Gates-McFadden Movie Reviews

Parallels is arguably the most enjoyable "alternate reality" episode of all time. From its inception, one of the underlying messages of TNG is "anything and everything is possible." Parallels takes this to the extreme. I really enjoyed the way the normally unflappable Worf becomes increasingly baffled when confronted by weird gifts, ever-changing realities and the truly awesome (frightening?) discovery that he's suddenly married to Deanna Troi -- a fact he doesn't remember and probably never even consciously considered. The storyline shifts very quickly between realities and is downright surreal. I loved every minute of it. Non-TNG viewers might find Parallels confusing, but fans will definitely appreciate it. A lot.

Worf has been to a Bat'leth tournament and returns to the Enterprise on a shuttlecraft. However, back on board strange things start happening: the icing on his birthday cake changes colors, his trophy from the tournament is different, he no longer recognizes the panel at his Tactical station, and he is married to Troi. Actually, these are a series of changes, each of which is heralded by Worf feeling dizzy. This means that every time Worf starts to get a handle on his new reality, it shifts on him again and he has to explain to Deanna and Captain Riker what is going on so he can get some help.

What I especially like about "Parallels" is that what happens in this episode continues over into future episodes. Worf takes this alternative reality as a hint and when things finally return to normal he looks at Deanna in a new light, which progresses nicely throughout the show's final season; unfortunately, their romance is abandoned when Worf's character moves to Deep Space Nine. Also, after so many episodes dealing with Worf's Klingon heritage, it is nice to see Michael Dorn's character receiving something new and interesting to deal with for a change. Speaking of change, the changes from one reality shift to the next are well done; you just sit there and wonder what is going to happen next. This is one of those "solve the mystery" STNG shows where you just go along for the ride. "Parallels" is an above average episode of the series.

the fact its changing from one alternate realty to another is an interesting plot in itself. It's an episode you can watch over and over.

"The Inner Light" is one of the most amazing hours of television that I've ever seen, and quite possibly the greatest Star Trek (original, Next Generation, Deep Space Nine, Voyager) episode of all. And the thing is, it's not even really science fiction per se..."just" a great story filled with excellent acting, directing, ideas, and emotion! Not much!! :)

Where do I even begin to praise "The Inner Light?" Well, for one thing, Patrick Stewart is amazing as Kamin, a married man (to a beautiful woman named Eline) living in the community of Ressic on the planet Kataan, which is in the midst of what people think is just a very bad, extended drought. What really is happening is that the planet is dying, and there's nothing the inhabitants can do except to save a piece of their world in the form of a probe whose purpose is to find "someone who could be a teacher, someone who could tell the others about us." A thousand years later the probe finds that "someone" - Picard - who it locks onto in order to allow him to live most of a lifetime in only 20 or 25 minutes!! What this does is allow Picard to experience everything he never could as a Starship captain - a wife, children, rootedness in a community, and much more. This episode is worth watching for that alone, but there's so much more!

Besides Patrick Stewart as Kamin, let me just list a few other great things about this episode (in no particular order): 1) Patrick Stewart's real-life son Daniel does a fine job as Kamin's son Batai (named after Kamin's late best friend); 2) Kamin's passionate -- and classic -- advice (knowing that the planet is dying) to his daughter, Meribor on whether she should marry her boyfriend Danek "sooner rather than later" is powerful: "Seize the day, Meribor. Live now! Make NOW always the most precious time! Now will never come again" (Meribor's response: "I love you father"); 3) the oily 'Administrator,' who condescendingly assures Kamin that his idea for atmospheric condensers will be considered (Kamin, of course, knows that "there will be no condensers"); 4) the beautiful, haunting music, especially of the flute that Kamin plays; 5) the end of the show, when Riker hands Picard the same flute and leaves Picard to hug the flute to his body as he tries to hold on to what he has just experienced, the woman he loved, the children and grandchild he had, etc.; 6) the friendship between Picard and Council Member Batai; 7) the love that grows between Kamin and his wife, Eline, and in particular the scene where Kamin says he wants to build something but needs her permission first, and the look on Eline's face when he says "a nursery," and much more.

What's amazing about "The Inner Light" is that, although not a phaser is fired, and although 95% of the show takes place off the Enterprise, this is still a great Star Trek episode - maybe the best ever (ranking up there with "City on the Edge of Forever" and "Yesterday's Enterprise"). Poignant, thought-provoking, dramatic, mind-boggling - these are just some of the adjectives that come to mind with "The Inner Light." In sum, this is one of the most amazing hours of television ever. Buy it now; watch it now!

The many worlds of Star Trek have taken us from our past to the distant future of humankind. This episode sends us deep into some of the most uncharted of space -- Picard's soul. This exceptional script gives actor Patrick Stewart a chance to reach in a grab the viewer's emotional core.

Stewart, an actor of far more range than is usually demanded of by The Next Generation, gives a subtle and smart performance. Moving and deeply affecting especially is the sight of him as a father and grandfather. Trying to save his doomed world, Picard endeavors to out-think the local government. Buying time, if not real hope.

The haunting music proves to be the emotional punch. The fact the show pre-dates the entire recent penny whistle glut only shows that Star Trek is sometimes truly ahead of its time.

This exceptional drama is amoung the best ever produced for the Star Trek lexicon, primarily for its ability to show us the strength of humanity in the face of overwhelming tragedy.

I can't help it, as ridiculous as this feels I'm not mearly inclined, but propelled to review this; the only episode of any Star Trek thing I've ever taken upon myself to watch. I have to fall to my knees and praise Margot, almost like an unrepented love of this reclusive, secondary veteran actress that I grew up with. Margot; age, biography and possibly real name which were never known to anyone but the casting directors who have chosen her, gives her most shining and thankful performance of her now 20 year career as Captain Picard's wife in what people say was the most wonderful episode of this show. In a plausibly poetic tale, Picard is struck unconscious on board by an invisible force, and lives a lifetime as another man in his dream. As his crew struggles to wake him, we see him lost in a small, futuristic-ancient community where everyone knows who he is but him. He soon adapts to his life, and begins to accept it as normalcy being the husband of a sweet, motherly woman (Margot Rose) and educated scientist who works feverishly to save this dying civilization. He fathers two children who he fears will live only to see the end of this world, and painfully loses a close friend (Richard Reihl) who stood at Picard's side as confidant and teacher. All while Picard leaves shards of memory of the Enterprise further and further in the past, and conforms to this dying community that we learn had searched for a teacher in the future to tell of itself. I loved Margot in '48 HRS.' as prostitute Casey, the short-lived sitcom 'Report To Murphy' as Baker along side Michael Keaton and all of the short, sometimes mearly seconds-long roles she has had in dozens of movies and television shows..And that was a treat for me to see her in a strong and important role like this one...I wish there was more to read about this mysterious 'part-time' actress...

Simply put, "Darmok" is a brilliant episode that exemplifies everything that ST:TNG has to offer. I show it to skeptics as proof that Star Trek can feature excellent acting, strong concepts, and moving scenes. I have never decided on a favorite TNG episode, but Darmok is one of the several that are tied for first. It also has a deep significance to me, because I firmly believe in the power of stories to communicate deep truths. In "Darmok," we are shown a culture which uses *only* stories to communicate, which is a fascinating exploration of the possibilities of narrative. As for moving scenes and stellar (ha, ha) acting, I especially point out the scene in which Dathon tells Picard the story of Darmok and Jelad (sp?), and Picard tells Dathon the story of Gilgamesh and Enkidu. But the whole episode, from the opening to the end credits, is well-acted and powerful. And, of course, it must be noted that this episode reveals a very telling difference between Kirk and Picard. When Kirk was beamed down to the planet with an alien captain who apparently wanted to fight him, Kirk took the sucker out. Picard, in a virtually identical situation, refused to fight, figured out a way to communicate, and became the first to make meaningful contact with the Tamarians. But I digress. To recap, this is definitely one of the top five episodes, and I know many who'd firmly place it in slot #1. It belongs in the home of any TNG fan, and anyone who is interested in good acting, good human drama, or the power of story.

"Darmok" captures what is the heart and soul of Star Trek: discovering new races and learning to coexist with them. In this episode, that is no easy feat for Picard, who is trapped on a planet with an alien captain who talks different from everyone else. The two cannot understand each other, but as a monster hunts them down, it becomes apparent that the two must learn how to communicate. This is a phenominal episode, downplaying the action and instead building on the characters of the alien captain and Picard. It's not just good Star Trek, it's great science-fiction. While the monster effects are very subpar (they always are for Star Trek), the being itself is of little importance to the story. What is important is how Picard and the other captain learn how to communicate. Truly a wonderful episode.

"Darmok" remains the best of the best of the seven years ST:TNG was on the air. In a short 55 minutes, one has learned a new language. Think of it: at the time Picard speaks with the Tamarian First Officer, the language exchange (if you paid attention to the whole episode) is completely understandable. There is no need for a translation scroll at the bottom of the screen...and was wisely done that way.

Highly recommended.

My review is about the review done by James A. Reynolds III. All of his reviews are worthless. He never gives insight about the game, movie, book, etc. He just spews the same Taliban-like crap from right-wing conservative morons. Leave your political views out of the reviews. If you want to continue to make these stupid remarks, go to Foxnews.com. Fox news - they lie & you comply.

This pivotal two-parter, for those of you just back from Mars, entailed Capt. Picard's capture and assimilation by the Borg, the cybernetic creatures. The action in these episodes revolves around the Enterprise crew's efforts to destroy the Borg and retrieve Capt. Picard.

However, the writers passed up a stupendous opportunity to portray life as it can and ought to be. When the Enterprise crew was attacked by the Borg, Worf and the others responded by trying to kill them (and they kept trying, though the Borg could adapt to every weapon employed).

What if the Enterprise crew had, after the first attack, asked itself, "Why do they hate us?" The Enterprise folks should have spent a substantial amount of time analyzing which of their own failings and misdeeds were instrumental in provoking the Borg attack. Capt. Picard should have then formed a coalition, perhaps engaging the United Nations, and sent representatives to negotiate with the Borg. Resolutions could have been passed, and inspectors sent to ensure that the Borg complied with the resolutions. The Enterprise crew could have been FAR more compassionate, diverse, tolerant and inclusive toward the Borg -- but instead, they just tried to kill them, and neutralize the threat. They acted without regard for how other planets might have felt about them. They simply wanted to destroy the Borg, and end the threat.

That doesn't sound like enlightened space travelers. It sounds like a bunch of unilateral cowboys. They prevailed over the Borg attackers, but that's beside the point. They should have been more gentle, more sissy, more pantywaist in their dealings with the Borg terrorists -- as Democrats would have done.

I like these episodes because they're cool. I like the borgue because of their assimilation of many worlds. I also like the action scenes that are apart of this movie. I also like this because It's a very cool show to watch. I highly recommend this.

The nature of what it is to be alive is a question which many humans, to their detriment, take for granted in the twenty-first century. The truth is that history shows that red blood does not always make "human" in the eyes of those who hold the control levers on the machine of power. Every race that has ever known slavery has known what it is to be what the Nazis called "untermaenschlich," subhuman.
The question in this episode does not concern Data's humanity directly, but the more fundamental question of whether or not he truly does live. In summary, Maddox lists the qualifications for sentience as possessing self-consciousness or self-awareness, the ability to addapt to change, and the ability to seek out knowledge or actively learn. The quintessential moment of the episode occurs when Picard forces the commander to agree that his subject, Data, does in fact meet all of his own, Maddox's, stated criteria for sentience.
Realization and compensation for human ignorance is not a phenomenon which stops in the twenty-fourth century either. Consider the Judge Advocate General's ruling and the catharsis it envokes. The observer empathizes with her pain and regret brought about by her all-too-human arrogance.
In the end, there are simply some principles which cannot be sacrificed for science. And as human experimentation is decried by many, so too does Data make his own feelings abundently clear. It is Data who may represent the views of this fan when he says: "Commander, I formally refuse to participate in your experiment. Do not worry sir, when you are ready, I will still be here."

This episode of "Star Trek: The Next Generation" takes on a classic science fiction theme: the rights and dignity of sentient artificial beings. "The Measure of a Man" ranks right up there with the best of such explorations. The combination of an intelligent script and superb acting makes this one that bears repeat watching.

Lieutenant Commander Data, the android bridge officer on the starship "Enterprise," is faced with the unpleasant prospect of being disassembled against his will by an obsessed Starfleet cybernetics expert. Scriptwriter Melinda Snodgrass effectively uses the dramatic device of a legal hearing as the vehicle by which to present a philosophical inquiry into the crucial questions: Is Data "alive"? Does he have inalienable rights? Would forcing him into actions against his will amount to slavery?

The performances are uniformly good. Special mention should be made of Brent Spiner's portrayal of Data: it is a masterfully nuanced performance which engages the viewers' sympathy. And Patrick Stewart, as Data's captain and courtroom defender, delivers his key pieces of oratory with passionate integrity.

As I noted above, this television episode can be read as part of a greater science fiction tradition. But in its exploration of the enduring conflict between individual rights and the forces of exploitation, "The Measure of a Man" is also a worthy successor to the literature of the anti-slavery activists of the 19th century. Watch "The Measure of a Man" and then read an abolitionist classic like "Uncle Tom's Cabin," "The Narrative of the Life of Frederick Douglass," or "David Walker's Appeal." With "The Measure of a Man," the "Star Trek" creative team has produced an episode that is full of moral relevance.

I was interested in watching this after watching the classic The Outer Limits episode, "I Robot" (episode 41), staring Leonard Nimoy where the same question was explored... also in a court room.

A lot of philosophy is explored in this episode. But the acting is magnificent with the exception of Judge Advocate General Philipa Louvois who gave some poorly delivered and cheesy lines. Plus for a JAG officer, she sure seems to be shocked by statements made in court more than you would think or believe. But Jonathan Frakes, I believe, gives the best performance as he is given the unbearable task of actually prosecuting Data. You could really feel his pain in performing the task he did not want to do. This also has one of the better poker bits this show ever produced as Data plays poker for the first time.

Like "I Robot," this makes you think. While I developed my own ideas of who I thought was right and wrong and in between, this episode leaves enough open for you to explore your own ideas. Which, I believe, is one of the strengths of this episode.

Will Riker is portraying a criminal in a mental hospital... for a play on the Enterprise. Data portrays one of the psychologists in this one-room drama. Riker finds the imagery disturbing and wrought with conflict ... rightfully so.

Any image of a somewhat sane person in an insane asylum is enough to make the viewer quiver.

Before you know it, it seems that Riker is taking his role of actor too personally... he begins to find himself literally within the play that never ends. A spooky officer he sees in the turbolift is suddenly his captor in this hospital of horrors.

It is clear that Riker is truly losing his mind as he shifts from reality to pseudo reality and back and begins to be unsure of himself and what is real and what is fantasy.

Is he under some alien influence? Has he just had too many friends assimilated and now he's totally snapped? I don 't want to give away the spoiler, but suffice to say, this is one heck of a thriller. This could have easily been a 2-part episode. The special effects are new and the imagery is stark, complex, surreal and definitely from the dark side of psyche.

Even the clothing and lighting seems to be in shades of grey and everyone in the cast acts a little more serious than normal.

This was the season when the characters are fully developed and come into their own... and this is one of the best episodes in the lot.

At one point in 'Frame Of Mind' Troi tells Riker not to be afraid to explore the dark side of his psyche. Accordingly, the sixth season of TNG saw the series take a much darker tone to some episodes. "Man Of The People", "Schisms", the two-part "Chain Of Command" and "The Face Of The Enemy" each featured dark and disturbing themes. By comparison 'Frame Of Mind' is pitch-dark, terrifying and unsettling. The sets designed for this show summon up the most frightening memories we have stored inside ourselves from our exposure to horror films. If you are familiar with silent films of the German Expressionism era you will recognize that influence here.

Riker is preparing to perform in a play on the Enterprise titled 'Frame Of Mind'. The play details the recovery of a patient at an asylum who may or may not be receiving questionable treatment from his doctor. Very soon the scenes that Riker is performing in the play gradually begin to happen to him in reality. Before long he comes to believe that he really is a patient committed to a doctors care at a mental institution; that the Enterprise and crew are actually a delusion of his maddened state. But soon even that scenario begins to fall apart and Riker no longer knows what is real and what isn't.

This is an episode that demands repeat viewings as it's shifting realities are difficult to keep track of - let alone for Riker! The creative staff behind 'Frame Of Mind' does a great job of keeping us off balance, maintaining a surrealistic feel to the entire proceedings. The final sequence of realities shattering away like broken glass is an excellent effect. And Jonathan Frakes is exceptional in what is probably his most demanding performance of the series; he's literally in every shot. One scene that is played out several times in Riker's "realities" is a portion of the play he and Data are performing. As the doctor, Data says to Riker, "I see you're becoming agitated again." Riker immediately responds, "You bet I'm agitated!" Each time this scene is played out Riker says his line more emphatically, responding with uneasy confusion or righteous anger fitting to each separate occasion this happens.

Overall, 'Frame Of Mind' has the feel of an early 20th century gothic horror film with its emphasis on set design and the nefarious appearance of the institute's doctors. It is also derivative of the best stories of Philip K. Dick who continually had his characters dealing with ever changing realities induced by drug usage. If you've seen this episode then you probably already own it; if you haven't seen it yet, buy it. You won't regret it. Like me you will find yourself going back to it again and again.

Frame of mind is altered by aliens

Jonathan Frakes puts in a terrific performance in this episode. While performing in a play aboard the Enterprise he is transported to another reality. In this other dimension the play is reality for our unsuspecting first officer. Out of all of the episodes I've never seen the Riker character so frightened and unsure. It's a testament to the under rated acting ability of Frakes. I think that he could also carry the show as ship's captain and it's unfortunate that the powers that be didn't make Riker captain and kept Next Generation going a few more seasons.

This is another one of those episodes that you can see over again. It has scenes where Riker can't believe the fact that he may be imprisoned forever. It's not one of those galactic battle episodes but worth your time.

This one shows how if Picard never got into a bar room fight in his acdemy years...he would have never taken chances that would have led him to be a starship captain. Q shows Picard what would have happened had he not taken the big risks that led to his career. I love the scenes with him in a blue starfleet tunic as a researcher for the Enterprise. Another priceless scene is when he asks Riker how he can gain advancement in his career. He essencially gave Picard the brush off. You could see his career was going to be one of redundant reports and endless monotony.

This one is a keeper. It's the ultimate Picard episode that gives you a lot of insight into the character.

The Away Team beams up a badly injured Captain Picard, who dies on the operating table because of problems with his artificial heart. In the proverbial bright light of the afterlife Picard encounters a godlike figure--who turns out to be Q. They are going to spend eternity together, but first Q would like to know if there is anything Picard regrets. After all, if he had a real heart he would still be alive. Q refers to an incident that Picard told Wesley Crusher about in "Samaritan Snare" (Episode 43), where his heart was damaged in a bar fight with some Norsicans. When Picard does indeed express some regrets over having been so headstrong as a youth, Q gives him a second chance: Picard is again a young ensign, two days before the encounter with the Norsicans that will end up with him having a dagger piercing his heart. If Picard can avoid that fight, he will not die 30 years later. The "mature" Picard finds a way to avoid the fight and Q congratulates him and returns him to the present--where "Lieutenant" Picard discovers he is an assistant astrophysics officer, described by his superiors as hardworking but not command material. Jean-Luc has to wonder if maybe he would rather be dead than live out the rest of his life like this.

I have thought about it and I have considered it, and I think "Tapestry" is the best of the episodes featuring Q. We have all seen movies and television shows that deal with the big difference made on lives by little things, but that does not take away from the high quality of this episode. The scenes between Picard and Q have a certain sharpness to them missing in other encounters because of the significance of the subtexts here: this is not only about Picard's "life" as in the opposite of death but also his "life" in terms of who he is at his core being. This is definitely one of the top 5 STNG episodes focusing on Picard. Discuss Topic: It seems the best episodes with Q are the always the ones that do not have Q in their titles. Talk amongst yourselves.

I must comment on this wonderful episode of Star Trek: The Next Generation. It involves my favorite , and probably most other Star Trek fans' favorite character, the abominable "Q". In this episode, Capt. Jean-Luc Picard faces death for the first time (and the last time) in my favorite Star Trek series. He perishes on the sick-bay table from a fighting accident and goes to heaven to meet.....who else than God himself, Q! Q welcomes him with open arms (actually, an open handshake) into his eternal world and Capt. Picard is surprised to see him, and does not believe the heavens is run by HIM! But, it is, and Q gives him a chance to make changes and right the "wrongs" that he did as a younger man.....a cadet fresh out of the Academy. This is to relieve Capt. Picard of any regrets that he had when he was alive, so Q doesn't have to hear him...."whining and complaining through time!" "How much time?" says Capt. Picard. "Eternity", replies Q! Q is humorous and witty as usual in this episode and transports him back in time to his Academy days. It is at the point in time just before he got stabbed through the heart by a Nausican where he was transported back to....to his dormitory room. If he can manage NOT to get stabbed through the heart, Q would bring him back to the present day. All of this is REAL, not an illusion that Q made up for his amusement. After many a disillusionment and losing his former friends from the Academy, he DOES manage not to get stabbed through the heart by that Nausican, and is brought back to the present day. But it's not the present day that HE remembered! In his NEW "afterlife", he is just an ordinary crewman serving under Capt. Thomas Halloway as an astrophysics officer! He doesn't like this one bit, and asks Comm. Riker and Counselor Troi if he can be more.....like captain of the ship. Comm. Riker replies, "....We'll see"!. Funny. Capt. Picard mumbles to himself my favorite line that he gives in this episode, "All right Q, you made your point. Having a good laugh now?" He then goes into the turbolift to give his assignment to Lieut. La Forge and is brought back to heaven by Q. He and Q have a one on one confrontation with Q giving him a verbal war of how good he has it now...."with a real heart beating in your chest!" Capt. Picard admits it was a mistake, and that now...."I would rather die on that bed than live the life I just saw!" Q grants him his request and Capt. Picard is revived on his sick-bay bed chuckling at his experience! Was it a dream, or was it a real after-death experience?

The Enterprise NCC-1701-D is waiting for its next mission. While the crew take a few days to rest the Enterprise is hit by a quantum filament. This has some of the best lines in this season (i.e. Worf to Keiko "You may now give birth." and then Keiko shoots back "That's what I've been doing!"). Also in the this show Troi is in command which is somthing Ro doesn't approve of. Riker atuck with just Dats's head (Good lines come from Riker while he is fooling around with Data's head)after Data's body is damaged. Picard stuck in a turbolift with three children and then has to climb up a turboshaft with them. La Forge and Crusher stuck in a cargo by full of explosives that explode when it come in conact with radiation and there is a plasma fire in the bay to with is releasing radiation. Great episode for a star trek fan

"Disaster" is definitley one of the best episodes in all of Star Trek history. It was a surprising episode, with all the sparks and damage. Usually Voyager takes that beating, but I kind of liked it when they showed the Enterprise taking that damage.

Well, the story starts out with a party in the mess hall, all because of Keiko's baby, and then while Picard is tallking to some children, one of the kids looks up at him without talking, puts his head down and then they're struck by a quantum filament. Then, with most of the ship's power gone, the crew tries to survive. Do they survive? If you want to find the answer, you'll have to watch this exciting episode that is perhaps as good as Voyager. But I warn you, this is a scary episode in a way!

This is a rather simple episode that turns into a fairly fascinating character study of the Enterprise crew. As the episode beings nothing is going on so most of the crew is relaxing in Ten-Forward, where Riker, Worf and Data are helping O'Brien and Keiko pick a name for the baby that is due sometime soon (this alone should set off warning bells for you). In one of the cargo bays Dr. Crusher is trying to talk La Forge into being part of her next musical. O'Brien arrives on the bridge just as Troi introduces Picard to the three young winners of the school science fair. The Captain will give the children a tour of the ship. But as soon as they take off in the turbolift a pair of quantum filaments hit the Enterprise, knocking out most of the ship's systems including the main computer and starting a series of crises for each of the aforementioned groups. Even though Troi is the least competent officer on the bridge she is the senior office, a fact that has O'Brien and Ro exchanging meaningful looks for the rest of the episode. The containment field in the cargo bay with Crusher and La Forge is about to break down. Riker and Data try to get to Engineering to help restore systems (because if they go to the bridge Troi would have nothing more to do). Of course, this leaves Worf to help Keiko deliver her baby, since he is the last member of the Enterprise crew you would want acting as a mid-wife. Meanwhile, back in the turbolift, Picard has a broken ankle and three frightened children (and we all remember how much Picard enjoys being around children). Just to make things really interesting and put a sense of danger into this recipe for "Disaster," Ro discovers that the warp engine's containment field has some serious problems and the whole thing is going to explode if somebody does not do something. Too bad the power is out and the computer is down.

"Disaster" is the marvelous execution of a simple idea. The power goes out and everybody is pretty much in the wrong place at the wrong time. Even O'Brien, the most useful person actually on the bridge, should be with his wife while she delivers their baby. While Worf provides the episode's comic relief (until Riker starts toting around Data's head), it is Counselor Troi dealing with her inadequate abilities to command a cripple Starship and Captain Picard having to deal with a trio of frightened children that are the most interesting to watch during the episode. What I especially appreciate is that Michael Dorn, Marina Sirtis and Patrick Stewart all have their characters act differently as they each deal with their rather unique crises. We do, in fact, get to see new shadings on these old characters. Ironically, in not seeing these characters at their best we actually end up seeing them at their best. As I said above, "Disaster" is simply an excellent character study.

This two-parter was a terrific season-ending ST-TNG episode, featuring a duel with the Cardassians, Captain Picard in jeopardy and a new commander for the Star Ship Enterprise.

And the Enterprise crew really let us down. Rather than exhibiting military professionalism and backing to the hilt their new commander -- Capt. Jellico, magnificently portrayed by Ronny Cox -- they fought him every step of the way. The story had a strong emotional pull on the viewers, thus the obvious course was to sympathize with the crew's irritation at their new boss, whose personality was far different from that of Capt. Picard. However, that crew was placed on that ship to carry out orders issued by their captain, to the letter and spirit of his or her desires. Possibly their long association with Capt. Picard had made them too buddy-buddy with him, somewhat slack in their militarism, and weak in adapting to a personnel/command change.

Here's a new (though experienced) commander placed in charge of a crew whose former commander had been drafted for a special mission. Capt. Jellico too had a special mission, a head-to-head negotiation with hostile Cardassians. Rather than being completely free to concentrate on that mission, Capt. Jellico had to deal with the distractions of crew sensitivity and grudging cooperation, which extended to Executive Officer Riker's outright insubordination (for which he was quite properly relieved!). And Jellico was eminently appropriate in ordering Deanna to dress more professionally, rather than prancing around in her skin-tight slack-suit.

At first glance, combined with the history of being emotionally connected to the Enterprise crew, it could have been perceived that Capt. Jellico was being harsh and/or unfair -- but further thought, coupled with an understanding of how a military chain of command functions, illuminates only the fact that Riker, Deanna and the others truly reflected poorly upon Capt. Picard, who should have nurtured in them the ability to conform professionally to whatever martial situations they encountered. Instead, they acted like a bunch of whiny teenagers.

Capt. Jellico, upon his departure, told the crew it had been a privilege to serve with them. Later, however, I bet he subtly, quietly passed the word in his professional circle that the Enterprise command crew was a gaggle of spoiled brats, and working with any of them on a future assignment should probably be avoided. I believe that is what I would have done.

But then again, this was just a fictional TV show -- and a great one at that!

This episode is one of the best in the show's seven-year run. I am always amazed by the acting of Patrick Stewart and in this episode his talents are able to shine. He and an equally good David Warner are thrown together in this episode and they play off each other perfectly. It is a wonderful combination of storytelling and acting and I highly recommend it to any Star Trek fan.

At the end of Part 1 of "Chain of Command," Jean-Luc Picard had been captured by the Cardassians, who are moving towards the brink of war with the Federation. Meanwhile, back on the Enterprise, Captain Edward Jelico (Ronny Cox) has turned the ship upside down and is now infuriating everyone by refusing to launch a rescue effort to save Picard. While the diplomatic fencing between Jelico and the Cardassians is certainly interesting, the heart of this episode are the encounters between Picard and his captor, Gul Madred (David Warner, in another one of his patented bad guy roles). The Cardassians want to know Starfleet's defense plans for the target of their invasion, Minos Corva. Picard does not know the plans; after all, he is no longer captain of the Enterprise since Starfleet sent him into the trap on a dumb commando raid. However, this does not matter to Gul Madred, who is really nothing more than a sadistic bully. The scenes of a naked Picard being tortured are the most unsettling in the history of Star Trek, especially since we know full well what happened to the man when the Borg turned him into Locutus and used his knowledge to kills thousands of Federation citizens. Meanwhile, the Cardassians try to exploit Picard's drugged confession with Jelico, who refuses to play along because he is more concerned with avoiding the war than rescuing Picard.

"Chain of Command, Part 2" is yet another example of why "TV Guide" selected Patrick Stewart as its television actor of the decade of the 1990's. It does not matter that he is chained and has a pain-inducing device embedded in his body, Gul Madred does not stand a chance and when he allows his daughter to see what he is doing at this work, Picard has the opening he needs. This episode also has the virtue of providing two of the strongest acting jobs by guest stars with Cox and Warner that you will ever see on a Star Trek episode. The regulars are just along for the ride of this one. "Chain of Command" is the best mid-season two-part episode from the series because it is so well integrated into what has happened with these characters for the past five seasons. This not an episode about torture, rather it is an episode about the character and the nature of a pair of men. An unforgettable episode.

While on a routine mission in deep space, captain Picard and crew encounter the powerful super-entity Q.This time around Q wants to join the Enterprise crew.After having his request denied,Q decides to teach the crew a lesson: he sends the Enterprise hundreds of light-years across the galaxy to the uncharted sector J-25. It is not long before the crew encounters a powerful race of machines known as the Borg. The Enterprise is nearly destroyed but Q intervenes in the nick of time. However the lesson is plainly obvious:there are some things in outer space humanity is not prepared for,but Picard knows the Borg will return. This is one of the better episodes of the second season and serves as a prequel to season three's THE BEST OF BOTH WORLDS.This episode has everything:Action, humor,drama and serious discussion on the human condition.I heartily recommend that everyone interested in good science fiction buy this video.

There is a very real sense in which Star Trek: The Next Generation stars over with this episode. After all, we are back to the beginning of the series with Q's sudden arrival. Q is bored and wants to join the crew. Picard gives this serious consideration (really, he does) before refusing the offer. We are then back to first episode with Q again insisting that humanity is not prepared for "what's out there." Instead of heading to Farpoint Station, this time the mountain comes to Mohammed, as Q snaps his fingers and transports the Enterprise to the far side of the galaxy where they encounter a Borg cube. Of course, Picard refuses to surrender and spurns Q's offer to join the crew and help. But that is before Picard's people start dying at the hands of the unstoppable Borg.

Very little of the previous forty-one episodes matters to what happens from this point on, except to establish specifics about the characters: Riker does not want to leave the Enterprise ("The Icarus Factor"), Data has a brother android ("Datalore"), Worf is alienated from his Klingon heritage ("Heart of Glory"), Deanna has a mother ("Haven"), Wesley is not yet ready for Starfleet Academy ("Coming of Age"), Tasha died ("Skin of Evil"), Dr. Crusher is gone for this season ("The Child"), Q likes to cause trouble ("Hide and Q") and Picard likes Dixon Hill novels ("The Big Good-bye"). Now that the characters are all established, it is as if the producers and writers decided to draft a new mission statement. After this comes the classic "Best of Both World," as well as "I Borg" and "Descent."

It is said that it is the quality of the villain that makes or breaks a heroic tale, in which case Next Generation struck pay dirt with the Borg, who are a vast improvement over the Klingons and Romulans. In the cosmology of the original series those two empires supposedly represented the Soviets and the Chinese (which makes Vulcans the Japanese is you want to keep working out this analogy), but they were not particularly worthy adversaries. The Borg, as well as the Cardassians, are both vast improvements on their predecessors, perhaps because they do not have 20th century counterparts. Suddenly the Federation faces an eminently credible threat and the ante is upped considerably. The Borg are coming and so are the really good episodes of this series. With "Q Who?" the Next Generation finally emerges from the shadow of the classic Star Trek.

After viewing and re-viewing episodes of STTNG involving the entity known as Q, I have formulated a theory as to his popularity. So well played by John de Lancie, he also has some of the best dialog to deliver in all of the Star Trek episodes. There is also a deeper undercurrent in the relationship between Picard and Q, something along the lines of a great and eccentric teacher and a student. Q is so powerful that he could be considered the equivalent of a god, and some of his actions with Picard are those of a god with far greater knowledge than his pupil.
This episode, which also introduces the Borg, is an example of a powerful lesson to Picard and all beings of the Federation. Picard and Riker are both brimming with confidence that they can handle anything the universe can throw at them. Q then sends them packing across the galaxy, to a location where they encounter the Borg, an enemy that they are nearly powerless against. Picard is finally forced to ask for Q's assistance in order to avoid being assimilated into the Borg collective.
After the encounter, Picard and Riker complain to Q about the loss of life aboard the Enterprise. He is quite correct in his response in telling them that if that is their position, they should run back to their cribs. It is quite likely that the lesson would not have been so deeply learned if their "nose had not been bloodied."
This is one of the best episodes in the STTNG series in two ways. It is a hard lesson for the Enterprise crew and it introduces one of the best collection of characters to ever appear in Star Trek, the enigmatic, deadly, efficient and unemotional Borg.