This is unquestionably the best episode of the first season—so much so that it’s actually hard to wrap one’s brain around its presence in the same season of the same show with the other twenty-four episodes. For once, a plot makes sense, is actually interesting and suspenseful, has a definite structure that moves forward in a logical way, and is resolved satisfactorily. What’s more, the holodeck subplot relates logically to the main plot rather than being pointless filler, and is even fairly compelling in its own right (and what might be regarded as a “holodeck malfunction” actually has a plausible and satisfying explanation!). But even more importantly, the episode is at least as character-driven as it is plot-driven, and all of the characters come to life at least a little—with some of them getting fleshed out a bit and actually shining. The basic mystery of what’s going on in the episode is handled well, too: rather than being overplayed or treated as way more mysterious than it actually is, it gets set up with clues and foreshadowing that are actually subtle and feel natural—and it never feels rushed, either on the front end or in its resolution (even if the latter does seem a bit too easy). Why couldn’t the rest of the season have been more like this?!
The whole episode feels like a glimpse forward at the show that TNG will eventually become; character traits start to emerge, the writing and dialog feel much more confident and sophisticated than in any other episode from this season, the exterior ship and starbase visuals look great, the soundtrack music stands out (early on, at least)—hell, even the shipboard sets seem to suddenly look better than they usually do this season (is it about how they’re lit? shot? or is it just my imagination?)! Plus, there’s a general sense of coming-together among the characters, with the docking at starbase for a refit serving as a sort of punctuation mark on their time together thus far. Both within the world of the show, and on a meta-level for a fan of later seasons, then, there’s a sense of “homecoming” pervading the episode. And while I’m on general comments: The Bynars make unusually effective (for this season) “antagonists,” in that they are unique and sympathetic (rather than one-dimensional, unconvincing imbeciles, or total assholes who are, from their first appearance, very obviously not to be trusted); the starbase setting actually feels like a believably real place with real people operating it; and the starbase commander’s interactions with Picard and Riker ring true in a way that one simply doesn’t see in other episodes this season. I could nitpick a few things about the setup and the premise (concerning the Bynars, a line or two about the Enterprise maintenance check/refit, etc.), but they mostly relate to larger issues about the show-thus-far rather than to this episode itself—and in any case, they really would be merely nitpicks. This episode wins me over from the very beginning.
Moving on to some specifics, one huge winning characteristic is the fact that the early part of the episode provides the series’s near-first-ever instance of the main characters indulging in a bit of “down time,” and manages to subtly flesh several of them out in the process. The Data/Geordi painting scene is fun (“I am awaiting inspiration”) and establishes a recurring hobby for Data, for example. Dr. Crusher’s excitement about getting to talk to a scientific mentor-figure brings her to life a bit and feels right for her, too; while she is a character who will never get as much development as she should, I like the portrayal of her as being as much a scientist as a physician, and someone who sort of geeks out over getting to converse with “great minds” about her ideas and her research (and I think this side of her does surface at least once or twice later on in the series, as well). Finally, Riker’s unfocused wandering of the ship and looking in on everyone else’s doings actually manages to show, rather than tell, something interesting about his character, while at the same time deftly providing a nice framework for letting the audience look in on what each of the others is up to.
Once the plot gets going, the characters continue to be handled unprecedentedly well. For one thing, this is one instance in which it actually makes sense for Wesley to be the one who first spots a problem and alerts the others to it—and he does so in a competent and professional manner, but without seeming implausibly more competent than everyone else (note, for instance, how although he knows enough to contact Data and report a problem, it’s left to Data and Geordi to determine what is actually going on and how serious it is). As for Data, he suddenly seems like his efficient, decisive, and even-keel android self here! The scene in which he digests what’s going on in engineering, swiftly gathers all necessary information, discovers that the captain can’t be reached for reasons unknown, and makes the decision to evacuate the ship and send it off into space has always been one of the most memorable bits of this episode for me, and I love it; it’s well-written, well-acted, and Data suddenly seems totally cool in it (not to mention that the scene actually pulls off tension and drama successfully, rather than cheesing it up). When Wesley questions Data’s decision and suggests that a higher authority should be consulted, Data deals effectively with his objection—not dismissing it rudely, but also not allowing it to delay urgently needed action for more than a couple of seconds—by providing a brief but unassailable defense of his decision in a matter-of-fact, androidy tone, and then proceeding to implement the evacuation. Very, very nicely done.
Ultimately, though, this is—in terms of character focus and development—largely Riker’s episode. Once, as he predicts, something “turns up” to divert him from his lingering absorption with duties even during his off time, we see him actually relaxing and recreating in a way that feels genuine—and we get his trombone-playing trait established, to boot. And as a further bonus, Picard—who joins Riker in his diversion—is for once written as an appealing character (warm, passionate) instead of a stodgy, irritable fucker. Riker’s interactions with the holodeck musicians is quite entertaining, and while there is undeniably something a little creepy (not to mention clearly dated) in his reactions to (and amazement about) Minuet, I’m actually more or less comfortable with it. Minuet herself mostly lives up to Riker’s and Picard’s reactions to her, coming across as disarmingly sophisticated and charming. Does it make sense for a character like her to seem like such a novelty to Picard and Riker, or for the “spark” to be gone from her once the Bynars are no longer there to “enhance” the program? Not really, no—and there are other similar holes in aspects of the episode’s premise. I don’t really care, though, because it never comes across as cheesy, lame, or trying too hard—and that’s hugely refreshing. I like the characters throughout, the tone is delightful, and the plot is actually suspenseful and entertaining.
Since, however, I’ve only given it three stars rather than even more, I suppose I ought to spell out some of the things that do hold this episode back from being truly great. The thing is, by the standards of later seasons, it’s kind of nothing special; it stands out spectacularly only because everything else this season is so bad. The holodeck material, while engaging, is a bit thin, and while the Bynars’ theft of the Enterprise is pulled off with aplomb, its retaking by Picard and Riker is achieved awfully easily. Also, while it features a fairly solid plot and some delightful and long-overdue character development, the episode doesn’t offer much in the way of thematic depth. It’s unprecedentedly competent and enjoyable, and—given the show so far—that’s an achievement! But it’s no more than that.
In short: Fourteen episodes into the series, they finally managed to make one that is genuinely worth watching!