Television Review: The Big Goodbye (Star Trek: The Next Generation, S1X12, 1988)

The Big Goodbye (S01E12)

Airdate: January 11th 1988

Written by: Tracy Torme
Directed by: Richard L. Scanlan

Running Time: 45 minutes

Star Trek: The Next Generation (TNG) represented a quantum leap forward from its predecessor, The Original Series (TOS), demonstrating significant advancements not merely in production values and special effects, but crucially in the depth and sophistication of its storytelling. Gene Roddenberry’s reimagined 24th-century universe, liberated from the primitive technology and constrained budgets of 1960s American television, could finally manifest the technological marvels he had envisioned but been unable to depict credibly two decades prior. Nowhere was this progress more palpable, or more narratively fertile, than in the introduction of the holodeck. Whilst conceptually hinted at in The Practical Joker, the episode of The Animated Series a decade earlier, the holodeck truly came into its own as a central narrative device within TNG, being first depicted in the series premiere. Its potential was explored with particular flair and consequence in The Big Goodbye, an episode from the show’s challenging first season that stands as one of its more memorable and structurally significant outings, establishing tropes that would resonate throughout the franchise while simultaneously showcasing the format’s inherent strengths and weaknesses.

The episode’s plot is framed by the pressures of Starfleet diplomacy. The USS Enterprise-D is tasked with establishing crucial contact with the Jarada, an insectoid species possessing a notoriously precise and unforgiving protocol: their greeting must be delivered in their native language with absolute accuracy, lest it be deemed a mortal insult. Captain Picard, ever the consummate diplomat, has driven himself to near-exhaustion mastering this linguistic minefield. Seizing upon Counsellor Troi’s suggestion for restorative recreation, and buoyed by reports of significant technological upgrades to the holodeck facility, Picard eagerly immerses himself in a new programme – a meticulously crafted simulation based on the hardboiled detective pulp novels of Dixon Hill. His enthusiasm proves infectious; he promptly invites Lieutenant Commander Data and Dr. Beverly Crusher to join him, enlisting the services of Whalen (David Selburg), a historian specialising in 20th-century Earth, as their guide within this artificial reality.

Within the holodeck, Picard fully inhabits the role of Dixon Hill, private detective in a lovingly reconstructed 1941 San Francisco. The scenario unfolds with classic noir tropes: Hill is hired by the alluring Jessica Bradley (Carolyn Allport), only to learn of her subsequent murder. He becomes the prime suspect, subjected to a tense interrogation by the police, including his ostensibly friendly contact McNary (Gary Armagnac). The danger escalates when Hill is abducted and threatened by thugs working for the imposing crime lord Cyrus Roadblock (Lawrence Tierney). Crucially, Picard and his companions initially react to these perilous events with detached amusement. Holodeck safety protocols are assumed active; the physical laws of the simulation are understood to be non-lethal, rendering the simulated bullets and threats harmless illusions. Their nonchalance, however, is catastrophically misplaced. Unbeknownst to them, the Jarada probe’s subtle interaction with the Enterprise’s systems has induced a critical malfunction within the holodeck. Safety protocols are offline, transforming simulated dangers into genuine physical threats – Whalen is shot and critically wounded. Furthermore, the malfunction traps them within the simulation; attempting to exit risks complete neural pattern degradation. On the bridge, Commander Riker and his crew race against time to effect a rescue, acutely aware that any misstep could erase Picard and his team from existence. Picard, therefore, must utilise his intellect and Dixon Hill’s cunning to escape the malfunctioning holodeck and still accomplish the vital Jarada mission.

The Big Goodbye serves as a near-perfect microcosm of the holodeck episode archetype within TNG, encapsulating both its most compelling virtues and its most frustrating narrative crutches. On the positive side, it provides a vastly more plausible and integrated mechanism for the crew to engage with historical periods than the often-convoluted time travel or parallel dimension plots that plagued TOS (one recalls the jarring incongruity of Kirk encountering Nazi Germany or Roman gladiators). The holodeck offers a self-contained, logical reason for period costumes, sets, and dialogue, allowing the production to indulge in meticulous historical recreation without straining credulity. This aspect was clearly relished by the cast. Patrick Stewart, in particular, delivers a masterclass in layered performance, relishing the opportunity to step outside Picard’s rigid Starfleet persona and embody the swaggering, world-weary Dixon Hill. Brent Spiner, as Data, provides subtle comic gold in his earnest yet slightly off-kilter attempts to master 1940s vernacular and mannerisms. Gates McFadden is undeniably stunning in her period attire, a visual triumph that contributed significantly to William Ware Theiss securing the Emmy Award for Outstanding Costume Design for a Series – a tangible recognition of the episode’s production excellence.

Director Joseph L. Scanlan deserves considerable credit for establishing a convincing noir atmosphere within the constraints of a 1980s television budget and colour format. Despite scriptwriter Tracy Tormé’s reportedly rejected proposal to film the holodeck sequences in black and white – a bold choice that would have heightened the period authenticity – Scanlan utilises shadow, framing, and pacing effectively to evoke the genre’s signature mood. The casting of Lawrence Tierney, a genuine veteran of 1940s and 50s film noir known for playing tough guys, acts as a potent symbolic bridge between the real cinematic past and TNG’s simulated recreation, lending an undeniable authenticity to the proceedings.

Tormé also crafts what could have been the episode’s crowning moment: Picard’s poignant departure scene. Confronted by McNary’s desperate, existential question – "When you’ve gone, will this world continue to exist? Will my wife and kids still be waiting for me at home?" – Picard offers only a hesitant, non-committal reassurance before deactivating the programme. The holodeck plunges into darkness, leaving McNary’s fate and the nature of holographic consciousness chillingly unresolved. This brief exchange transcends the episode’s genre trappings, posing profound philosophical questions about artificial intelligence, consciousness, and the ethics of creation that remain deeply relevant, marking one of TNG’s earliest and most powerful dramatic beats.

Yet, the episode also lays bare the foundational flaw that would plague countless holodeck-centric stories: the inherent narrative problem that mere recreation rarely generates sufficient drama. To inject stakes, a catastrophic malfunction must occur, transforming the safe simulation into a lethal trap. Tormé attempts to justify this with technobabble involving the Jarada probe’s interference, but the explanation feels perfunctory. Keen viewers cannot help but question the logic: why would a probe designed for precise linguistic communication cause this specific holodeck failure? How does the malfunction selectively disable safety protocols whilst maintaining the programme’s complex integrity? Why can’t the bridge crew simply cut power or initiate a standard diagnostic? These inconsistencies, whilst perhaps forgivable in the context of early-season world-building, established a template of convenient, poorly explained technological failure that became a tiresome cliché.

Thankfully, the writers sidestep the most egregious pitfall of such scenarios – the threat to main characters. Killing off Picard, Data, or Crusher in Season 1 was narratively unthinkable, which would have rendered the danger toothless. Instead, the shocking shooting of the expendable guest character Whalen provides the necessary visceral stakes and suspense. His injury feels genuinely consequential, raising the dramatic temperature without violating the audience’s implicit contract regarding the core crew’s survival. This calculated sacrifice of a secondary character proves effective, focusing the tension on the immediate physical peril and the race to save Whalen’s life.

In conclusion, despite the narrative contrivances inherent in its central conceit and the technobabble required to set its crisis in motion, The Big Goodbye stands as one of The Next Generation’s strongest early achievements. It transcends the limitations of Season 1 through its exceptional execution of the noir pastiche, brimming with delightful homages to The Maltese Falcon and the broader genre. The production design is impeccable, the performances – particularly Stewart’s joyous immersion and Tierney’s authentic menace – are superb, and the light humour is expertly balanced with moments of genuine suspense and that lingering, profound philosophical unease surrounding McNary’s fate. Whilst it undeniably codified the "holodeck malfunction" trope that would become a source of frustration in later seasons, the sheer craftsmanship, thematic ambition, and sheer fun evident in The Big Goodbye elevate it far above mere formula. It is not just a good holodeck episode; it is a testament to how TNG, even in its formative stages, could leverage its technological advancements not just for spectacle, but to explore character, genre, and ideas in ways Roddenberry’s original vision, hamstrung by the era’s limitations, could only dream of.

RATING: 7/10 (+++)

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