# of episodes
26
episode average
3.67
series Top 20
3 episodes
series Flop 20
0 episodes
SEASON BEST
Who Watches the Watchers
The Defector
Yesterday’s Enterprise
Sins of the Father
Tin Man
SEASON “WORST”
Captain’s Holiday
The Vengeance Factor
The High Ground
The Enemy
The Ensigns of Command
3.1 EVOLUTION
The Enterprise has serious malfunctions while studying a supernova up close.
WATCH FOR CONTINUITY
Just like S2, season 3 also begins with a “cold start”: an episode with nothing special that just happens to be the first; writers would become more careful with this sort of thing in the later seasons, especially with cliffhangers). This episode is a pretty typical first-contact story with an intelligence so alien that, at first, it is hardly recognizable as one. Both the buildup and the resolution are fun, though the nanites’ discovery is too tardy: by that time, the technobabble has already become tiresome without much to show for it. And for once, Wesley’s trite coming-of-age wunderkind story works fairly well, as writers have gotten consistently better at that sort of plot year after year. All in all, the season opener is a fairly unremarkable episode, worth watching mostly for introducing a massive art direction overhaul, including new uniforms and Riker’s thick new frame to complement his full beard!
A colony won't evacuate despite an imminent invasion.
3.2 THE ENSIGNS OF COMMAND
The premise is fairly standard: people won’t leave in the face of danger and must be convinced. Yet, the script is surprisingly entertaining on both fronts: the negotiations with the colonists on the planet and those on the ship with the Sheliak. Both present original thinking, with Data learning to use reverse psychology and Picard and Troi debating inter-species philology. (Fun fact: Troi’s “we are stranded on a planet and I want to teach you my language” example directly foreshadows S5’s “Darmok,” one of TNG’s best episodes). On the other hand, the Data-Mackenzie relationship is far-fetched and feels forced, especially as it adds nothing to the plot or character development; by contrast, Data’s conversation with Picard about music goes a much longer way. More in general, this episode firmly established the show as being capable of delivering an entertaining hour of television even absent a terribly original premise. And it is this consistency, perhaps even more than the peaks, that will become TNG’s biggest strength in seasons 3-6.
WORTH WATCHING
3.3 THE SURVIVORS
A colony is entirely destroyed except for one house with two people.
WORTH WATCHING
It was quite daring to present back-to-back episodes with a common premise: the trope of the folks who are in danger but who won’t leave because “hey this is my home, damn it!”. But just as “The Ensigns of Command” managed to tell that story somewhat originally, so does this episode eschew many cliches in favor of a remarkable conclusion. The mystery is thick at times and the development slower than it could have been, but the ending more than makes up for it. The writers cash in fully on the classic science-fiction idea of an alien too powerful for his own good. Kevin Uxbridge is a fantastic character, and his final revelation is bone-chilling. “I killed them all: all Husnock, everywhere.” It is in this scene that TNG finds its dramatic feet for the first time since S2’s “The Measure of a Man.” Picard’s refusal to bring Kevin to justice is also sensible, as it serves to underscore how truly alien this life-form is. So despite some hiccups (e.g., the telepathic attack on Troi, while effective plot-wise, is too formulaic in its execution), the episode is still memorable on account of its final minutes.
A Bronze-age civilization believes
Picard to be the God of their myths.
3.4 WHO WATCHES THE WATCHERS
A masterpiece of critical thinking and dramatic simplicity, with a truly original twist on a classic scenario. Indeed the premise is quite basic: primitive aliens discover space-faring humans, get their minds blown. But the script takes this seriously and launches itself in a thorough examination of the Prime Directive from both ethical and psychological standpoints. And it goes deeper than whether to break a Starfleet rule, as Picard fully analyzes the philosophical underpinnings of the rule itself: why is it a bad idea to contact pre-industrial (or even pre-warp) civilizations? What will that do to their consciousness, their society, their mythology? Through a carefully crafted incident, the episode is able to dissect this question into its most minute components, and all without losing sight of the humanity of the characters. Nuria, the tribal leader, is an exceptionally written character an an ideal foil to Picard. Their conversation in the observation lounge, which is centered on Arthur C. Clarke’s adagio that “any sufficiently advanced technology is indistinguishable from magic,” ranks among TNG’s best scenes. I use this episode regularly in my introductory philosophy classes to show how scientific knowledge is inherently social and related to experience, and it is always a hit with students. (Fun fact: the Mintakan stole that Picard receives at the end appears on the back of his desk chair in his quarters throughout the rest of the show).
SERIES TOP 20
3.5 THE BONDING
An officer dies under Worf's command and he must relate to her son.
WORTH WATCHING
“The Survivors” built on “The Ensigns of Command” via a variation on the we-won’t-leave-even-if-we-die trope. Likewise, this episode builds on “The Survivors” by showing how tempting denial after a loss can be; that is, what Kevin did with Rishon, the unnamed alien entities do to young Jeremy here. The result is an emotional and ethical dilemma ripe with many interesting conversations on the nature of suffering and its relevance for personal growth. Wesley’s impact on the plot, initially predictable, instead presents a lovely twist: his exchange with Picard at the end, spurred on by Troi, is exceptional. On a more negative side, the episode is too slow and Jeremy lacks strong characterization. In fact, for all intents and purposes he may as well not have been there, as he is used merely as a foil for the crew to face their own feelings (but the titular bonding ritual with Worf at the end is well executed). Despite these not-so-minor issues, the episode works and continues this season’s track record of delivering solid drama out of relatively common premises.
The ship is trapped in an asteroid field with the relics of an old battle.
3.6 BOOBY TRAP
One of the better technobabble puzzles in the first half of the show’s run. This sort of story is quite simple: there’s a technical problem and it must be solved, or the crew will die. It’s hard to make it entertaining and sometimes it fails, but this one succeeds. The setting is credible and the solution well plotted and executed. Geordi gets an episode of his own like he hadn’t had in a while, and his holodeck fling with Dr. Brahms will be picked up again in S4’s “Galaxy’s Child” (where she’ll also remind him how unbelievably creepy it is to recreate real people on the holodeck!). The resolution is predictable but enjoyable, pretty much like the entire episode; and the art direction and music are valid too, which helps the immersion factor.
WORTH WATCHING
3.7 THE ENEMY
Geordi is stranded on a dangerous planet with a Romulan officer.
WATCH FOR CONTINUITY
The first standoff with Romulans since S2’s “Contagion” and the first appearance of recurring foe Tomalak. The main and secondary plots jointly emphasize overcoming prejudice, and both are successful. The main arc also interjects a survival story that’s average at best, though it does help bolster Geordi’s character development. Worf’s ethical drama is more interesting, and thankfully the authors don’t give in to the easy temptation of a happy ending. Other than that, the episode is well written as the same dilemma is revisited on three fronts (on the planet, in sickbay, and on the bridge), each with specific differences depending on personal backgrounds. Average, but averagely good.
Troi falls for a diplomat during a high-stakes negotiation.
3.8 THE PRICE
A highly original story showing a side of Star Trek that we see rarely, and yet that must be crucial to the long-term sustenance of its political economy: the importance of a barter system in post-capitalist society. It is also one of the few times that TNG “gets” romance right. The Troi-Ral relationship is genuinely enthralling: it is romantic, it is scored oh so beautifully by Ron Jones, and it ends on a realistic note that hits close to home for 20th-century humans: a man-child with no values who demands emotional labor from a stable woman, who instead tells him to take a hike. (Plus, Matt McCoy is just beautiful to look at). The romance plot arc intertwines well with the diplomatic one to give rise to a clever resolution. So once more, despite the lack of a grandiose premise -- an auction for a wormhole and a casual fling hardly make me run to the TV set -- this episode delivers in droves and stands out as one of the more original installments in TNG. Fun fact: the Ferengi shuttle lost in the Delta Quadrant will be intercepted by Voyager in VOY’s S3:5, “False Profits.”
WORTH WATCHING
3.9 THE VENGEANCE FACTOR
Riker falls for a servant who's involved in an old clan war.
SKIPPABLE
The standard alien-of-the-week episode where the crew is drawn into another culture’s problems for no reason, save for the weak pretext of an attack on a Federation outpost that isn’t mentioned once after the teaser. While valid, the premise of old clan rivalries cannot keep one’s interest alive for an hour, so the writers concoct a far-fetched love story between Riker and a cute servant. Alas, unlike Troi’s recent fling, this one fails. Riker’s white-knight attitude is condescendingly creepy, and killing Yuta at the end makes no sense, so the resulting drama feels unnatural. So while the episode is entertaining and well above S1-S2 averages, it is the first sore spot in the exciting start of Season Three.
A Romulan defects to the Federation to prevent a war.
3.10 THE DEFECTOR
This superb fantapolitical thriller with a highly literate script borrows a page from the Cold War era. Yet a good thriller needs a strong human plot about how political systems affect individuals—so a believable, flawed, and sympathetic character in Admiral Jarok was crucial to the plot’s success. In this the writers succeeded resoundingly, assisted by Sloyan’s (also VOY’s “Jetrel”) masterful performance, which lends the character the credibility it needs to sell his defection. Nonetheless, this episode’s strongest suit is its careful thematic layering, ranging from the nature of objectivity to the importance of human instinct, and from the pursuit of justice to the relativistic notions of the very concept of “justice.” All themes are integrated seamlessly in a well-paced, lucid script that places exactly the due emphasis on all the right scenes. Of course, the emotional engine of the story is Jarok’s eventual defeat: “I did it for nothing. My home. My family. For nothing.” The irony is that Jarok, far more than Picard or Tomalak, is the true King Henry here: if the cause is just, it is worth losing everything for. Except that it isn’t worth it for him after all, and hence the heartbreaking (but in hindsight predictable) ending. Picard’s and Data’s brisk walk toward Jarok’s quarters is bone-chilling, as is Ron Jones’ musical score throughout. In short, this is a total success, the best episode of a yet remarkable S3, and among the better ones in all of Star Trek.
SERIES TOP 20
3.11 THE HUNTED
A bionic supersoldier escapes prison and evades recapture.
WORTH WATCHING
“A matter of internal security: the age-old cry of the oppressor.” An intriguing look at post-military reintegration, though the episode also works well as a simple parable about cultural assimilation. As is often the case with these stories, the specific political circumstances aren’t as relevant as the human factor. Danar is a well-written character, and unlike similar antagonists (say, VOY S7’s “Repentance”) he gets his way in the end. It is also noteworthy that Picard chooses to allow the oppressed to impose their terms in a violent manner, which is quite illiberal on his part — as it well should be, as the oppressors have lost the right to call for nonviolence when they used violence first. But even more striking is this episode’s breathtaking action. The chase scenes in the first and third acts reveal for the first time in TNG the full extent of Star Trek technology’s narrative potential. S4’s “Brothers” and S5’s “Power Play” display similar characteristics, so much in fact that it becomes a small trope within the franchise: one might call it “tech-action” or something to that effect. Notable guest starring role by the great James Cromwell, eventually of Zephram Cochran fame (First Contact and Enterprise).
A terrorist abducts Beverly and convinces her to assist his troops.
3.12 THE HIGH GROUND
An occasionally insightful but flawed parable on the morality of armed rebellion. Both sides are portrayed accurately, from the protofascist society with the titular moral high ground to the patriots/terrorists who fight for a good cause. Unfortunately, the script itself takes the high ground by neglecting to analyze the situation all the way down: e.g., what are the Rutian abuses that forced the Ansata’s hand? So while there are several sober conversations on political violence, especially between Finn and Crusher, the ending ignores them in favor of a fight scene and a feel-good resolution. Not only that, but the moral (“maybe it ends with a boy who puts down his gun”) puts the entire weight of nonviolence on the Ansata, while the Rutian abuses go unaddressed. So while this episode more than any others in pre-DS9 Star Trek gives armed rebellion a fair hearing, ultimately it takes refuge in the usual pseudo-liberal calls for nonviolence from oppressors whose victims are fighting back. Fun fact #1: Gabrielle Beaumont would also direct S7’s excellent “Lower Decks” and VOY’s S6 masterpiece “Blink of an Eye”; by comparison, this is her weakest episode. Fun fact #2: this episode was not shown in the UK for many years due to Data’s line that IRA terrorism eventually led to the Irish reunification of 2024.
SKIPPABLE
3.13 DÉJÀ Q
Q is expelled from the Continuum and condemned to life as a human.
WATCH FOR CONTINUITY
One of the better Q episodes, with a versatile and capable De Lancie who can at last display a broader range of acting skills. The story itself is rather forgettable: we learn little about either the Q Continuum or the human condition, so the script boils down to Q character development and a few gags. While that doesn’t a masterpiece make, it is definitely good enough for a moderately entertaining hour. This episode also lays the groundwork for Q’s future arc, from his tutoring of a young human who is actually Q (S6’s “True Q”) to his eventual desire to procreate in VOY. The final scene is obviously racially insensitive, as one expects of a 1980s show, but this is but a drop in the sea of racism and sexism that plagues TNG’s early seasons.
Riker is accused of murder by an alien government.
3.14 A MATTER OF PERSPECTIVE
An intriguing courtroom drama with the most innovative use of the holodeck technology so far in TNG (see S4’s “Identity Crisis” and S6’s “Schisms” for more of the same). The mystery on the research station compounds the one on the Enterprise, resulting in a very entertaining drama that follows the rules of a good thriller. However, it is very bad that the resolution hinges on invalidating a woman’s sexual assault accusation. Though not as insensitive as VOY’s “Retrospect,” none the less it is upsetting that a socially conscious show like Star Trek would resort to this at all. The notion that the truth of an event is “a matter of perspective” is well taken, on its face, but one must be careful of how that notion intersects power structures -- i.e., not all perspectives are created equal or are equally propagated. The script ignores all of this, save for Deanna’s cursory line about the relativity of truth. On the one hand, this makes sense since the show is set in the perfect egalitarian future where unequal power structures are supposed to be irrelevant. On the other hand, it is supposed to be enjoyed by people in a present where those structures do exist, and to forego a chance to tackle them head-on is a bad blunder.
WORTH WATCHING
3.15 YESTERDAY’S ENTERPRISE
The Enterprise-C travels into the future,
changing the history of the Federation.
SERIES TOP 20
A highly innovative and masterfully narrated time travel story, which despite its complexity is told with great simplicity. Within ten minutes the script establishes clearly what happened and how to fix it. That’s a feat considering the intricacy of the plot: the escape of the Enterprise-C has triggered an alternate timeline where the Federation is at war with the Klingon Empire and Tasha Yar is alive. All of this is explained to the audience strictly via show-don’t-tell, which again is remarkable. There is a relatively under analyzed facet to the story, exemplified by a line spoken by Picard to Guinan: “Who is to say that this history is any less proper than the other?” Indeed. A common problem with alternate timeline narratives is this sense of “ownership” or “rightness” about a timeline... but if alternate timelines do exist, then by definition they are all infinitely “right” and “true,” since there is no “external” viewpoint to judge them by. Of course, in a TV show there is such a viewpoint: the audience, which in the episode it’s advocated by Guinan’s feeling that “all of this is wrong.” Far-fetched and fourth-wall-breaking as this is, the script manages to sell it to justify sending back the Enterprise-C with a strong enough argument (the war is going very badly and their sacrifice could prevent it). Another great achievement by this episode is its ability to credibly reacquire and credibly re-dismiss Tasha in the span of 44 minutes. It puts a bandaid (not a solution) on the futility of her death in Season One. By working the audiences’ malcontent into the story, in a sense the writers acknowledge it and perhaps validate it. Likewise, it’s a big dare to create and kill off an Enterprise captain within one episode: Rachel Garrett thus enters a very small Star Trek elite thanks to one lone appearance (something that can be also said of John Harriman’s Enterprise-B in Generations). Still, Garrett and the Enterprise-C crew are believable and their plight is well received, as is Tasha’s, of course: in Season Four, a different team of writers would piggyback onto this story in an inventive way and give us Romulan commander Sela, one of the show’s most effective villains. But as far as this episode is concerned, it stands as one of the best, most highly entertaining, and most franchise-defining of all of TNG.
Data builds another android over the Federation's objections.
3.16 THE OFFSPRING
This is one of the favorite episodes of many TNG cast and crew, and for good reason. Directed by Frakes, it is a deep and heartfelt exploration of humanity from within and without. In a sense, it is a plot that Data himself could not carry, as he is too far along in his development to embody the sense of wonder that comes with a new sentient life — and, of course, its tragic demise. Although the ending is predictable in hindsight, it is none the less effective. In a masterful stroke, the villain becomes an ally and life itself (fate?) becomes the villain.
WORTH WATCHING
3.17 SINS OF THE FATHER
Worf's late father is accused of high treason.
SEASON TOP 5
The most important chapter in Worf’s personal story arc begins for us just as it does for Worf himself: completely unexpectedly. The episode starts as an informal sequel to S2’s “A Matter of Honor,” with Kurn participating in the same officer exchange program as Riker did. There are also echoes of S1’s “Heart of Glory” in the challenge to Worf’s honor and purity, so we think we know where this is headed... and then Kurn drops the hammer, on us as he does on Worf. The resulting story is a fascinating insight into Klingon culture and internal politics, the first in TNG and the start of a long saga culminating in the reshaped alliances of DS9. The plot is briskly paced, integrating action and introspection and never letting down. The assault on Kurn opens the door to a major role for Picard. While no doubt this was mandated by the need to involve a series lead other than Worf, it is effective and cements the Worf-Picard relationship. The High Council Hall scenes have a distincly Shakespearean tone, especially in the ending, which well complements the eventual melange of Klingon traditionalism with Victorian drama seen in Star Trek VI . Overall, this is an outstanding and highly entertaining episode.
Picard is abducted by aliens and replaced by an identical double.
3.18 ALLEGIANCE
A fun brain teaser with intriguing observations on captivity and the nature of authority. The idea of a “Stanford experiment”-like situation is a little predictable by today’s narrative standards, but it probably wasn’t when this episode was first released. The scenes in the “lab” are far more entertaining than the ones on the Enterprise. In the lab, we see a well-assorted group that learns to cooperate under Picard’s guidance, and though the big reveal isn’t exactly shocking, it comes at just the right time and it’s well executed. On the ship, the scenes with Picard’s double are way too awkward and out of character to be truly enjoyable, and since we know that none of this will matter at the end, since this isn’t really Picard and all his interactions with the crew will be reversed by authorial fiat, we have zero reason to be emotionally invested. Plus, the writers waste the first-ever Picard-Beverly kiss in such a throwaway scenario, which is just massively uncool. The final scene at the pulsar, with Riker taking over and then the real Picard communicating non-verbally, is well scripted and enjoyable. In all, the episode is average in the way that S3 episodes are: consistently good.
WORTH WATCHING
3.19 CAPTAIN’S HOLIDAY
Picard finds romance and adventure on an exotic resort planet.
SKIPPABLE
This is TNG’s first attempt at sci-fi adventure comedy, a difficult genre to master. Surely enough the script is nothing special, full of trite gags and flat characters. It’s hard enough to take Ferengi seriously when they have weapons and ships, but a womanizing archaeologist? No thanks. On the plus side, there are a few smirk-worthy gags, and the chemistry between Vash and Picard works decently well (though that will definitely not be the case in any future episodes). The secondary plot with the alien visitors is entirely forgettable. Normally I’d rate this episode “Watch For Continuity,” as Vash returns in future seasons and shows... but all of those episodes are also skippable, so this one is too.
The ship contacts an ancient alien with the help of an unstable telepath.
3.20 TIN MAN
A highly original story with outstanding guest performances. Harry Groener gives life to one of Star Trek’s most exceptional non-recurring characters in Tam Elbrun, the arch-telepath, and possibly the show's only semi-realistic portrayal of telepathy. Aside from the usual pseudo-political silliness with the Romulan cardboard villains, the plot works on two levels: Tam’s search for purpose after a life of losing himself in other people’s feelings, and the discovery of a life form so alien that it escapes most humans’ comprehension and is indeed almost mystical, a notion that TNG has often toyed with (often convincingly). There are many chilling moments in the episode, from Troi’s realization that Tam is in contact with Gomtuu from light years away to Tam’s and Data’s conversations aboard Tin Man. “Is that the purpose of existence? To care for someone?” While the eventual resolution is fairly predictable, nonetheless is works very well. Data’s last-minute return is dramatic as it is necessary, as is his conversation with Troi in the epilogue. But the episode’s top strength remains Tam, a character that would have deserved far more screen time and who is unfortunately limited to one episode. There is very little in this script that doesn’t work, and it adds yet another jewel to TNG’s best season yet.
SEASON TOP 5
3.21 HOLLOW PURSUITS
Lt. Barclay struggles to perform adequately on the Enterprise.
WORTH WATCHING
Star Trek’s first treatment of mental illness is occasionally awkward and surely overstated, but its novelty is such that the script works even when it shouldn’t. Reg Barclay is a breath of fresh air in a show where all lead characters are basically perfect: for once the heroes are the villains and the misfit is the hero. We also get a much-needed look at recreating people on the holodeck, which must be a concern in TNG’s utopia. This makes for some hilarious scenes, the musketeers scenario first of all. But besides the obvious humor, the script’s top strength is that it manages to explore a way-out-of-left-field scenario without any of its leads getting out of character. Riker, Picard, and LaForge react exactly like they should, with a sensible mixture of surprise, outrage, and concern. But the star remains Barclay, who thanks to Schultz's nuanced and sensitive performance will become a recurring guest on future ST shows as well. There is much in him that we can sympathize with, and yet the script never feels as though it is patronizing him, or us. S6's "Realm of Fear" would do an even better job discussing his phobias, though it wouldn't be until VOY's later seasons that Barclay's character would come to full fruition.
A merchant of rarities abducts Data to add to his private collection.
3.22 THE MOST TOYS
In short: the perfect blend of creepy, funny, and mysterious, with an exceptional Saul Rubinek and an actually scary backdrop. One of Data's better episodes.
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[longer review coming soon]
WORTH WATCHING
3.23 SAREK
Historic Vulcan ambassador Sarek is slowly losing his mental faculties.
WORTH WATCHING
In short: the Vulcans' first real appearance in TNG is carried by Mark Lenard's masterful performance, as well as a very well written rapport with Picard that will have far-ranging consequences.
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[longer review coming soon]
A Ferengi captain abducts Troi, Riker, and Lwaxana Troi.
3.24 MÉNAGE À TROI
The rare TNG comedy that’s actually funny, though without sacrificing the action. It’s also the only good Lwaxana episode until S7’s "Dark Page." The story is pretty average, with the usual creepy Ferengi who kidnap humans for some shady purpose; but Lwaxana makes it more bearable. The ending on the bridge with Picard serenading Lwaxana on the Ferengi ship is just to die for. The script doesn’t have much to say beyond these few entertaining gags, as there is no serious attempt of character development. Despite this, Riker and Troi have a couple of good moments, as they will throughout the show’s run.
WATCH FOR CONTINUITY
3.25 TRANSFIGURATIONS
An alien survivor of a crash exhibits supernatural powers.
SKIPPABLE
In short: an interesting mystery that drags its feet far more than it has any reason to, though a highly spectacular ending delivers.
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[longer review coming soon]