhere, stretching back to an aborted arc from the very season of the second generation of Star Trek television shows. The relaunch built heavily on Conspiracy.

ds9-thelivesofdax1

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Star Trek: The Next Generation – Shades of Grey (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

Well. That’s over now. Star Trek: The Next Generation limps across the finish line of its second season with a compilation clip show designed to save money and keep the season’s episode count up. Shades of Grey is frequently cited as the worst episode not just of the second season of The Next Generation, but of the show as a whole. While it’s hard to entirely agree with this assessment – Shades of Grey is cynical and lazy, but it’s neither as sexist as Angel One or The Child nor as racist as Code of Honour or Up the Long Ladder – it is possible to see where that argument comes from.

Like the first season before it, there’s a sense that the second season of The Next Generation might have been better had it ended an episode earlier. Indeed, the second season could have ended with Q Who? and the only episode anybody would really miss would be The Emissary. Unfortunately, one imagines the syndication agreements and network policy made this impossible. While one suspects many of those involved would be happy if Shades of Grey simply faded from existence, it remains part of the show’s syndication package.

This is a little like what this episode feels like...

This is a little like what this episode feels like…

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