Television Review: Encounter at Farpoint (Star Trek: The Next Generation, S1X01/S1X02, 1987)

Encounter at Farpoint (S01E01/S01E02)

Airdate: September 28th 1987

Written by: D. C. Fontana & Gene Roddenberry
Directed by: Corey Allen

Running Time: 92 minutes

It is frequently asserted, with considerable justification, that the Golden Age of Star Trek commenced with the launch of The Next Generation (TNG). This era, spanning seven seasons, redefined science fiction television and revitalised a franchise that had seemingly reached its zenith with the original series (TOS) and its cinematic successors. Yet, the inception of this now-celebrated and deeply beloved series was a period marked not by universal anticipation, but by profound anxiety among dedicated Trekkies and deep-seated scepticism within wider science fiction circles. This palpable unease, a direct consequence of the immense shadow cast by TOS and the high stakes of reviving such an iconic property, inevitably coloured the reception of the series premiere, Encounter at Farpoint. Much like the entirety of Season 1 and, to a somewhat lesser extent, Season 2, the episode became a lightning rod for intense criticism. Its perceived shortcomings – narrative clumsiness, underdeveloped characters, and tonal inconsistencies – sharply divided fans upon its broadcast in 1987, and remarkably, those divisions persist to a discernible degree even among contemporary viewers, reflecting the episode's enduringly contested status as the foundation stone of Trek's modern era.

The burden carried by Encounter at Farpoint was immense, dwarfing the challenges faced by most television pilots. Star Trek was no longer merely a cult phenomenon; it was a deeply embedded pop culture institution, sustained for over two decades by the unwavering devotion to TOS and the significant critical and commercial triumphs of the feature film series. When Gene Roddenberry, the franchise's creator, embarked on developing TNG alongside his trusted collaborator D. C. Fontana, the pressure was extraordinary. He wasn't merely launching a new show; he was attempting to resurrect and evolve a universe that had previously stumbled. The premature cancellation of TOS due to network politics and the costly, ambitious collapse of the planned sequel series Phase II loomed large in the collective memory. Roddenberry had to honour the spirit of TOS – its core ideals, its sense of exploration – while simultaneously learning from its perceived limitations and the industry realities that had ended it. Encounter at Farpoint thus carried the dual mandate of appealing to nostalgic fans and attracting a new audience, all while proving Star Trek could thrive in the late 1980s television landscape.

Structurally, the feature-length premiere (often mislabelled as a pilot, though the series was greenlit before its production) immediately signalled a significant departure from TOS's format. The original series functioned effectively as an anthology, with episodes largely self-contained; this flexibility even allowed the fifth episode, The Man Trap, to serve as the de facto launch. TNG, however, heralded a shift towards greater narrative continuity. While multi-episode arcs remained rare in the early seasons, the very premise of Encounter at Farpoint established the Enterprise-D's maiden voyage as the beginning of an ongoing saga. The episode’s conclusion, with the ship warping away from Farpoint Station towards the unknown, powerfully communicated this: this wasn't just another adventure, but the commencement of a sustained journey, a new chapter in Star Trek history demanding commitment from the audience.

Set in 2364, roughly a century after Kirk's era, the episode introduces Captain Jean-Luc Picard (Patrick Stewart), a figure of calm authority assuming command of the state-of-the-art Galaxy-class USS Enterprise-D. The crew assembly is extensive: the pragmatic security chief Tasha Yar (Denise Crosby), the honour-bound Klingon tactical officer Worf (Michael Dorn), the inquisitive android operations officer Data (Brent Spiner), the empathic half-Betazoid counsellor Deanna Troi (Marina Sirtis), the newly arrived first officer William Riker (Jonathan Frakes), the ship's doctor Beverly Crusher (Gates McFadden) and her precocious son Wesley (Wil Wheaton), and the visor-wearing conn officer Geordi La Forge (LeVar Burton). Their mission to Deneb IV and the enigmatic Farpoint Station, built by the seemingly primitive Bandi, forms one narrative strand. The other, far more compelling, involves the omnipotent, mischievous entity Q (John de Lancie), who intercepts the Enterprise, subjects humanity to a trial for its "savage" past, and forces Picard to confront the very essence of his species' evolution. The resolution intertwines these plots: Picard's crew discovers the Bandi have enslaved a benevolent energy-based lifeform, the source of Farpoint's wonders; freeing it satisfies Q's test of humanity's capacity for compassion over exploitation, allowing the Enterprise to continue its journey.

Visually, Encounter at Farpoint represented a quantum leap from TOS. The significantly higher budget translated into slick special effects – the Enterprise-D's saucer separation sequence remains impressive decades later – and meticulous production and costume design. Roddenberry’s vision of the 24th century felt more cohesive, detailed, and aspirational than his 23rd-century blueprint, profoundly influencing subsequent sci-fi aesthetics. However, inevitable comparisons to the contemporary film series, underscored by the stirring reuse of Jerry Goldsmith’s Motion Picture theme, highlighted the episode’s television limitations. The 4:3 aspect ratio, constrained pacing, and inherent production schedules of weekly TV prevented it from matching the cinematic scope, making it feel somewhat constrained next to the big-screen adventures, despite its technical achievements for the small screen.

Roddenberry and Fontana’s script performs the crucial, if uneven, task of world-building. Picard is established as Kirk’s philosophical antithesis – a diplomat who favours the power of rhetoric over phasers, a nuance brilliantly embodied by Stewart in his defining role. Riker, introduced later, provides a familiar Kirk-esque counterpoint, though Frakes’ clean-shaven appearance feels initially jarring. Yet, it is John de Lancie’s Q who utterly dominates, transforming a potentially one-dimensional trickster into an enigmatic, darkly comic, and profoundly unsettling force. His chilling warning of a potential return resonated instantly, cementing Q as not merely a guest star, but one of the franchise’s most iconic and enduring creations. Regrettably, most other regulars remain mere sketches. Worf is saddled with tired Klingon warrior clichés, the Crusher family dynamic (particularly the introduction of Wesley) feels forced and grating, and the holodeck’s debut, while promising, serves little purpose here beyond spectacle.

This points to the episode’s fundamental structural flaw: it feels like two distinct stories – Roddenberry’s Q-driven philosophical trial and Fontana’s Farpoint mystery – awkwardly spliced together. Neither plot fully supports the other; Q’s cosmic test seems arbitrarily tethered to the Bandi’s planetary dilemma. Scenes exist primarily as fan service (DeForest Kelley’s poignant but dramatically inert cameo as an aged Admiral McCoy) or to showcase new effects (the visually stunning but narratively superfluous saucer separation), further muddying the narrative waters. Corey Allen’s direction, while competent and later rewarded with further Trek assignments, cannot fully overcome this inherent disjointedness.

Encounter at Farpoint is, by any objective measure, not a classic episode. Its narrative shortcomings, underdeveloped characters, and structural awkwardness were noted even by members of the cast, with Marina Sirtis famously disowning her own performance. The intense criticism it received upon release was not without merit. However, to dismiss it entirely is to misunderstand its vital historical function. Despite its flaws – perhaps even because of the anxieties it channelled and the bold steps it attempted – it provided a crucial, serviceable foundation. It successfully launched the vessel, assembled the crew (however tentatively), introduced concepts that would flourish, and, most importantly, passed Q’s initial test: it proved Star Trek could evolve, could survive the loss of its original creator, and could embark on a new adventure. The Golden Age didn’t begin perfectly formed in this episode; it began with this episode, warts and all, a necessary, if flawed, first step into a future that would ultimately vindicate Roddenberry’s vision and silence most of the early sceptics. Its enduring divisiveness is less a mark of failure and more a testament to the immense weight of expectation it bore – the birth pangs of a new era in the final frontier.

RATING: 6/10 (++)

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