Television Review: Pen Pals (Star Trek: The Next Generation, S2X15, 1989)

Pen Pals (S02E15)

Airdate: May 1st 1989

Written by: Melinda M. Snodgrass
Directed by: Winrich Kolbe

Running Time: 45 minutes

Within the vast, meticulously charted expanse of Star Trek: The Next Generation’s legacy, where episodes like The Best of Both Worlds or Darmok command near-mythical status among a deeply invested fandom, it is an almost inevitable consequence that certain installments, which might have shone brightly as classics in the more modest context of The Original Series or even TNG’s own formative first season, gradually sink into comparative obscurity. Season 2’s Pen Pals stands as a prime exemplar of this phenomenon – an episode possessing a compelling core concept and moments of genuine merit, yet one whose reputation has, perhaps somewhat unjustly given its ambitions, faded significantly over time.

The narrative premise is undeniably intriguing. The Enterprise-D arrives in the Selcundi Drema sector to investigate the disturbing geological disintegration of multiple planets. Acting on Commander Riker’s suggestion, Captain Picard grants Ensign Wesley Crusher his first significant command opportunity: to lead a scientific team studying the phenomenon. This assignment serves as a crucial milestone for Wesley, acutely aware of the weight of responsibility resting on his young shoulders. Mentored subtly by Riker, he deals with the complexities of command with commendable competence.

Simultaneously, Lieutenant Commander Data, having spent weeks painstakingly refining the ship’s sensor array, detects an anomalous radio frequency emanating from the doomed planet Drema IV. It is a simple, plaintive cry for contact – "Is anybody out there?" – transmitted by Sarjenka (a young Nikki Cox), a child belonging to a pre-warp civilisation. Data’s terse but profound reply – "Yes" – ignites a clandestine correspondence that rapidly evolves into a genuine, albeit unconventional, friendship. The ethical dilemma intensifies when it becomes clear Drema IV faces imminent destruction. Picard, bound by the sacrosanct Prime Directive prohibiting interference with developing cultures, initially refuses intervention, even ordering Data to sever all contact. The situation escalates further when Wesley’s team identifies massive, unstable dilithium deposits as the root cause of the planetary disintegration, offering a potential solution but deepening the moral quandary.

The episode’s genesis held significant promise. Conceived by Hannah Louise Shearer and enthusiastically championed by producer Maurice Hurley, it aimed to explore two potent Trek themes: Data’s ongoing, poignant journey towards understanding humanity through his connection with Sarjenka, and a rigorous examination of the Prime Directive’s often brutal practical implications. Entrusting the script to Melinda Snodgrass, the acclaimed writer behind the undisputed classic The Measure of a Man, suggested a level of ambition that should have yielded profound results. Yet, Pen Pals ultimately fails to capitalise on this potential, its shortcomings largely attributable to a script that lacks narrative focus and tonal consistency. The burgeoning relationship between Data and Sarjenka, the episode’s emotional core, develops over weeks with inexplicable secrecy; one struggles to believe such prolonged, unauthorised communication by a senior officer, involving a child on an alien world, would go entirely unnoticed by the ship’s vigilant command structure beyond Data himself. Sarjenka’s physical appearance is also frustratingly delayed, diminishing the emotional investment. Compounding this, the Wesley subplot, while showcasing his maturation, feels disproportionately weighted. For many viewers already fatigued by the "Wesley Saves the Day" trope, his pivotal role in diagnosing the dilithium crisis risks overshadowing the more compelling ethical drama, further fragmenting the narrative.

Snodgrass’s script occasionally veers into sentimentality, particularly in Data’s interactions, where his behaviour sometimes crosses from endearing curiosity into territory that feels too human, undermining the very essence of his character’s struggle. The inclusion of Picard riding a horse in the holodeck – a scene shot on location at the Thousand Oaks ranch – feels like transparent fan service and a concession to production limitations rather than meaningful character development, adding little beyond superficial spectacle.

Despite the evident disappointment expressed later by Hurley and director Winrich Kolbe regarding the final product, the episode does possess notable strengths. The alien prosthetics for Sarjenka are genuinely impressive for 1989, creating a humanoid yet convincingly non-human appearance that avoids the pitfalls of many contemporary Trek aliens. Unfortunately, the complexity and cost of this makeup restricted its use, resulting in the rather unconvincing narrative device of Sarjenka being seemingly the only member of her race depicted, isolated from her family for the sake of the plot. Nikki Cox, enduring the arduous application process as a child, delivers a brave and affecting performance that belied her years and undoubtedly helped launch her subsequent successful adult career, notably in Las Vegas.

One scene, however, stands out as a near-perfect distillation of TNG’s ethical gravitas. The ready room debate, where Picard wrestles with Sarjenka’s fate, is exceptionally directed and acted. Dr. Pulaski, a character initially divisive among fans, delivers a passionate, humane plea that cuts through the rigid application of the Prime Directive. This moment is pivotal, showcasing Diana Muldaur’s nuanced performance and likely winning over many viewers previously sceptical of the doctor’s character. It is the dramatic heart of the episode, demonstrating the potential that lay within the script.

Ultimately, Pen Pals is a frustrating near-miss. Its fundamental premise – exploring the collision between cold principle and compassionate intervention through Data’s unique perspective – is rich with dramatic and philosophical potential, worthy of the series’ highest echelons. Strong individual elements, including Cox’s performance, the thoughtful Pulaski scene, and the effective alien design, offer glimpses of what might have been. However, the narrative’s critical flaw lies in its unfocused execution. The script dilutes its central ethical dilemma with an over-emphasis on Wesley’s command trial, introduces logistical inconsistencies regarding the secrecy of Data’s communications, and occasionally succumbs to tonal missteps that undermine Data’s characterisation. While it avoids the pitfalls of being actively bad, it lacks the laser focus, thematic depth, and seamless integration of character and concept that define TNG’s true classics.

RATING: 5/10 (++)

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