star trek tng parallels

Star Trek: The Next Generation's 'Parallels' Showed The Madness Of TNG's Multiverse

Multiverses are all the rage these days. The Marvel Cinematic Universe has been all-in on the concept post-"Endgame," spawning projects like "Doctor Strange in the Multiverse of Madness" and "Spider-Man: No Way Home." Speaking of the web-slinger, Sony's "Spider-Verse" movies have taken the concept in fascinating directions. And this year, a multiverse movie, "Everything Everywhere All at Once" took home best picture at the Oscars.

As usual, "Star Trek" is way ahead of the curve. The beloved science fiction franchise has been exploring the notion of a quantum multiverse since "Star Trek: The Original Series" in the 1960s. This was notably explored in the "Star Trek: The Original Series" episode "Mirror, Mirror," in which Captain Kirk (William Shatner) and Spock (Leonard Nimoy) find themselves transported to the Mirror Universe , an alternate dimension where the Federation is evil and, even more upsettingly, everyone sports goatees. Other episodes from both "The Original Series" and "Star Trek: The Next Generation" have examined multiverse concepts ranging from branching timelines to alternate existences. But it wasn't until the final season of "The Next Generation" that an in-world explanation of the multiverse emerged.

The Season 7 episode, "Parallels," finds Worf (Michael Dorn) returning from a bat'leth tournament to find himself slipping through multiple realities, including one in which he is married to Deanna Troi (Marina Sirtis) and Jean-Luc Picard (Patrick Stewart) is dead. Eventually, by flying a shuttle through the quantum fissure causing his displacement, Worf is able to return to his own reality, but not before hundreds of thousands of Enterprises are temporarily pulled into a single universe. By studying this episode, we can figure out the basic "rules" of the "Star Trek" multiverse. Spoiler alert: it doesn't make a lot of sense.

How do multiverses work in Star Trek?

Over the decades of "Star Trek" movies and TV shows, we've seen a lot of scenarios that could be termed multiverses. Often, they're framed as branching timelines resulting from time travel, such as in one of the best "Star Trek" episodes of all time , the classic "Star Trek: The Original Series" episode "The City on the Edge of Forever," which finds Kirk and Spock trapped in the New York City during the Great Depression after Leonard McCoy (DeForest Kelley) goes through a time portal. To keep the timeline intact, Kirk must make a horrible decision.

In "Parallels," the Worf-centric multiverse-hopping episode of "Star Trek: The Next Generation," the rules of the multiverse are made clear with the franchise's signature blend of semi-coherent sci-fi mumbo-jumbo. According to Data (Brent Spiner), each universe resonates at its own specific frequency along with everything in them, preventing them from overlapping into each other. While on return to the Enterprise in his own universe, Worf made the mistake of accidentally travelling through a "fissure" intersecting multiple universes, causing him to begin shifting his frequency into other realities.

The episode's explanation is shaky at best. Its internal logic is consistent (for the most part—more on that presently) but when taken in sum with other multiverse "Star Trek" stories, it all feels less coherent.

Is multiverse travel in Star Trek a mental or physical phenomenon?

One confusing aspect of "Parallels," the "Star Trek: The Next Generation" episode that explains how the multiverse works, is that it never clears up whether traversing between universes is a corporeal or metaphysical phenomenon. When Worf begins to find himself slipping between timelines, it seems like only his mind is being transferred. At one point, for example, his uniform is changed during the slip, which suggests it is Worf's consciousness rather than his physical body doing the multiverse-hopping. Yet by the end of the episode, hundreds of thousands of copies of the USS Enterprise make their way into the universe Worf is stuck inside, each containing its own Worf.

In fact, the prime Enterprise itself arrives in that universe, presumably containing the body of prime Worf. How can his consciousness be in another Worf while also in the body of the original? Is every version of Worf experiencing the same thing, with each of their consciousnesses hopping into different bodies? If so, what's going on with prime Worf, whose body remains onboard the prime Enterprise? The episode offers no answers.

Ultimately, "Parallels" demonstrates just how complex it is to tell a coherent multiverse-spanning story. The idea of the multiverse has yet to be empirically proven by science, which means writers are left to devise their own explanations and understanding of it. As more current-day multiverse stories are being told, it's clear that the concept has staying power, but the most successful versions of it, your "Across the Spider-Verse" or "Everything Everywhere All at Once," focus on characters over mechanics. "Parallels" is a fantastic episode of "Star Trek" because it focuses on Worf's friendships with the Enterprise crew, but it shows its own limits when trying to put forth a working scientific theory.

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Recap / Star Trek: The Next Generation S7E10 "Parallels"

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Original air date: November 29, 1993

Worf returns home from winning a Klingon bat'leth tournament and has a surprise birthday party thrown for him by Riker. As he reluctantly celebrates being "old enough," he notices several subtle changes in his own reality: The flavor of the cake changes, and Captain Picard suddenly appears at the party after sending word that he wouldn't be available. As the Enterprise works on the Argus Array, a space telescope that is having problems, Worf has more dizzy spells, with more slight perception problems: officers switching positions, appearing and disappearing. More troubling, Doctor Crusher remembers him complaining about a concussion he suffered when he lost the bat'leth tournament. He returns to his room to find his champion's trophy replaced with one for ninth place.

The changes are starting to throw Worf into disarray. He claims the array was being tampered with by the Cardassians, but no one believes him. Angry, he takes himself off duty, and Troi tries to comfort him. As La Forge enters his quarters to tell him what they found with the array, he blacks out twice. The second time, he suddenly finds himself in the middle of battle with Cardassians. He struggles to shake off the effects and figure out how to operate the new controls, but not before the ship sustains heavy damage, putting La Forge in Sick Bay. Ashamed, Worf relieves himself of duty and returns to his quarters, only to discover that in this reality, Troi is his wife.

Worf has Data try to find any temporal anomalies that might explain the changes, but the now blue-eyed android can find none, so they search for commonalities in the events. Worf figures out that La Forge was present in all of them. As they head down to sickbay, the doctor (Ogawa instead of Crusher) informs them that Geordi is dead. There's nothing odd about Geordi's body, but when they check his VISOR, Worf gets dizzy again and more changes occur. Now he's First Officer of the ship under Captain William Riker, ever since Jean-Luc Picard was killed in the Borg incident (a deviation from what happens in "The Best of Both Worlds").

Data scans Worf and confirms that Worf not from this reality, where the tactical officer is Lieutenant Wesley Crusher and the conn officer is a Cardassian. A search for anomalies finds a quantum fissure in the space-time continuum that was crossed by Worf's shuttle in his own timeline. As the Enterprise scans the fissure, Worf returns to his quarters with Troi, who is still his wife. They have two children in this timeline, but Alexander doesn't exist. The scan is interrupted by a Bajoran warship (as the Bajorans turned warlike after defeating the Cardassians, who joined the Federation), and the battle disrupts the fissure ; Hundreds of thousands of Enterprises appear out of nowhere. The Bajorans, suddenly not liking their odds so much, book it.

Riker sends out Worf's genetic info to the Enterprises , as it has the signature of his own reality encoded in it. They find the Enterprise that matches his information, and it sends a shuttlecraft to get him. However, before he can get to the fissure and seal it, another Enterprise starts to fire on it. This Enterprise is from a world where the Borg are everywhere, and a disheveled and panicking Captain Riker proclaims they won't go back. The "native" Enterprise tries to disable it with a photon torpedo, but it is so damaged that the shot destroys it. Worf enters the rift, fixing the anomaly.

Worf wakes up on the shuttlecraft in his own uniform, with a Bat'leth tournament champion's trophy. This time, when he returns to his room, only one person is waiting for him: Deanna Troi. Thinking about the Trois of the other universes, he decides to invite her to a romantic birthday dinner for two.

• Ageless Birthday Episode : When asked how old he is, Worf simply says " Old enough ."
• Alternate Reality Episode : A whole bunch of them.
• Battle Discretion Shot : We never get to see the alternate universe Bajoran vessel who is a significant threat to the USS Enterprise, instead we get the bridge shaking and dialog about battle damage before other alternate universe Enterprises appear on screen and the Bajorans withdraw.
• Beard of Sorrow : Captain Riker from the Borg-controlled reality has a massive unkempt beard and looks noticeably dishevelled from all the stress.
• Bookends : Worf returning to the Enterprise after a bat'leth tournament and going to his quarters, talking with Riker along the way, suspecting a surprise birthday party waiting for him. In the beginning part of the episode, the birthday party takes place, but in the ending, it doesn't, with just Deanna Troi taking care of things until Worf returned.
• In one universe, Data explains that Worf's marriage to Counselor Troi was rooted in her helping him recover after his spinal cord injury in season 5's "Ethics".
• The last universe is established as being how things would've been had they been unsuccessful in saving Picard from the Borg in "Best of Both Worlds". One of the many Enterprise copies seen at the climax is implied to be from a reality where they couldn't save Picard or stop the Borg assimilating Earth.
• Troi alternates between much of her wardrobe throughout the series as we shift from universe to universe.
• The Argus Array previously appeared in season 4's "The Nth Degree," and is revisited here presumably as an excuse to re-use the effects shots. While re-using effects shots like that isn't at all uncommon for Trek , it's much rarer for them to actually revisit a location, instead of just trying to pass it off as a different, but identical-looking place.
• In season 1's "We'll Always Have Paris", Dr. Paul Manheim's temporal research theorized the existence of infinite dimensions, with the constancy of time holding individuals within one particular dimension. In this episode, we see that this is indeed the case with quantum realities, each with differences based on decisions made, and that a rupture in time could cause one to shift between those realities.
• Captain's Log : Worf records a log entry on his way back to the Enterprise , which becomes a plot point when it changes between quantum realities.
• Cassandra Truth : How Worf feels about nobody believing him when he points out that things aren't right. At least until Data finds the Technobabble that confirms his story.
• Chekhov's Gun : Geordi's VISOR triggers Worf's various shifts.
• Crapsack World : One Enterprise comes from a reality where the Borg successfully conquered the Federation in "The Best of Both Worlds". The Riker from that universe is so broken that he'd rather kill Worf than return to his universe. Of course, when the native timeline's Riker disables that Enterprise , it's already so damaged that it immediately explodes . Crapsack Riker: We won't go back! You don't know what it's like in our universe! The Federation's gone! The Borg is everywhere! ( a console explodes in the background ) We're one of the last ships left. Please, you've got to help us! Captain Riker: I'm sorry, there's no choice. If this works, everything will return to— Crapsack Riker: NO! WE WON'T GO BACK!
• Didn't Think This Through : When Worf asks Deanna to become Alexander's surrogate mother, legally available to care for Alexander should anything happen to Worf. Troi asks what that would make her to Worf, and he says the Klingon word for this relationship has no exact translation but the closest equivalent is that she would be his stepsister. Deanna's response? "That would make my mother your stepmother." The look on Worf's face... Worf: I had not considered that... ( Beat ) It is a risk I am willing to take.
• Doppelgänger Gets Same Sentiment : The Primeverse Enterprise briefly receives a transmission from an alternate-universe version of Riker, now in command after Picard died during the events of "The Best of Both Worlds". He expresses his happiness to see Picard, saying that it's been a while.
• Expendable Alternate Universe : Of the parallel timelines we get glimpses of, Riker is killed in one, Geordi gets killed in two, and Picard is long dead in one of them. On another note, this is such a famous example of the trope, that J. J. Abrams used this episode to explain how the new timeline from the 2009 reboot /Kelvin Timeline works with the Prime timeline.
• Foreshadowing : At the beginning, Riker is accompanying Worf to his quarters, and when Worf mentions it's his birthday and dreads that Riker or someone else planned a surprise party, Riker responds in disgust that he hates surprise birthday parties and would never do it to anyone else. Later when it turns out there is indeed a party Riker slaps a goofy party hat on Worf and says "I love surprise parties". In the offset it just seems like Riker was messing with him, not the result of a shifted reality.
• Funny Background Event : When Primeverse!Captain Picard starts talking with Alternate!Captain Riker, Primeverse!Commander Riker shares a surprised look with Alternate!Lieutenant Worf over seeing Alternate!Captain Riker and Primeverse!Commander Worf.
• A Glitch in the Matrix : Worf begins to notice that small details are off from how he remembered them — the placement of decorations, the positions where people are standing, Starfleet uniforms and insignia, and even Data's eyes changing colour. As the episode progresses, the differences are magnified to the extent that Picard was killed at Wolf 359, Riker is captain of the Enterprise , Worf is ranked up to Commander and his position is Riker's First Officer, and Counselor Troi is Worf's wife. Rather than being trapped in a Lotus-Eater Machine , it turns out that Worf is shifting through increasingly divergent parallel universes.
• Guess Who I'm Marrying? : A heroic variant when Worf finds out he's married to Troi in one universe.
• Happy Birthday to You! : The crew sings "For He's A Jolly Good Fellow" in Klingon . Worf is not amused. Worf: That is not a Klingon song. Troi: It wasn't easy to translate. There doesn't seem to be a Klingon word for "jolly".
• Hero of Another Story : Captain Riker and the crew of the Enterprise in the last timeline that Worf visits. Their adventures after Wolf 359 could make for an interesting series.
• He Who Fights Monsters : In one timeline the Bajorans have turned warlike and are oppressing the Cardassians, who have joined the Federation.
• In Spite of a Nail : All the universes Worf shifts through are at least broadly similar to the "real" one, in that he and most of the same group always end up on the Enterprise. This is vaguely implied to be an actual in-universe phenomenon, as for the most part Worf's brief exposures are "nudging" him into timelines that are relatively close to his current one, with only a few minor divergences in most cases. Presumably if he kept shifting, he would have started ending up in some really divergent timelines.
• It's a Long Story : Worf to Troi while confirming he's in the correct universe.
• Killing Your Alternate Self : Captain Riker gives the order to fire on the Crapsack World Enterprise to stop them from attacking Worf. He only intended to disable them, but that Enterprise is in such bad shape that one hit destroys them.
• Master Swordsman : In both the original and final timeline, Worf was the Klingon bat'leth tournament champion. In the 9th place timeline, an opponent cheated, and in another he had to pull out at the last minute due to an emergency.
• Meaningful Background Event : The presence of a Cardassian conn officer on the bridge in one universe reveals one of the differences between that universe and the regular one a few scenes before anyone mentions it.
• The Multiverse : While alternate universes had been featured in Star Trek before this, such as the Mirror Universe, this episode establishes the existence of the infinite multiverse.
• Mythology Gag : The commbadges in the last reality visited by Worf are the same as the false future seen by Riker in "Future Imperfect".
• No OSHA Compliance : Perhaps unsurprisingly, Klingons don't seem to have safety regulations in bat'leth tournaments, leading to several competitors apparently getting "maimed."
• Oh, Crap! : Worf practically gapes in horror when Troi tells him that their new arrangement would, in effect, make Lwaxana his mother-in-law.
• Other Me Annoys Me : Captain Riker is very disturbed at seeing a panicked, disheveled version of himself.
• Real Life Writes the Plot : At the time of production, the rights to the song "Happy Birthday", despite its common use, were privately held note  The copyright claim was declared invalid in 2015, and the song is public domain in the US and European Union . To avoid any sort of legal issue (similar to why it took a long time before Moriarty returned to the series ), the writers thought it safe to substitute "For He's a Jolly Good Fellow" instead, despite the rights owners not really seeing this as an issue.
• Revealing Continuity Lapse : Worf notices these increasingly as the episode progresses. Each time something changes, he's in a new quantum reality.
• Ripple-Effect-Proof Memory : Worf apparently remembers everything that happened to him in the alternate quantum realities, though nobody else has any idea that anything happened until he says so.
• Screw This, I'm Outta Here : The Bajoran ships attacking an alternate universe Enterprise tuck their tails and run when they see thousands of Federation ships descending on them.
• Ship Tease : The seeds for this season's Worf/Troi tease really begin here. According to Brannon Braga, the writers had actually been thinking about this angle since Season 5.
• Spoiler Title : If you're familiar with the concept of parallel universes, the title of the episode makes it easy to figure out what's going on long before the characters do.
• Spotting the Thread : "The cake was chocolate , but now it's yellow ..."
• Stock Footage : The only new visual effects shots for this episode are the shots of the fissure, and the shots involving thousands of Enterprise clones showing up. Probably because of the time and expense involved in creating the latter shot (remember, the show was still using minimal computer assistance for effects, even at this late point in production), every other effects shot is taken from previous episodes.
• Surprise Party : For Worf, but only in certain of the timelines. At the end of the episode, it turns out that in the prime reality, Riker wanted to throw the surprise party, but Troi talked him out of it. So Worf and Troi share champagne instead.
• Uneven Hybrid : Worf and Deanna's unseen children in the final alternate timeline. Their mother's half-human, half-Betazoid; their father's a full-blooded Klingon.
• Vague Age : Worf is evasive when Picard asks him about his age. Worf : I am... ( Beat ) ...old enough.
• Wham Line : After Worf is stunned by Troi kissing him. Worf: I do not believe this is appropriate behavior! Troi: Not even for your wife?

Video Example(s):

In "Parallels" from "Star Trek: The Next Generation," a surprise party is held for Worf in an alternate timeline and Captain Picard has a question for him: "So, how old are you, Mister Worf?" Worf hesitates, then replies that he is "Old enough," prompting laugther.

Example of: Ageless Birthday Episode

We Won't Go Back

• Star Trek The Next Generation S 7 E 9 Inheritance
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Star Trek: The Next Generation

“Parallels”

Air date: 11/29/1993 Written by Brannon Braga Directed by Robert Wiemer

Review by Jamahl Epsicokhan

Review Text

After returning in a shuttlecraft from a bat'leth competition where he won first place, Worf arrives on the Enterprise to a surprise birthday party that mostly makes him cringe. (It's always fun watching the curmudgeonly Worf suffer through the social kindness of his shipmates, and Riker sets him up perfectly with a misdirection of denial.) But Worf experiences dizziness and disorientation and a shifting of details at the party. (A yellow cake becomes chocolate, and the captain, initially unable to attend, is suddenly present.) Is Worf hallucinating, or experiencing some other strange sci-fi episode? This is Star Trek: TNG , so what do you think?

"Parallels" is unadulterated Brannon Braga in the vein of " Cause and Effect ," " Frame of Mind ," and " Timescape ," where strange sci-fi mysteries are afoot and the storytelling's effectiveness lies in its examination of details. These sort of stories are not particularly deep in their meaning or plausible in the strict (or, I suppose, any) sense of the word, but damn if they aren't entertaining in their exploration of shifting realities. It's not immediately clear to Worf (or us) exactly what's happening or why, but slowly we learn that Worf is shifting between numerous versions of an infinite number of possible realities. The theory goes that all things that are possible are actually happening in an infinite number of parallel universes, and "our" version of Worf is moving between them while maintaining all of his original memories.

This puts Worf in various universes where (1) he placed ninth in the bat'leth tournament instead of first; (2) he causes a tactical delay at a key moment that leads to an attack on the Enterprise ; (3) he discovers that the Cardassians have reprogrammed a sensor array to spy on the Federation; (4) he is married to Troi; (5) he does not have a son named Alexander; (6) he is first officer on an Enterprise where Riker has been captain since Picard was killed in the Borg incident; (7) Geordi is dead; (8) Wesley Crusher is the tactical officer; (9) the Bajorans are powerful enemies; and (10) in perhaps the most subtle detail, Data has blue eyes. (I love how this detail goes completely without comment; it's a visual clue that demonstrates the infinite possibilities theory without underlining it.) Okay, sure, there should technically be versions of the universe that look nothing like the familiar surroundings anchored to a life on the Enterprise , but to that I say: Who cares?

A story like this can either be incomprehensible chaos or organized chaos. "Parallels" is a workable example of the latter. The story never becomes so zany as to be unworkable but instead slows down long enough to show that these various possibilities are real enough to mean something to the people involved. In particular, Worf's relationship with Troi makes him consider a possibility that he had never pondered, while at the same time he must confront a reality where his son never existed.

"Parallels" has a rather brilliant ending that is great in its audacity, where the quantum barriers between all these universes break down, leading space to fill up with thousands of Enterprises from other realities. (At one point, Wesley says he is receiving hails from 285,000 different Enterprises , clearly all confused.) In an inspired notion, one Enterprise is captained by a desperate and crazed Riker from a universe where the Borg have destroyed nearly the entire Federation; Riker has to open fire on this ship when it attacks. And there's something odd about one Enterprise having a viewscreen conversation with another. (And just who is the Worf on that Enterprise if "our" Worf is on this alternate Enterprise ? Did they swap places?)

By sending Worf back to his correct Enterprise , the barriers will be sealed and everyone will be returned to their proper realities — though I was confused at why Troi was so saddened to "lose" Worf when he left; wouldn't "her" Worf be returned to her by this repair of the breakdown of reality? Or are there a finite number of quantum Worfs, and hers was somehow erased?

No matter — "Parallels" is great a high-concept story executed with high entertainment value and the right modulated tone. For those reluctant about the possibility of a Worf/Troi relationship being spawned from this — what can I say? In a universe where anything is possible, much stranger things have happened.

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Comment Section

111 comments on this post.

Great episode, even if it was the start of the Worf/Troi nonsense. In this episode, it somewhat works. Oh, and Jammer -- no love for the Cardassian helmsman at the end? One of my favorite touches.

Latex Zebra

The scene with the Borg beaten Enterprise is pretty chilling with Riker yelling 'We don't want to go back!' Sent a shiver up my spine.

Very enjoyable episode, I too liked the ending.

I concur with "These sort of stories are not particularly deep in their meaning or plausible in the strict (or, I suppose, any) sense of the word, but damn if they aren't entertaining in their exploration of shifting realities." What does bother me about this episode is the idea that everything is possible therefore nothing matters.

Easily one of season 7's greatest and well remembered episodes. By the way it was nice finally seeing Deanna in that nice blue dress again the first time since season 4 ;-)

This is a fun episode. However, it seems to have been made on the cheap. Every little parallel universe 'quirk' looks to have been recycled from previous episodes. In contrast, "Yesterday's Enterprise" and "Future Imperfect" seem to have a much bigger budget and the 'quirks' were made from scratch. In fact, TNG season 7 overall has a pretty chintzy look to it compared to its previous seasons. DS9 season 2 (which ran alongside TNG season 7) on the other hand, looks movie quality from beginning to end.

grumpy_otter

I love this episode! Along with, as Jammer noted, the great line about "We are receiving 285,000 hails," which always makes me laugh, it has the great follow up line "The Bajorans are disengaging." I like the Worf/Troi pairing much better than the Riker/Troi pairing that the movies pursued--it always angered me they went in that direction after setting up Worf and Deanna so carefully. Their romance at the end of this season is carefully developed with both big and small moments--and I'd love it if only for the fun of Worf's "devolved" form beating the crap out of the ship to get at his mate. I've never understood the objection to this episode that, as alex said, if "everything is possible" then "nothing matters." Just because infinite universes of grumpy_otters go running around doing things THIS otter never dreamed of, that doesn't change my individual life. They have their own lives--I have mine. We can't normally communicate and their actions don't affect me. I might feel sad if I saw one eaten by a squid, or jealous if one scored some massive clams, but in general it's just like most of the quantum world--unnoticeable to us. If I die, I am not comforted that "I" will live on--THIS me will be dead and therefore irrelevant at that point. Multiple universes doesn't diminish individuality because it exists in each one's brain. Voyager did one like that where one ship died so the other could live--it was cool they saved the baby, but still, a whole crew of individuals had to die. The moment they had separated, they were their own people, and separate lives. And since I have to trash Beverly at least once every review cycle--little bitch. Acting all surprised, "DOCTOR Ogawa? How could my little assistant possibly be a doctor in another universe? I'm the only doctor on the Enterprise because I am super perfect." Snob. Deanna is sad, Jammer, because she notes that they have told her it is possible that her Worf won't return. This is up there with "Inner Light" for me.

"...I was confused at why Troi was so saddened to 'lose' Worf when he left..." That's because Braga never bothered (or, under pressure to write weekly TV, didn't have time) to understand the premises of his own stories.

Having watched TNG as a kid mostly via re-runs out of order, this was I believe the very last episode I ever saw, probably a good 10 years after it aired, and I have to say it's one of my favourites.

Absolutely delightful episode! I guess I had forgotten that 2 of the 3 best episodes of season 7 were one after the other (pegasus being the other one, and the Finale being the 3rd). I agree, I loved the nice little touches like datas eyes. My favourite moment was actually that little one near the end when the Riker who hasn't seen Picard for 3 years, sees Picard on "our" enterprise and says "It's good to see you again, captain. It's been a long time." It was a touching little moment. I also loved seeing a cardassian in a starfleet uniform. I do however, agree with patrick that this felt way cheaper than "Yesterdays Enterprise". And of course the music sucked. And of course you can cound me as a hater of the Worf/Troi crappy romance. I gotta say though, without this episode and Pegasus, this season really would be a complete abortion.

Great premise. Great episode. I especially liked how it put Worf in the center of a very un-Worf-like episode (nothing much on combat and honor etc.). I have never thought of the episode as cheap looking. I would say TNG was not going for spectacle in its final season. It seemed they were going for quieter character episodes. It must have worked because it netted them a Best Drama Emmy nod (I wonder what episodes were submitted to the academy?). They had started to work CGI into the show in its final season, but it seems they never felt the need to really go nuts. Yet the Maquis attack on the Cardassian ship in the penultimate episode was well done and of course AGT looked fantastic.

This was one of those ridiculous but fun episodes. The premise was perfectly exploited.

Did anyone else crack up when Worf states in his personal log that 'Several contestants were maimed.' ?

karatasiospa

For me parallels is an example of pure and mind-blowing science fiction! no social allegories here. Just an opening to other possibilities of existence!

John the younger

I concur: Silly but fun. Probably 3rd or 4th best episode of the season.

Worf isn't usually picked to star in weird concept episodes, but this one makes you wonder why. His outsider nature, his confusion and injured pride all make him the perfect hero for Parallels. And he's really funny, too. (And I don't see how Worf/Troi is any more forced or problematic than Worf/Dax or Riker/Troi...) In a way, this episode is my favorite appearance of Wesley Crusher, too, just because he's there and nothing big is made of it. The plot doesn't bend to make him the hero, he doesn't say anything silly... I do appreciate that they went a more daring direction with the character in-continuity, but I really like his understated appearance here.

Best part for me was the moment where Troi realized that while Worf did not know their own children, he had a son who, in her universe, never existed. I mean, he could have just stayed put and done OK but that was the moment when it was clear he had to go "home". Actually, the best part was the famous "peeking Worf" but that was superfluous to the storyline.

2 things 1. Worf missed a trick after learning Troi was his wife. If that was me.... 2. No sighting of the Bajoran ship at all & it attacks & disengages for no reason- only to damage the quantum fissure because it had to be damaged somehow right?

I do like this episode, but I think I enjoyed it more when I watched during it's original run and was too young to really think hard about it. Now, watching it, the fact that there's a Worf in the background of the "correct" Enterprise (which I'm glad Jammer didn't overlook) and that one of the Worf's may be lost (the one in the universe where the "correct" Worf tries to go home from) raises so many questions in my mind that I have a hard time appreciating the rest of this episode. I would have dropped a half a star or even a full one just because of those two things, which were quick and relatively unimportant, but to me extremely significant to my comprehension of this story.

Adding to what I said above, since there was a Worf on the "correct" Enterprise and the Data on the "correct" Enterprise agreed with Captain Riker's decision, this says to me that at least some, if not the majority, of the Enterprises knew something was going on with Worf and were discussing and attempting to solve the matter (hence a lot of the comm traffic, guess). But it seems like there would have been thousands of other Enterprises, then, who were making similar decisions and broadcasting quantum states looking for Worf's Enterprise. I would have expected to see a lot more shuttle crafts flying around, or at least some other Enterprises "competing" to get a response from the correct one. I don't know. The more I think about this episode, the less I like it. This seems to be an episode that should just be enjoyed for its alternate reality fun, and not really thought about.

Bioshock Infinite anyone?

"Or are there a finite number of quantum Worfs?" Starts like the premise of a kick-ass exam for admission into sci-fi.

The main thing I didn't get about this episode was this: When Worf is moving from parallel universe to parallel universe, where were the Worfs who are actually indigenous to those universes? Like when they're in the chocolate-cake universe, where's the Worf who really belonged there? I also thought that Parallel Universe Troi, who knows only that she loves Worf and is married to him and is the mother of his children (i.e., she doesn't contemplate a hypothetical parallel reality where all this isn't the case), should have been all irate and challenging when she learned that Real Universe Worf has a son named Alexander, as in, "Who's Alexander's mother?"

Nothing like an old fashioned multiverse saga to get those sci-fi juices flowing again. Great episode! I'd give it 4 stars if it didn't spark that unholy alliance. That definitely costs it a .5. Eleven episodes into season seven and for me at least, there have only been two dogs, Interface and Dark Page. Everything else has been at least a three, and now another 3.5. Some people would take season one over this. I'm certainly not among that group. As to the other Worfs, it seems a safe bet to me that Worfs were simply changing places. The story did not say that but it's only logical. I didn't understand why the possibility was even raised that an existing Worf wouldn't return to his rightful universe. As an aside I just noticed that when I google stng jammer, one of the results is 'The Next Generation Jammer Program', an electronic airborne warfare system.

Terrific episode! Originally it was supposed to be Picard...but Worf was a better choice. Only qualm was with Troi/Worf. That should have been comedy only...and not a setup for things to come up.

@Paul: The Bajorans obviously disengaged because all of a sudden they had 285,000 Enterprises in front of them to make it the most lopsided (and weird) space battle in all of sci-fi. One thing that often occurred to me about this episode in hindsight: Presumably there must have been Borg-assimilated Enterprises amongst them, as well as Mirror Universe ones, and maybe even one with a 300-year-old Captain Archer at the helm.* If we were to carry this through to its logical extreme, which is probably not a bright idea. *hic* * - OK, so I’m trolling a little there.

The other Worfs weren't just swapping places with ours, they (or at least some of them) were sliding through various successive realities as well. With so many possibilities, surely some were having similar troubles. On the other hand, there's no reason to think they'd snap back perfectly to their originals. Something must go wrong with a few of them. Not all the *ships* survived, why should the Worfs fare better?

I thought it was a continuity error that it turned out that Worf had already shifted into another universe when his birthday party took place. Where was Geordi at that point? He had not met him if only Troi was there. That said, I think it is a great episode, although the Worf/Troi romance did not make much sense to me (either Worf in those universes had mellowed or Troi was much tougher than we think...). It reminded me of the old 'Sliders' series. I was not surprised Troi was sad because they really did not know if her Worf would come back at that point, since they did not know at what time the universes would be merged. Since time did not change in the end we can assume he did come back, but Data mentioned that they could have merged three days later. If Worf died in another universe during that time, he would have been lost.

not-dead-yet-jim

The one thing that always stuck with me about this episode is the desperate Riker, coming onto the view screen - beard unkempt, uniform dirty, explosions in the background. that borg reality where they are one of the last ships left as the borg are everywhere must truly be hell and did lead me as a kid to have some truly terrifying borg nightmares.

This is another one of those episodes that hearken back to Season 3/4: great performances (even by Troi), interesting alternate realities (I loved the post-BOBW Captain Riker(s)), and a genuinely fascinating concept. Even the musical score has some high points, VERY rare for a later episode. My only nitpicks: #1. No one mourns Geordi other than Dr. Ogawa (good acting on her part). Granted, in this alternate reality, he may just have transferred aboard ship or something, but still, no one seems that shook up. #2. How is it that in some of the slips, no one has previous knowledge of Mr. Worf's slipping between realities, but in others, the crew is fully aware of his problem, even though he just popped into their reality? A good example is dead Geordi . . . he should have been alive and kicking the second Worf slipped sideways. #3. I wish they'd gone with the idea to also have Tasha there in the final alternate reality. It would have been nice to see. *** ½ stars

SkepticalMI

This reminds me a lot of Timescape and Cause and Effect (like Jammer already mentioned). Mostly meaningless fluff, but it's a great high concept episode that is executed almost flawlessly, and thus a mostly entertaining affair. But everyone pretty much knows that already. Thinking about the whole situation, I'm not sure why it had to be this specific Worf that had to go back through the fissure. Sure, some of the Worfs didn't go to the tournament, and thus couldn't hit the rift, but could others have gone through? Or was the rift only initially in our universe? And why would other Enterprises be visiting this area of space and thus go through the rift (particularly the Borg Enterprise)? Or did the fissure just happen to pull them out from wherever they were in space? And for that matter, out of an infinite number of Enterprises, what are the odds that the one they needed would show up so quickly? So it doesn't make much sense, but oh well. Another oddity: what defines what universes Worf travels to? One idea I heard a while back was that with each transfer, the universe diverged with his even further back in time. For example, his first shift may have been into a universe that diverged only a day or so before hitting the rift, hence why the only changes in the universe was the cake's flavor and Picard's presence at the party. The last two universes would be from 2-4 years ago. While that would be a reasonable theory, Dr. Ogawa's presence kinda hurts that idea (when would she have decided to become a doctor, and still managed to become CMO in such a short time?) Likewise, the Bajoran/Cardassian switcheroo is tough to swallow as having happened within the last four years. Not that it takes too much away from the story, because it doesn't matter much, but it is curious to see how this all works. John G: interesting idea, having a Borgified Enterprise appear. I guess seeing the desperate Enterprise instead offered more pathos, but how fun would it have been to have a Borg Enterprise appear, try to give the whole "We are the Borg" speech, and then get promptly smashed by 100 Enterprises... Also, I wonder if the Mirror Universe showed up?

Dave in NC, to your #2, obviously in some 'verses people have noticed what's happening, had a chance to talk to Worf or each other about it. Others not. The various shifting Worfs must themselves have figured it out at different points too.

@ Peremensoe If that's the case, wouldn't they have only known something was wrong once our Worf replaced theirs?

My interpretation was that there was a wave of different Worfs sliding or fluctuating across many iterations of reality. Maybe some sets of his comrades have seen a succession of different Worfs pass through before ours gets there.

@ Peremensoe That's a good idea: every Worf would indeed displace the previous Worf. Unfortunately, the dialogue made a point to say that there was a real possibility that Alt-Troi (Counselor Mogh haha) may never have gotten "her Worf" back. Eh, the reasoning confuses me, but who cares, it's a fun episode.

Again, an all-time classic Trek. This episode here is one of the dozen or so that keep me loving ST. Check this out: We know some of the universe-slippages are subtle, not necessarily evident at the moment, or for some moments after. Maybe the first one is just as he enters his quarters at the beginning? (Maybe even as he adjusts his trophy display, noting a *slightly-off* perception...) Maybe it wasn't a set-up by Riker! There was no waiting surprise party... there!

@ Permensoe What a clever idea! They should have had Geordi walk by in the background of the first Word/Riker scene.

"The Bajorans are disengaging." - one of the funniest lines in TNG

Well, I'll be. An episode with Wesley Crusher as a guest character and he didn't save the day or get idolized. I didn't think that was possible. :P What is there to say about "Parallels" that hasn't already been said? It's entertaining fluff. That's all it is and so be it. It is rather remarkable, however, that this is really becoming such a pattern here in late TNG - the best episodes being nothing more than entertaining diversions. In the last 25 episodes (almost exactly the length of a standard Trek season) there have only been four standout episodes that haven't been fluff - "Face of the Enemy," "Tapestry," "Rightful Heir" and "Dark Page". And of those four, "Rightful Heir" was the only one I considered a classic (a score of 9 or 10). Every other episode has either been fluff, slightly above average ("Second Chances" and "Interface") or average and below. This has been a pretty long stretch with little more than sugar-highs to keep us going. Numerous people say that TNG had run out of ideas by this point. While I still disagree (most episodes lately at least show some potential), I have to admit that that argument is starting to look more plausible. But, as for "Parallels" itself - it's nice to see Worf bouncing through all these different universes with their little oddities. And, this is Brannon Braga in his element after all, so he is capable of delivering. While it does give us the beginning of the rather odd Worf/Troi pairing (something that really shouldn't have been inflicted on us unless they were going to go all out with a "Beauty and the Beast" allegory), it has more than enough enjoyable tidbits to overcome that. Worf in a red command uniform, Data's blue eyes, the Enterprise from the Borg dominated universe, the aforementioned correct use of Wesley, the Bajorans as the powerhouse enemy, a Cardassian at the helm, the image of numerous Enterprises filling the scene.... all really memorable stuff. However, like even the best Braga stories, it really starts to unravel when you stop to think about it. Where did all the Worfs from those alternate universes go while "our" Worf was occupying their space? Did they just switch places? How does Worf manage to slip into these universes at almost precisely the right moments in each one (the only drastic change during the crossover is the one time he goes from his quarters to the Bridge)? Why are some alternate versions of everyone aware of Worf's predicament while others are not? Et cetera, Et cetera, Et cetera. But, that's not what episodes like this are about. Like "Timescape" or "Starship Mine," the point is to just enjoy the pretty sights and weird scenarios and have a fun, little popcorn-movie-type experience. In that, "Parallels" succeeds probably better than any of the others. If there's one point I'll criticize it's the surprise party shenanigans. It just grates on me. These people all know that Worf would hate such a party and yet they do it to him anyway. Even in the "normal" universe, they would have forced it on him if Troi hadn't talked them out of it. Ugh, it's not endearing. They all know that he probably would rather hit himself with a pain stick for his birthday, as Troi says. And hey, you know, I'm an open-minded guy - it that's what he wants to do, I say more power to him (as long as he doesn't force it on anybody who doesn't want it). And therein lies the rub - they force their beliefs about what a birthday should be on him. Poor Worf, even in alternate universes his friends love to give him grief. 7/10

Diamond Dave

This is without doubt my favourite episode of the whole 7 seasons. I loved the premise of every decision setting up an alternate universe where the consequences of that decision are played out, this being the first time I had really encountered such a concept. It's the perfect slow burn high concept piece, and there are so many little details as we move through to enjoy. Worf is the perfect centrepiece for this - his befuddlement is plain to see and I don't think would have worked with any other character. It just builds and builds to the classic "We are receiving 285,000 hails. The Bajorans are disengaging" moment. But what knocks this completely out of the park is described far more eloquently than I could by Keith R.A. DeCandido over at the tor.com rewatch: "But the piece de resistance, the moment that cemented this as one of TNG’s top episodes, was the Enterprise that fired on the shuttle. Nineteen years later, I still remember how haunted I was by that one scene. The disheveled, deranged Riker plaintively screaming, “We won’t go back!” stuck in my head for weeks after I first saw the episode." That's it exactly. It's the single greatest moment in TNG, and it's a worthy 4 stars.

This was one very interesting episode that showed an interesting side of Worf. He is confused and in need of help from the other crew members without having his usual tough attitude. Troi has been getting closer to Worf as a friend since Alexander was introduced. Seeing that Troi and Worf have a romantic relationship in an alternative reality was entertaining. Definitely one of my favorite episodes in season 7, and in my top 10 ST:TNG episodes.

Unless I missed a 'jump', Worf's unfamiliarity with his weapons control panel led to the Enterprise taking significant damage from the Cardies, and to Geordi's death. Despite these events, Troi chose to visit Worf's quarters for sexy time, and then everyone stood around Geordi's corpse without a hint of sadness, or eulogy, or even acknowledgement? Seemed strange, unless of course it was a reality in which everyone was glad to see the back of him...

I just noticed the reality around 22 min where Troi and Worf are married — why would Troi have moved into Worf's tiny, windowless LT-and-below quarters? Troi has a nice place with a window. And why don't Data and Geordi get nice quarters with windows? They're both LCDRs. But I love how Worf growls "Wife?!" at Troi in disbelief like an angry cat. That earns four out of four Spots! 😸😸😸😸 Worf makes CMDR but Data is *still* just a LCDR?! Clearly there is a transparent aluminum ceiling for androids.

This is probably one of my favourite episodes of the series, and definitely one of my favourite Worf episodes. I don't think we've ever had any other Worf episode where Worf was the central character and it wasn't some Klingon political drama. Here we have Worf with a totally sci-fi premise which is totally out there. I just loved it. All the little touches were fantastic. I still feel so horrible seeing dead Geordi naked on the biobed... why take his clothes of so that anyone can just come into sickbay and take a look?

The scene with crazy Riker still chills me to the bone.

another BS episode where Braga tries romance and turns women insipid. Plus his charlatan's understanding of quantum mechanics. No wonder Enterprise ended Star Trek forever.

The part when a crazed Riker had pretty much given up hope and had come from a reality where the borg had won, really got to me. It was just somthing about it sort of depressed me. Also I found it funny how Worf was rushing between two consoles.

Assimilated

The Borg universe enterprise really was depressing, I wonder, having been destroyed in the universe our Worf was in at the time, did it mean they weren't reset into their own when everything went back to normal? leaving an even more desperate federation. whenever Star Trek shows glimpses of universes where the federation is collapsing there is a sense that a very much darker series could be made, and made rather compellingly.

Jesus... people don't even pay attention and then ask questions that have already been answered in the show. Jammer himself says, "...I was confused at why Troi was so saddened to 'lose' Worf when he left..." When they're in Warf's quarters waiting as the Enterprise to retrace the shuttle craft's route, Troi states unequivocally, "As I understand it, there's a good chance my Worf won't return... and I'm just having a hard time accepting there's a universe out there where you never loved." What more information are you looking for? Troi is not a quantum field theorist. She doesn't even really understand what's happening in anything other than a layman's pov. Her Worf might not return for any number of reasons, since this situation is completely unprecedented in warp field theory. However, the main reason is that something could've happened to him and he might be laying on a stretcher in the morgue right next to Geordie OR he could've been on that Borg universe Enterprise with the unhinged Riker, who obviously would refuse to let him take the shuttle!. The point is even the experts, one of who is dead as door nail, don't know fully what's going to happen. How the hell is a layman who's afraid of losing her husband supposed to react? "Everything is possible; nothing matters." Go read Deutsche's thoughts on free will and many worlds interpretation. @J "I would have expected to see a lot more shuttle crafts" Many Worf's flew through the fissure. They made either an artistic or production choice to demonstrate the other Worf's going back through the fissure by showing multiple Worf's inside the shuttle craft performing different tasks and wearing different uniforms. It was probably cheaper to do it that way and it illustrates exactly what you claim to want to see. So what's your point? Did you also count the number of Enterprises on screen and then complain that there weren't exactly 285k? @moj Geordie was originally reported as having been sent to the sick bay with plasma burns. Even assuming she'd heard what happened as she did with Worf's mishap, that's all the information she had until Dr Ogowa called her to sickbay afterwards. Dr. Ogawa was upset when she told Data and Worf what happened and Data and Worf were visibly startled. Worf is liable to think Geordie died in combat and is fortunate. Data isn't going to break out in tears having no emotions. Both doctors are professionals. The only one liable to express anything is Troi. Were you expecting a eulogy? @Latex Zebra That was a classic Worf understatement! It wasn't quite up there with, "lol! Impossible." or "I am a Klingon! If you doubt it, a demonstration can be arranged!" It was more along the lines of, "However, the time will come when we will... convince them... to speak the truth." Not just what he said, but the way he said it, contained awesome subtext. When he says "maimed" he quickly moves on with his statement as if that was the most unimportant part of the log entry. It was hilarious.

"I thought it was a continuity error that it turned out that Worf had already shifted into another universe when his birthday party took place. Where was Geordi at that point? He had not met him if only Troi was there." I noticed this too, and I thought I was seeing things at first! When he returned to his indigenous quantum universe (lol it's weird typing that out, like it's a real thing) and he returned to his quarters, only to find Troi there and no party, I was confused, because when his birthday party took place in the first scene he hadn't bumped into Geordi yet. The only person he'd met up to that point was Riker. Am I missing something here? Anyway, this is always an episode I enjoy returning to. I agreed that the Cardassian helmsman was a nice touch, though I have to say they look better in their own uniforms. Also liked the slightly different comm badge and bridge designs.

I agree that it was great. I just want to mention that this was not a cheap episode as they built a unique bridge set, as well as unique uniforms. They also had an elaborate special effects sequence which must not have been cheap at the time.

Blue-eyed Data weirds me out. I'm so used to the jaundiced contacts. And the alternate bridge was a great improvement over the usual, I wish it was the actual design, the normal one looks ridiculous. I'm all onboard for Doctor Ogawa. She looks pretty snazzy in that blue coat thing. Good to see Wes again. I miss him, it's a shame he got put on a bus after being one of the few characters to get actual character development. I'd even take his season 1 nonsense of being the only intelligent character over his mom's blank stare, malpractice, and discussions of her sex life with Troi. I suppose LaForge could have been there when Worf first docked or passed him in the halls. It's weird that we didn't see him during the first shift but maybe the initial one happened on its own? I find it hilarious that the present Troi gives Worf at the end is all pink and sparkly. Very befitting of a manly warrior. @Skywalker "I just noticed the reality around 22 min where Troi and Worf are married — why would Troi have moved into Worf's tiny, windowless LT-and-below quarters? Troi has a nice place with a window. And why don't Data and Geordi get nice quarters with windows? They're both LCDRs." Geordi is blind. Data is a robot. Neither probably get much out of looking out a window. Worf is from a proud patriarchal society and probably insisted on his wife moving in with him, rather than the other way around, sort of like how Peter Parker feels bad when his wife does stuff like buy furniture for their apartment even though she makes a lot more money than he does and doesn't have a problem with being the one paying for stuff. Men are traditionally the ones who provide, and a lot of them, especially in fiction, have had that role so ingrained in them they have trouble letting it go and feel guilty or inadequate if they're not the ones providing, even if it would be more logical to let the wife do some or even all of the providing. Or maybe it's just a convenience of the plot, but I like my rationalization better.

Since the Borg beaten up Enterprise was destroyed, that universe would have not gotten that ship back, not in one piece anyway, once the rift was sealed and everything was put back into their proper universes, correct? If anything, the debris from the destroyed Enterprise would have simply been what was "returned" back to that Borg infested universe since the debris field would still contain the matching quantum signature of said universe.

Startrekwatcher

3 stars. A very solid sci fi mystery hour that was hurt slightly by not going all out at the end Liked idea in teaser with a bath'leth tournament and worf attending it as a way to launch episode and how it weaves in and out the story Lots of good mystery that had me curious--Whose using the array to spy, Pointing to concussion as cause of his disorientation fr Is what's happening tied to the array and Carfassians-who I enjoyed seeing on TNG, then paintings switched places then different painting altogether then Troi in one outfit and hairstyle then another then in middle of battle then. Ninth place in tournament then didn't attend etc etc etc I didn't catch originally Geordi being common to his dizziness so that was effective sleight of hand by Brannon Then more WTF?!? With Dr ogawa. No dr crusher, Worf in red uniform future imperfect commbadge and first officer I thought the quantum shifting was a good payoff to the mystery. And one thing I have to point out and give TNG credit for is when dealing with these complex sci fi notions they would effectively use graphics and analogies to make it very relateable and understandable something that later Trek series like Voyager got away from to their detriment. But here they did excellent Jon explaining clearly what a quantum fissure is and about multiple universes Worf finally has explanation as to what he's been experiencing. Now he wants to get Home so now was perfect chance to go crazy with the shifting and having more fun playing out all sorts of neat things while you have parallel universes at your disposal. Maybe bring in Yar or a Borgified TNG crew or the mirror universe version of the TNG crew even for just a few seconds or bring in Pulaski or have Sisko as enterprise captain etc. unfortunately they didn't embrace it nearly enough. Had they for me personally it would have been a classic 4 star episode I thought finding Worf's correct universe would be smooth sailing but thinking about it all those infinite universes would take time to scan them. Nice believable touch Then you have a Nice signature Brannon Braga plot complication where things don't go as simple as scanning the fissure--the Bajorans brought in earlier show up and destabilize fissure leading to a flood of universes pouring into this one Another very clever plot wrinkle was with a ship firing on shuttle and riker thinking it's Bajorans again but turning out to be an Enterprise where Borg assimilated the Federation and not wanting to return to that nightmare they fire on the shuttle to prevent Worf from sending them back. Plus I always love Borg namedropping even of they don't make an appearance Liked Troi" you probably want to spend your birthday alone hitting yourself with a pain stick". The one cast I could believably seeing carrying off humor is TNG if given good material I was lukewarm to a Worf/ Troi romance though

Another universe that would have been cool would have been an Enterprise Worf comes to where the runner ups for the tng roles were the crew. Stephen Macht as Picard, billy Campbell as Riker, Eric Menyuk as Data, timRuss as Geordi, Jonathan Del Arco as Wesley, Marina Sirtis as Yar and Denise Crosby as Troi(before Sirtis and Crosby had their roles reversed

Pretty good episode with a slow-building mystery and great ending. I liked that it was centered on Worf and not Picard or Riker and that it wasn't a "Klingon episode". Interesting to see Worf in a situation where he confronts doubts and how the character reacts to it -- so that part was well done including how he deals with finding out he was married to Troi. So it's a cool concept that Geordi's visor triggers a different reality for Worf after going through the rift. The downside is the technobabble and solution to fixing the rift -- sure we'll accept that what Data/Wesley say works perfectly (those 2 never get it wrong). The idea that parallel universes exist with all kinds of different realities and switching between them is good creative sci-fi. The ending is what made this episode for me. Seeing the rift get messed with and all those Enterprises popping up each living their own reality including 1 where an Enterprise with Riker in control is getting kicked by the Borg was awesome. I wish they had spent more time on that -- it was done too quickly. With all those Enterprises, locating the right one and then having to fire on the damaged Enterprise, it played out too quickly and conveniently for me. 3 stars for "Parallels" -- the strongest episode of a crap TNG S7 so far. Braga has come up with a winner here. What's also well thought out is that as the episode wore on, when Worf would shift realities, the changes would become bigger and bigger -- he'd be further along the timeline so more realities have had time to unfold, just like a tree branching off. Entertaining ending after a somewhat typical mysterious TNG beginning.

@Vii In regards to him not having a birthday party at the end I would guess that it is suppose to imply that his first shift actually took place when he first encountered the rift. Geordie just triggered subsequent shifts.

Let us pause to contemplate this line: "It was Worf's shuttlecraft which traversed the fissure and weakened the barriers between quantum realities. If he re-enters the fissure in his original shuttle, and emits a broad spectrum warp field, it may be enough to seal the fissure and stop additional realities from emerging into our own." I love how audacious Braga's scripts are, and how, because of their mind-bending nature, they always require massively ridiculous levels of deus-ex-technobabble. TNG was famous for its deus-ex-technobabble, Picard's problems constantly being solved by: 1. Running a level X diagnostic. 2. Reversing the polarity on the X 3. Rerouting power through the X buffer and/or warp coils 4. Rotating the shield harmonics 5. Rerouting/reversing power to the main sensor array 6. Re-configuring the X subbuffer and/or the main sensor array But Braga, nah, he literally solves problems with lines like: "Placental barrier, maternal antibodies and amniotic fluids all serve as a filtration system. Maybe we could inhibit the intron virus by using the natural antibodies in Spot's amniotic fluid. Or locate a pregnant humanoid." Man, Kirk had a way easier problem solving flow-chart: 1. Fight in arena. 2. Sleep with female 3. Talk into self-destruction 4. Use Spock

"deus-ex-technobabble" -- I love it.

Good ... and romantic. I liked the Worf Troi combination. As he realises this possibility he opens up and removes his guard back in his own universe. Very romantic. Although I personally normally are not found of the alternate universe stories (to much reset button) this was well done , consistent and quite logical.

Classic. I laughed at riker putting the birthday hat thing on worfs head and also at data discussing investigating troi and worfs mating. I had fun trying to notice all the differences from “normal” reality as well. This is a top ten episode IMO

@Outsider65 You're the only person who likes or prefers Wesley.

It's so much fun to see how weirdness leaves Worf all flustered. I don't think we every found out why Worf and Troi never ended up together. And it was never acknowledged. In fact, this whole "Parallels" episode was never referenced on DS9. I would have loved for Worf to tell the rest of the DS9 crew "I have had experience with parallel universes. The realities must have no bearing on choices in this reality." And I think that means... DS9 is a parallel universe! And so are all the movies! Parellels never happened in those universes! *Gasp!*

This episode contains Worf wearing a cardboard birthday hat on his big manly ridged Klingon noggin. What more could anyone want? Plus: "I think Data's painting is making me feel dizzy." Ha!

Geordi LOVES cake! Look at the size of that slice he’s horking

Lots of potential in the alternate universes: universe with openly gay Riker? Check. What about a universe where Picard wears a really bad troupe? Yep. Feel free to add your own. Go nuts.

"there should technically be versions of the universe that look nothing like the familiar surroundings anchored to a life on the Enterprise" I think of it as that he is moving further and further away from where he started. the main thing I don't understand is why there was no surprise party... doesn't that mean he *wasn't* returned to his own universe? (oh wait, I get it... he had already flipped at least once before getting to his quarters the first time, so this time was the real one. that's actually pretty cool!)

6/10 I like Worf but ho hum. And I need a refresher on quantum physics and multiple realities

Lizzy DataLover

A universe where Guinan is captain of the Enterprise, Geordi and Data are a couple, Tasha Yar lived thru Armus only to be killed by Nagilum, (sparing poor Mr. Innocent Redshirt) Picard married Beverly and had to *shudder* adopt Wesley, using a holoemitter like the Doctor's they brought Minuet off the holodeck and she and Riker are in their own jazz band, Data dyed his hair mint blue for a new look, Deanna is SUPER modest and always wears very heavy sweaters, Wesley had a *not so accidental* accident and now he's paralyzed in a wheelchair, Worf and K'ehleyr are married with eight children, ect, ect.

Also them blue eyes on Data. Lol. ^-^

Did worf return to the correct Enterprise though? At the beginning of the episode it starts out with worf receiving a surprise party but at the end of the episode troi said she knows how he hates surprises and talked riker out of throwing one for worf. If it was the same universe then shouldn't events unfolded the same?

HackFarlane

DidWorf?: "Did worf return to the correct Enterprise though? At the beginning of the episode it starts out with worf receiving a surprise party but at the end of the episode troi said she knows how he hates surprises and talked riker out of throwing one for worf. If it was the same universe then shouldn't events unfolded the same?" DidWorf?, I think it was established that Worf started enterting parallel universes before he even returned to the Enterprise, during his shuttle trip. Therefore, the first time we see him on the Enterprise, having his surprise party that Riker threw despite telling him, "I hate surprise parties!" as a prank, he is already on a "wrong" Enterprise in terms of this story. So at the end, the intimate party he was with Troi is the "correct" universe. That being said, I'm a firm believer that every continuity error and "canon violation" in STAR TREK shows can be easily dismissed by assuming that the episode or film in question takes place in an alternate universe/timeline. This exact episode, "Parallels," defines this concept beautifully. It's an easy way to counter paltry arguments about STAR TREK continuity errors or altered character development (I.E., Captain Janeway's "bipolar" personality changes). And it's no more hard to believe than warp drive, transporters, or DNA "resequencing."

Yes, it was initially triggered on his trip back from the tournament in the shuttle. This could be a convenient excuse as to why we DON'T see drastically different alt Universes...it needs to be him on that shuttle passing through the fissure the same moment that the alt-Worfs were. So the differences he encounters are not waaay off of what his "correct" Universe is like, since they were all in a position to have been making the same trip. There's only one standout here, and that is the one trying to survive the Borg-ified Universe. Hard to believe that alt Worf would have been attending a tournament during such chaos, but he could have been doing something else at the time which demanded the use of a shuttle - which just happened to pass over the same fissure. One standout of thousands. I'll buy it.

Well, looks like S7's hit a little run of good eps here! As much as I've loved how so many of the Worf episodes have built up their own arc -- both his own character arc with how he relates to Klingon society, and the civil war arc in some of the earlier seasons -- it really is refreshing to see him released from all those trappings and given a bizarro sci-fi plot episode. I have heard about Troi/Worf being a thing in this season, and am... reserving judgement. Not much to "accurately" judge here, given that they're both confused (but confused in very different stages of the relationship, which is always an interesting contrast). What a way for it to start though. "Hey, guess it worked out for a bunch of alt Worfs!" (On a serious note, though, trying it for the sake of that one Troi who felt heartbroken by a Worf who didn't love her? Actually pretty sweet. Let's just see how well it actually works.) And finally... when they had all those hundreds of thousands of Enterprises popping up all around them, I couldn't help but imagine them playing a game of 20 Questions to sort out which ship was our Worf's ship. Picture this: the captain of Enterprise-D number 4700 gets a hail instructing them to answer a list of questions, starting with... "Is Picard alive?" Ensign Picard? That guy is the first one they ask about?? Well... yes. Still alive, still annoying, as always. What's the next one? Is Crusher the doctor? Well, Wesley does have six doctorates, and only two of those are honorary. We could answer "yes" to this one, right? Are Worf and Troi married? Ouch, bit of a loaded question for us right now. No one's gonna forget the aftermath of that divorce in a hurry. Oh well, Looks like we're the wrong Enterprise, folks! ... (seriously though. imagine a klingon-betazoid divorce. emotional fireworks to rival new year's)

The most obvious point of comparison to this episode is "Cause and Effect" for its episode-length high concept wackiness. It's not quite as tightly scripted but it's more emotional and character-driven. It's an unusual story for Worf on TNG, since while there's some Klingon stuff in it, his behaviour in the episode isn't driven by his Klingonness. And is there a more touching low-key moment in the whole series than when Captain Riker tells Picard it's good to see him again?

Also, I love the way that Dorn plays Worf realizing he'd be Lwaxana's stepson. He's really underrated as an actor.

Picard Maneuver

The continuity staff must have breathed easy with this one. "Hey wasn't Sirtis previously wearing boots and not heels? And didn't she have more rouge?" "Nah, that was in an alternate universe, boss." Speaking of Troi, I always felt there was more chemistry between Sirtis and Dorn in this episode than there was with the entirety of scenes with Frakes. I'm not saying it's the greatest thing ever, just that Sirtis X Frakes isn't just cold as ice; it's heat death of the universe. On Riker, glad to see a cameo of the version form "Genesis" on the Borg-beaten Enterprise. I forgot there was a Wil Wheaton episode left before he returned to being Perfect Boy and becoming Literal Space Jesus. Good thing Alexander was gone. The universe may have imploded having both of them on simultaneously. Regarding the other Worfs, it seemed obvious to me they were also sliding around. That's why Data and Picard of the "correct" universe knew exactly what was going on when they answered the "current" universe's hail 30 seconds after the fact. Also, we see two sickbays investigating the same thing, so we know there were at least two misplaced Worfs. Otherwise he would warped to a different location and would have to track down Geordi again. Of course, this also meant at least two Worfs dropped the ball at the tactical station. I think they never explained why the visor made him quantum leap. It'd be funny if in one of the parallel universes, Worf gets so startled by the surprise party he goes into fight-or-flight mode and bat'leths the party-goers. I guess he can't kill that lady helmsman who is in every episode, though. By virtue of not being paid to shout "Surprise!" she should be spared.

Jeffrey Jakucyk

This is such a fun romp you can just hold your nose at the technobabble nonsense at the end. Yes it would've been nice to see Tasha, Pulaski, and Guinan too, but that would require an episode with a bit more substance and significance.

I think the people who are saying that the Borg world Enterprise would not return it that Worf are missing the point. Not only was Worf and the others returned to their universe but it was also back in time, so that ship would be intact and the Geordi from the other universes would not have been killed.

Whole lot of weird Worf-Troi hate in the comments. Does it stem from deeper, creepier issues, or are they just mad that it was harder to jack off to Troi with the knowledge of Worf having been all up in there?

I can tell you that I personally was annoyed that they felt the need to pair off Troi and Worf (who have no sexual chemistry) in the very last season instead of giving the audience some payoff with Troi and Riker. Since I'm admitting things, in retrospect I dislike how (over the course of TNG and DS9) the writers toned down Worf's different nature and portrayed him more like a prissy human samurai than a truly alien being. I personally prefer TNG Season 1-4 Worf over his later incarnation.

@Dave in MN I've been wondering if anyone else thought this. Worf has a pretty limited range as a character, and he did that well in most of TNG. And as much as I loved DS9, I didn't think he fit in (he usurped Odo's part in the crew). His character just wasn't dynamic enough for the stories, and his 'character development' came off as melodramatic.

As is so often the case, there's really a lot wrong with this one. But as is less often the case, it handsomely rewards the necessary suspension of disbelief. Firstly: the comedy is strong here. Worf's comment in his log that "several competitors were maimed". Data's offer to investigate his first "coupling" with Deanna. Worf's comment about the "acceptable risk" when Deanna points out to him that her mother would in effect become his stepmother. His reaction to Deana kissing his neck. What's wrong with it? Well the different universes are too similar. In many or most of them, the Enterprise won't exist at all, neither will Worf. And it's really his consciousness that's shifting between these alternative realities, not his constituent atoms. Otherwise his constituent atoms might find themselves in an empty region of space, and he'd die quite quickly. Anyway as I said there's no point obsessing the flaws. Best just to play along and if you do, it's quite a fascinating and compelling idea. I don't really see Worf and Deanna as a couple, though. Interesting to see that Wesley has put a bit of weight on in the other universe. I was amused to see Data getting the information he did from the Tricorder. It has a few flashing lights and a tiny screen. A Samsung phone looks considerably more sophisticated. The icing on the cake is the spectacle of the various Enterprises appearing in the same Universe. And the crazed Riker from the universe in which the galaxy has been overrun by Borg. Genius. The CGI looks surprisingly poor when his ship is destroyed, though. But - why would all of these Enterprises turn up? Did they all just happen to be in exactly the same region of space in their respective realities, or what? It makes no sense to me. Still - very, very good. Best one so far in the seventh series, I think.

@ James G, I think most of your objections are answered - if they must be answered - by suggesting that these are all very similar quantum realities. If you think of it like DNA, they perhaps are extremely closely related. That is why Worf is sliding between them, because they have a sympathetic resonance of some kind. It would be obviously impossible for Worf to slide to a universe with no Enterprise, or no Klingons for that matter; there would be no continuity there. That being said, this is a high concept lark so I think as you suggest the point is to enjoy the fun.

Frake's nightmare

It's Worf/Dorn - he scowls, looks fed up, talks about inconseqential maiming - what's not to love ! And he's right about that painting. (OK the Troi/Worf mating seems unlikely to have any longevity - 'Worf smash').

Couple of things I don't understand about this episode is - does the Worf that ends up as first officer on the Riker Enterprise just disappear? And who is the Worf on the bridge of the Enterprise that Worf travels back to? Where does he go? It's a great episode but there are a lot of questions unanswered.

Icarus32soar

There's a fine line between high concept SciFi and BS. And this episode has crossed that line. The idea that an individual's "quantum signature" (yeah, right!) can cross into another quantum universe while everyone and everything else stays intact is the reason for all the humongous plot holes picked up in the thread. This is Braga bragging about his familiarity with trendy cosmology and physics jargon without having understood a bit of it. Pity, because Worf as a character has depth and layers here, and Michael Dorn puts in a stellar performance. And does 285,000 Enterprises mean 285,000 Picards? No wonder the universe is so out of whack!

This is my favorite episode. It lets me decide that all the things I'd have done differently happened in one of those other universes Worf encountered.

Very nice to have a Worf focused show not about Honor and Klingon Politics and the like. If O'Brien had still been around, it easily could have been a DS9 style "let's torture O'Brien" vehicle.

The Borg war Enterprise with the crazed Riker was terrifically disturbing. Not only crazed Riker, but in the background Worf running frantically back and forth. They are both far out of character. Great Braga trip.

Easily one of my favorite episodes if only for the GIGANTIC slice of cake Gordi's chowing down on during Worf's surprise party. Seriously, dude's holding a quarter of the cake on his plate.

It would have been cool if Kira had appeared. Ah well. It's true this was conceived as a Picard vehicle, but they realized Picard was unlikely to be that much different in the slightly altered realities.

I'm not sure I noticed Data's blue eyes the first couple of million times I watched this episode. I don't know who, they are glaringly obvious, and as much as I hate changes to characters, I did enjoy the subtlety of that being a change in the universe.... and Data looked better with blue eyes. Did I just say that? lol Anyway better than he does in Picard. Visor does not set Worf Leaping, it dies set him Sliding and that's because one of the bits they used to make the VISOR was once inside part of a mobile phone shoved inside a TV remote control in San Francisco. I was not a fan of the Worf / Tori relationship, although I liked both characters, and I did want to see a Riker Troi reunion, after all the build up, but I think it's one of the more adult bits of story telling that they both "moved on" only to end up together after the fact. Like way after the fact. That's how it goes sometimes. Crusher was stunned that Ogawa was a doctor because in her universe Ogawa is still whatever chimplike thing she devolved into in that other episode. A great ep, definitely one of the stronger ones. I think giving Worf more funny lines would have been good though, Dorn can do comedy, he has good timing and is immensely likeable.

It seems exceedingly unlikely that the crew would wait seven years to pull the "surprise party" schtick, including the hokey translation of Happy Birthday.

Also...why would the technology in Geordi's VISOR have anything to do with subspace? It's a visual apparatus.

It was actually a Klingon version of "For He's a Jolly Good Fellow," a song that was not under copyright.

At last! Series 7 redeems itself with a great episode. Despite its enormous plot flaws, I’m with Jammer - in this story it doesn’t really matter; the entertainment is what counts here. I love the way we are confused as much as Worf is, and that the changes he encounters range from the small (position of a picture, type of cake, and the best Easter Egg of them all - Data’s blue eyes), through the medium (people suddenly being in different places, change in uniform and rank, Wesley Crusher reappearing, a Cardassian as helm), to the big (Riker captain after Picard’s death, the Bajorans as a new enemy, and the most unlikely of all: a romantic relationship between Worf and Troi!) This is what TNG does best- high concept sci-fi, where you can happily ignore the plot holes and the sheer impossibility of it all, and just sit back for 45 minutes and be thoroughly entertained. I’m torn whether to give 4 stars, but it’s worth at least 3.5

@James G “ The icing on the cake is the spectacle of the various Enterprises appearing in the same Universe” No, it was chocolate. “But - why would all of these Enterprises turn up? Did they all just happen to be in exactly the same region of space in their respective realities, or what? It makes no sense to me.” My take on it is this: in an infinite number of alternate realities, 285,000 is a tiny proportion. Assuming that we can consider similar realities as being ‘adjacent’ in some quantum kind of way, then a ‘rift’ would only extend a small way either side of the reality where it occurred (ours), and all those Enterprises would inhabit believable variations on ‘our’ universe. Yes, the fact they were all in the same place at the same time is a whopping stretch, but that is a plot hole I’m happy to blink and ignore.

Gregory from Earth

Why chocolate at all? Worf likes mint frosting.

Yeah but the lead times on cellular peptide cakes are outrageous.

EventualZen

Last night I had a dream where I kept switching realities like Worf in this episode. It was very scary. I ended up in a mental institute diagnosed with dementia. At one point I was in a reality where the English language was different, some of the keys of the keyboard were foreign to me and I couldn't spell Jammer to get to this website. Each time I thought I'd woke up for real, I was back in another reality. >"We are receiving 285,000 hails," Doesn't make sense, wouldn't the channels be jammed? Like what if 285,000 television stations all started broadcasting at once, wouldn't over lapping frequencies be jammed? Over all score for "Parallels" : 4/10

Small nitpick the cake changed from chocolate to yellow not the other way around

Oh yeah... Ooooooh yeah, baby... Right there... This episode scratched me right where I was itching. An excellent premiss, great execution, dynamic, fast-moving, engaging, some science, some fiction... - LOVED IT, FROM START TO FINISH!!! Incidentally, regarding parallel universes, etc. Surely for that hypothesis to make ANY sense, there needs to be a separate universe for each and every smallest particle (boson? fermion? something smaller? a string?) at each and every smallest measurable (Planck's length?) amount of time AND relative to each and every other particle at each and every smallest measurable amount of time. You do the math... - or don't. Anyway, four stars easy.

Willy Lovington

I say, what a marvellous episode! But I did have to ask my parrot what was going on because it's a real hum dinger of a mindbender, what! He's called Captain Birdbrain, by the way. I did think about giving him the rank of Admiral, but then that would mean he would outrank that fine chap, James Tinkywinky Kirk. Can you imagine the mayhem that would occur if that were to happen? Squawk, Captain Kirk, Squawk, more power to phasers, squark. I do apologise, I seem to have forgotten what I was going to say about this episode. Carry on!

The Bajorans just don't seem like the type of people to become villains.

this ep is a crock of shit

Just a crock? Not a cauldron or perhaps a barrel? Andrew - crocks are notorious ill-equipped to hold your dazzling analysis.

Thunderchild

Apparently the original idea was to have Tasha Yar appear in some of the alternate timelines but they felt it would be too similar to ‘Yesterday’s Enterprise’ so they opted to have Wesley appear instead.

Captain Wow

On the question of whether the progressive changes are logical. I analysed the changes in terms of how far back the divergence has to be, and (in my view) overall it's a quite logical progression, with the divergence point getting further back. I have a page about this, with a table, on my website: https://www.woofhong.com/st/parallels-divergences.php There are some changes that can't be dated. It's not perfect, and for Nurse/Dr Ogawa it works best if we assume that the medical professions are organized a bit differently in the 24th century. Data very briefly explains the basis of the episode at one point, but perhaps he could have mentioned "Many Worlds Interpretation" or "Hugh Everett" to make it easier to look up! The theory is actually quite respectable physics -- probably the most popular alternative to the Copenhagen Interpretation. However, it's generally agreed that even if it's true you couldn't really move to another reality like Worf, but the idea is so useful for science fiction we can't let that worry us. I love this episode. It's a SF adventure, a love story, and a reflection on "paths not taken." And one of the most unforgettable moments of TNG: "We won't go back! ... the Federation's gone, the Borg is everywhere!"

BadLieutenant

I know the changes aren't supposed to go that far back, despite Data having blue eyes which means Soong did that decades ago? Or Data decided t change the color of his eyes? I would have liked to have seen Worf shift to a reality where he was an officer on a Klingon ship. Total missed opportunity there.

The contempt the crew have for Geordi is painfully clear on this one.

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Star Trek: The Next Generation – Season 7, Episode 11

Where to watch, star trek: the next generation — season 7, episode 11.

Watch Star Trek: The Next Generation — Season 7, Episode 11 with a subscription on Paramount+, or buy it on Fandango at Home, Prime Video.

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Cast & crew.

Patrick Stewart

Capt. Jean-Luc Picard

Jonathan Frakes

Cmdr. William Riker

LeVar Burton

Lt. Cmdr. Geordi La Forge

Michael Dorn

Gates McFadden

Dr. Beverly Crusher

Marina Sirtis

Counselor Deanna Troi

Episode Info

• Web Channels
• Star Trek: The Next Generation

After Worf returns from a bat'leth tournament, he is the only person who notices subtle changes on the Enterprise .

Wil Wheaton

Patti Yasutake

Cast appearances.

Patrick Stewart

Jonathan Frakes

Michael Dorn

Gates McFadden

Marina Sirtis

Brent Spiner

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Star Trek: The Next Generation : “Parallels”/“The Pegasus”

“Parallels” (season 7, episode 11; first aired Nov. 27, 1993)

Or  The One Where Worf Gets Promoted, Married, And Geordi Killed

The hardest part about starting a review—starting anything, really—is finding the opening line. It doesn’t have to be perfect, it doesn’t even have to be all that good, but it does need to be something that helps you find a way into the rest of the article, or essay, or story. Sooner or later, I’ll figure something out, but whatever choice I make, I’ll be leaving something behind. Like: Worf has been well-served by  TNG  in the past, but almost exclusively in storylines that focused on his Klingon heritage. Or: Every great episode of television needs to have at least one unforgettable image, and the sight of a million  Enterprises  suddenly winking into existence in the same limited area of space is as unforgettably bizarre as anything the show has ever managed. Or: This comes as something of a shock—a week of two solid-to-excellent  TNG  episodes, and one of them even has a successful, if somewhat unexpected, romantic relationship. Or: We’re back to one of my favorite types of stories this week, something from the “mucking about with timelines” genre, and thankfully, we don’t have to deal with any irritating impersonations from iconic historical figures. (Can you imagine what Oscar Wilde would’ve looked like on this show?) Or I could just muck about with some meta-foolishness that people will assume is a technical error.

Related Content

The point is, eventually I have to pick something. And when I do, that means all the choices I didn’t make will disappear forever. That’s life: a constant process of eliminating options. You have to wonder, though, what might have happened if you’d decided otherwise. As Data mentions in this episode, some scientists theorize that there’s a universe for each possible outcome of any given choice. It’s a daunting thought, and a little claustrophobic, but it makes you wonder, if it were possible to travel between all those universes, what might you see? What others of you are there out there, and how different would your life have gone if you had picked a different major in college (or if you’d gone to college at all); if you’d missed a phone call; if you’d opened a different door; if you’d gone left instead of right. Would you still be you, or are our presences in this world as much defined by what we have done as by what we have. “Parallels” is a fun, trippy bit of sci-fi that has Worf ricocheting through possibilities with little grasp of what’s happening to him. It has the good sense to take a great idea and push it to its logical extremes. The plotting leaves a little to be desired in the climax, but it’s a minor flaw, and the sight of Worf and Deanna Troi hooking up is not to be missed.

Worf has been away from the  Enterprise  on leave to compete in a (unsurprisingly violent) Klingon sport. Worf won the competition (“Several contestants were maimed, but I was triumphant.”), the victory has him in a good mood; unfortunately, it’s also his birthday, and he knows from experience this means that his co-workers and friends among the  Enterprise  crew are going to throw him a surprise party. This assumption proves correct, but during the party, Worf starts experiencing dizzy spells. Worse, every time he recovers from the dizziness, he finds elements in his environment have changed. At first the shifts are subtle: a painting moved to a different wall, people standing in different places, Picard being present after Riker informed Worf that Picard was unable to make it to the festivities. But as the days wear on, the changes become more extreme. Complicating matters, the  Enterprise  is currently investigating the malfunctioning Argus Array, locating near the borders of Federation space. Geordi and Data have reason to believe that the Romulans may have reprogrammed the array to spy on nearby outposts, which is bad enough, but then Worf has a dizzy spell and, suddenly, no one but Worf remembers hearing about the Romulans at all. The jumps keep coming, and the changes keep getting more extreme, until Worf shifts on the bridge into the middle of a battle with a Romulan ship. This time, even the  Enterprise ’s control panels have changed, enough so that Worf is unable to bring the shields up in time to prevent a Romulan hit.

So, clearly, this is more than just stress, or a concussion, or any other primarily medical cause. What makes the first half of “Parallels” so much fun to watch is how subtly the episode eases us into its premise. The first shift happens fairly early on, but it’s presented as a weird glitch, observed and then quickly forgotten. You suspect something must be up, since shows rarely have characters commenting on continuity errors for no reason, but there’s a long enough gap between the first few shifts that it becomes to doubt those suspicions. I’m not saying that I watched this episode and thought for a moment that it would turn into a low-key drama about Worf asking Troi to be Alexander’s godmother (sort of; it’s a Klingon concept), but I did appreciate “Parallels”’ patience in getting to the point. This makes it easier to empathize and even share Worf’s growing confusion. As outside viewers, well-trained in the cues and tropes of fiction, it’s easier for us to recognize that something’s happening, but by refusing to draw attention to the shifts beyond minor camera movement, the episode forces us to be more actively engaged in what’s going on. Plus, it also helps ground the fairly insane final act.

The second half of “Paralells” is fun because it’s a treat to see the different variations the show can put Worf through without ever fundamentally changing who he is, or his place on the  Enterprise . This isn’t the sort of mirror-universe style storyline in which we get to see familiar faces cast in entirely different lights; Worf’s wild ride is more akin to something like  Community ’s “Remedial Chaos Theory,” in which one small change (who goes for pizza?) leads to seven different iterations, with characters remaining consistent even while their situation does not. “Parallels” has more time to play with, and a larger area to play with, and the episode has fun with trying out different directions without having to bust out the agony booth. In this universe, Worf’s painting is on a different wall. In  this  universe, Worf and Troi are dating. One more dizzy spell, and now Worf is married to Troi. I’m not sure there’s a logical story reason for it (maybe the shifts are cumulative somehow, and each one brings him to a more substantially altered timeline than the last?), but each time Worf jumps to a different universe, the change is more drastic then before, building to the final shift in which Worf is First Officer, and Riker is captain of the  Enterprise , having been officially promoted after Picard’s death during the Borg attack of “Best Of Both Worlds.” Oh, and Wesley’s hanging around, so that’s nice.

There are a number of small but effective dramatic moments in “Parallels”; on the whole, this is a nicely balanced episode, changing timelines enough to keep us disoriented, but still managing to find room for some effective emotional beats. The most obvious of those are the increasingly passionate exchanges between Worf and Troi: they begin the episode with Worf asking Troi to take a slightly largely role in his son’s life, and before the end, he’ll learn there’s a universe in which he and the counselor have had two children. (In this universe, Alexander doesn’t even exist; if it wasn’t for Picard’s death, I’d think it was tragic Worf couldn’t just stay there.) The Worf/Troi connection is a little out-of-left-field, but it works, by and large. The two actors have great chemistry together, and while I wasn’t moved to tears by Wife-Troi’s protestations of love, I was impressed at how well the episode sold the idea of the two of them being together. It also gave us a hilariously awkward scene in which Girlfriend-Troi undoes Worf’s hair and attempts to massage his back to ease his tension—Worf’s shocked reaction demonstrated once again how terrific Dorn’s comic timing is. (He and Patrick Stewart are arguably the funniest actors on the show, because neither of them overplay the jokes.) Beyond the romantic scenes, Other-Riker gets a few great exchanges as well, once the Alternate  Enterprise s show up; the first, when he talks to Picard ( our  Picard), and then, when he meets a version of himself from a far more disturbing universe. It’s nothing huge, but it a sign of a great episode when it can allow for moments of character work in the midst of the action.

Criticism-wise, it’s unfortunate that the finale has as much tech-babble as it does. As mentioned, the shot of thousands of  Enterprise s popping into one timeline is a great visual, but by relying on a sort of sci-fi MacGuffin to explain everything  and  resolve the crisis, “Parallels” takes Worf away from the center of the plot for a while, reducing him to a piece on a game board while Riker, Data, and Wesley discuss the best way to solve his problems. As well, it’s almost too bad that it takes so much time to get the multiple  Enterprise  section, as once that starts, there really isn’t time for much more than a mention or two of the other timelines. But these are minor complaints. This is an exciting, clever, and well-written hour of television, and one that finds the heart in what might’ve been dry concept. Worf may not be responsible for getting himself out of his predicament, but in the last scene, he does take a sort of action based on his recent experiences. It may not lead anywhere, but by inviting Troi to dinner (after she kindly helps him get out of that much hated surprise party), Worf is acknowledging that there are choices we don’t make simply because it never occurs to us to make them; and that some possibilities are worth exploring in any universe.

Stray observations:

• It’s surprising that Wesley shows up here and has so little to do; he gets a couple lines, but really, it could’ve been anybody.
• Worf’s freaked out look at Lwaxana potentially being his stepmother is hilarious
• Forgot to mention: Geordi’s VISOR is at least partly to blame for what happens. Funny how nobody seems too broken up when he “dies.”
• Here’s something I don’t understand: what happened to the  other  Worfs? You know, the ones our Worf is supplanting as he goes hopping around from place to place. Wife-Troi seems to think that her Worf is never coming back, and no one contradicts this.
• “Captain, we’re receiving 285,000 hails.”

“The Pegasus” (season 7, episode 12; first aired Jan. 8, 1994)

Or  The One Where Terry O’Quinn Plays A Man Whose Obsessions Drive Him Close To Madness—No, The Other One

Two high-quality episodes in one week—I feel like I won a lottery. (Or else that someone is softening me up for the kill, considering that “Sub Rosa” is coming next week.) And two very different episodes as well. “Parallels,” for all its occasional darkness, was essentially a lark, a trippy genre exercise with some fun, good-natured character development. “The Pegasus” is quite a bit heavier, featuring an actual villain (Terry O’Quinn, playing another in a long line of psychotic admirals), a ship full of corpses stuck inside an asteroid, and a compromised Will Riker. There’s also shouting, drama, yelling, and a very, very pissed-off Picard—and if you’re guessing this is a Ron Moore episode, good show. “Pegasus” allows our heroes to end things on a far more positive note than  Battlestar Galactica  ever did, but there’s still that same fundamental belief in the corruptive influence of power, and how a military mind can have a difficult time grasping that the arms race doesn’t really have a winning side. Plus, there’s Riker having a past that makes him a few shades less than perfect, and if there are few things Moore loves more as a writer than tarnished heroes.

Before the grimness gets going, however, we get a rather delightful cold open: The school children of the  Enterprise  have made a variety of arts and crafts to celebrate the annual Picard Day, and the captain, Troi, and Riker are looking over the results. Picard is, unsurprisingly, extremely uncomfortable about all of this. The only way the situation could possibly be worse for him is if the children where there right then, watching as he judged their efforts—and you just know that any decision he makes is going to require him praising the winner personally. Troi argues in favor of the display, and Riker’s there to make jokes. It’s all quite hilarious (neat to see how far this show has come; I can’t even imagine how botched this would’ve been if they’d tried something similar in the first season), until Picard gets a special message from Starfleet. The  Enterprise  has new orders: It’s to pick up Admiral Eric Pressman (O’Quinn), and head out in search for the  Pegasus , Pressman’s former ship. The  Pegasus  had been assumed lost for years now, but pieces have turned up recently indicating that the ship may still be intact somewhere, and now it’s of crucial importance that the Federation find it before the Romulans do.

There’s something else, too, although we don’t find out about it for a while. The  Pegasus  was Riker’s first tour of duty, and Pressman his first commanding officer. The two keep exchanging looks, Pressman’s avid, Riker’s uncomfortable, and whenever they talk in private, the conversation is heated; there’s an “experiment” that may still be on board the  Pegasus , a piece of equipment that makes Riker very, very uncomfortable to talk about. We also get telling hints about their former relationship when Pressman has an informal chat with Picard. Picard explains that the reason he picked Riker as his first officer was that he respected Will’s confidence and ability to follow his own judgment. To him, Riker is a man who can obey orders without sacrificing his own moral compass. Pressman is surprised by this. On board the  Pegasus,  he tells Picard, Will was a very different sort of officer. Clearly, there’s a past here, and it’s one which has definite relevance in the present, especially now that the dread Romulans have arrived. One of the many highlights of “Pegasus” is watching Picard chat with Commander Siral, captain of the  Terix . They are both excessively polite, but the threats are unmistakable. (You almost wonder if part of Picard’s fury at the end is due to the fact that he’ll have to apologize to this creep for Pressman’s actions.)

Eventually, the  Enterprise  crew is able to track the  Pegasus  to where it got stuck so many years ago—the inside of an asteroid. (We’re in the Devolin System, in case you were wondering.) The ship is half stuck in the rock, and that turns out to be a big clue as to exactly what’s going on here. Picard does some digging, and discovers that there were suspicions of a mutiny on board the  Pegasus , and that no one did much in the way of investigating what really happened on the ship that led to Riker and Pressman (and a few others) escaping. Picard confronts Riker with this, and if there was any doubt that this was a Moore episode to the bone, that disappears here: Picard is frustrated, and he’s especially frustrated at the way his first officer and an outsider are seemingly conspiring together to keep him in the dark. He doesn’t know exactly what kind of danger he’s putting the  Enterprise  in, and Pressman’s determination to push forward (or press—wow, the name’s practically Dickensian, isn’t it) without providing any new answers is making the worst out of a bad situation. The fact that he can’t even completely trust Riker to keep him informed during the crisis is clearly getting to him. It’s easy to accept Pressman as the villain. He’s new, and we’ve had a long history of Starfleet creeps from all over the chain of command. But Riker? Finding out Riker has a blemish on his record stings a little, as it was clearly intended to, and watching him and Picard fight is unsettling. Everybody’s chums on board the  Enterprise ! Quick, somebody make ’em hug.

Unsettling can make for great drama, though, and like other tense episodes on  TNG , “Pegasus” makes the most out of bending the ties between its main characters without actually going so far as to break them. While this episode shares certain basic ideas with  BSG , the essential safety of the core group—the belief that these are all inherently decent people and that they can work together to achieve common goals—remains intact. If anything, the occasional testing makes those ties even stronger, much like the eventual revelation about Will’s past sins serve to make his current steadfast decency seem wiser and more earned. After forcing Picard to take the  Enterprise  inside the asteroid to get closer to the  Pegasus,  Pressman and Riker beam aboard their old ship, where they find an engineering section half fused with solid rock. It turns out the “experiment” Pressman has been so keen to get back is a new kind of cloaking device, one that allows a ship to go invisible and phase through solid matter. This is a big deal—and it also violates the Treaty of Algeron which the Federation signed, prohibiting the development and use of cloaking devices. Pressman doesn’t care, and he also didn’t give much thought to his crew’s safety years ago, which is what prompted the mutiny. Riker, being young and inexperienced, sided with Pressman, and, as ordered, kept silent about what happened ever since. He’s not proud of this.

As horrible pasts go, this one ranks low on the outrage scale, and that’s smart. While this episode gets mileage out of the tension between Riker and Pressman and Riker and Picard, that tension isn’t about us discovering some awful thing that Will’s done that changes everything we know about the character. This isn’t the “drowned kid reveal,” or anywhere close to that. This is more about making a mistake when you don’t really know any better, and then having to deal with the consequences of that mistake; not because it’s punishment or because of karmic retribution, but because that’s just what happens sometimes. And more than that, it’s about how locking on to a single idea can be dangerous. On the  Pegasus , Riker was lacking in self-confidence and confused, so he latched on to the principle that the people in power are always right, even when they aren’t. Pressman is committed to getting the most powerful weapon the Federation can develop, regardless of what that means in the long term. “Pegasus” could’ve been overly harsh or melodramatic; instead, it works towards reaffirming the basic principles of the show, and of Picard’s  Enterprise , by demonstrating the behavior that arises when people put aside careful consideration in favor of knee-jerk response. It seems like a criticism directed at the military, too, both in young Riker’s foolhardy commitment to the chain of command, and Pressman’s fixation on militaristic goals above political and social ones.

Or maybe it’s just reminding us once again that obsession (which has a tendency to short circuit common sense) is never a good idea. Pressman and Riker bring the cloaking device back on board the  Enterprise , but when the  Terix  gets the drop on the ship, Riker tells Picard about the “experiment,” and offers the device as a way to cut through the asteroid and deal with the Romulans in open space. We get another great scene between two terrific actors, as Stewart and O’Quinn face off—but once Riker comes clean about what’s going on, Pressman has basically lost. He tries to take command of the  Enterprise , but Worf refuses his orders, and Picard has Pressman arrested. Riker turns himself in, too. Oh sure, he gets off in the end—it’s Riker, and Riker always gets off (that one was for free, folks)—but it’s satisfying to see him turn himself in just the same. Not because we want him arrested, or because we feel he needs to get punished—well, I certainly didn’t want or feel either of those things. What I did feel, though, was a sense of justice being served, of an order being re-established. Again, unlike  BSG , the good guys get to stay good guys at the end, and they still have a way to wash their hands clean of sin. I appreciate the darkness an edgier drama can provide, but there’s something to be said for a show where the only permanent crimes are committed by the guest stars.

• Not going to lie—I don’t know why I didn’t go for the full “A” on either of these. Just a gut feeling. (They’re both very good, though.)
• According to Memory Alpha, (SPOILER ALERT ABOUT  ENTERPRISE)  the last episode of  Enterprise  takes place during this episode. Even knowing how  Enterprise  ended, that sounds bizarre.
• Also according to Memory Alpha, this is the first time we’ve gotten an explanation for why the Federation doesn’t use cloaking devices.

Next week:  We get to re-open the Prime Directive debate when we head “Homeward,” and Beverly has a forbidden romance in “Sub Rosa.”

Star Trek: The Next Generation

Cast & Crew

Wil Wheaton

Wesley Crusher

Mark Bramhall

Patti Yasutake

Nurse Alyssa Ogawa

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Episode list

Star trek: the next generation.

S7.E1 ∙ Descent, Part II

S7.E2 ∙ Liaisons

S7.E3 ∙ Interface

S7.E4 ∙ Gambit, Part I

S7.E5 ∙ Gambit, Part II

S7.E6 ∙ Phantasms

S7.E7 ∙ Dark Page

S7.E8 ∙ Attached

S7.E9 ∙ Force of Nature

S7.E10 ∙ Inheritance

S7.E11 ∙ Parallels

S7.E12 ∙ The Pegasus

S7.E13 ∙ Homeward

S7.E14 ∙ Sub Rosa

S7.E15 ∙ Lower Decks

S7.E16 ∙ Thine Own Self

S7.E17 ∙ Masks

S7.E18 ∙ Eye of the Beholder

S7.E19 ∙ Genesis

S7.E20 ∙ Journey's End

S7.E21 ∙ Firstborn

S7.E22 ∙ Bloodlines

S7.E23 ∙ Emergence

S7.E24 ∙ Preemptive Strike

S7.E25 ∙ All Good Things...

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Star Trek: The Next Generation

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Star Trek: The Next Generation , often abbreviated to TNG , is the second live-action Star Trek television series, and the first set in the 24th century . Like its predecessors, it was created by Gene Roddenberry . Produced at Paramount Pictures , it aired in first-run syndication , by Paramount Television in the US, from September 1987 to May 1994 . The series was set in the 24th century and featured the voyages of the starship USS Enterprise -D under Captain Jean-Luc Picard .

The series led to four spin-offs set in the same time period: Star Trek: Deep Space Nine , which it ran alongside during its final two seasons, Star Trek: Voyager , Star Trek: Lower Decks and Star Trek: Picard . It is also the beginning of a contiguous period of time during which there was always at least one Star Trek series in production, ending with Star Trek: Enterprise in 2005 .

• Main Title Theme  file info (arranged by Dennis McCarthy , composed by Jerry Goldsmith and Alexander Courage )
• 2.1 Starring
• 2.2 Also starring
• 3.1 Season 1
• 3.2 Season 2
• 3.3 Season 3
• 3.4 Season 4
• 3.5 Season 5
• 3.6 Season 6
• 3.7 Season 7
• 4.1 Remastering
• 5.1 Performers
• 5.2 Stunt performers
• 5.3 Production staff
• 5.4 Companies
• 6 Related topics
• 8 External links

Summary [ ]

Star Trek: The Next Generation moved the universe forward roughly a century past the days of James T. Kirk and Spock . The series depicted a new age in which the Klingons were allies of the Federation , though the Romulans remained adversaries. New threats included the Ferengi (although they were later used more for comic relief), the Cardassians , and the Borg . While Star Trek: The Original Series was clearly made in the 1960s, the first two seasons of The Next Generation show all the markings of a 1980s product, complete with Spandex uniforms .

As with the original Star Trek , TNG was still very much about exploration, "boldly going where no one has gone before". Similarly, the plots captured the adventures of the crew of a starship, namely the USS Enterprise -D . Despite the apparent similarities with the original series, the creators of TNG were adamant about creating a bold, independent vision of the future. The public did not widely accept the show on its own terms until the airing of " The Best of Both Worlds ", which marked a shift towards higher drama, serious plot lines, and a less episodic nature. This helped pave the way for Star Trek: Deep Space Nine and its two-year-long Dominion War arc and preceding build-up, as well as the third and fourth seasons of Star Trek: Enterprise . Star Trek: Voyager capitalized on the heightened crew relationships and familial bonds first seen on The Next Generation. DS9, on the other hand, balanced political intrigue, character development, and series-long plot threads with a rerun-friendly format.

As with the original Star Trek , TNG's special effects utilized miniatures, but due to great advancements in computerized effects and opticals, the show leaped ahead of its predecessor in terms of quality effects. This series marked the greatest surge in Star Trek 's mainstream popularity, and paved the way for the later televised Trek shows.

Four of the Star Trek motion pictures continued the adventures of the TNG cast after the end of the series in 1994. Star Trek Generations served to "pass the torch" from The Original Series cast, who had been the subject of the first six motion pictures, by including crossover appearances from William Shatner , James Doohan , and Walter Koenig ; it also featured the destruction of the USS Enterprise -D. Star Trek: First Contact , released two years later , was the first of the motion pictures to solely feature the TNG cast, transferred aboard the new USS Enterprise -E and engaging with one of their deadliest enemies from the television series, the Borg. Star Trek: Insurrection followed in 1998 , continuing certain character arcs from the series. In 2002 , Star Trek Nemesis brought some of these character arcs and plot threads to a seemingly definite conclusion, although some cast members expressed hope that future movies would yet pick up the story. Regardless, a new generation of actors appeared in 2009 's Star Trek , which created an alternate reality and returned the films' focus to Kirk and Spock .

On television, characters from TNG appeared in subsequent series. Recurring TNG character Miles O'Brien became a series regular on Star Trek: Deep Space Nine , as did Worf in DS9's fourth season . Jean-Luc Picard appeared in Deep Space Nine 's pilot episode , and supporting characters from TNG appeared occasionally on DS9 (specifically, Keiko O'Brien , Lursa , B'Etor , Molly O'Brien , Vash , Q , Lwaxana Troi , Alynna Nechayev , Gowron , Thomas Riker , Toral , and Alexander Rozhenko ). Reginald Barclay and Deanna Troi appeared several times each on Star Trek: Voyager , and Troi and William T. Riker appeared in the series finale of Star Trek: Enterprise , which was primarily a holographic simulation set during the TNG episode " The Pegasus ". However, Star Trek Nemesis was the final chronological appearance of the Next Generation characters for over 18 years, until Star Trek: Picard , which focused on the later life of Jean-Luc Picard. Riker, Troi, Data , and Hugh also appeared in Picard .

In 1994 , Star Trek: The Next Generation was nominated for an Emmy Award for Outstanding Drama Series. During its seven-year run, it was nominated for 58 Emmy Awards, mostly in "technical" categories such as visual effects and makeup; it won 18.

Main cast [ ]

Starring [ ].

• Patrick Stewart as Captain Jean-Luc Picard
• Jonathan Frakes as Commander William T. Riker

Also starring [ ]

• LeVar Burton as Lt. j.g. / Lt. / Lt. Cmdr. Geordi La Forge
• Denise Crosby as Lt. Tasha Yar ( 1987 - 1988 )
• Michael Dorn as Lt. j.g. / Lt. Worf
• Gates McFadden as Doctor Beverly Crusher ( 1987 - 1988 ; 1989 - 1994 )
• Marina Sirtis as Counselor Deanna Troi
• Brent Spiner as Lt. Commander Data
• Wil Wheaton as Ensign Wesley Crusher ( 1987 - 1990 )

Episode list [ ]

Season 1 [ ].

TNG Season 1 , 25 episodes:

Season 2 [ ]

TNG Season 2 , 22 episodes:

Season 3 [ ]

TNG Season 3 , 26 episodes:

Season 4 [ ]

TNG Season 4 , 26 episodes:

Season 5 [ ]

TNG Season 5 , 26 episodes:

Season 6 [ ]

TNG Season 6 , 26 episodes:

Season 7 [ ]

TNG Season 7 , 25 episodes:

Behind the scenes [ ]

Star Trek: The Next Generation was originally pitched to the then-fledgling Fox Network . However, they couldn't guarantee an initial order greater than thirteen episodes, not enough to make the enormous start-up costs of the series worth the expense. It was then decided to sell the series to the first-run syndication market. The show's syndicated launch was overseen by Paramount Television president Mel Harris , a pioneer in the syndicated television market. Many of the stations that carried The Next Generation had also run The Original Series for a long time.

According to issues of Star Trek: The Official Fan Club Magazine from early 1987, TNG was originally planned to be set in the 25th century, 150 years after the original series, and the Enterprise would have been the Enterprise NCC-1701-G. Gene Roddenberry ultimately changed the timeline to mid-24th century, set on board the Enterprise NCC-1701-D, as an Enterprise -G would have been the eighth starship to bear the name and that was too many for the relatively short time period that was to have passed.

Star Trek: The Next Generation was billed initially as being set 78 years after the days of the original USS Enterprise . [1] (p. 16) However, after the series' first season was established as being set in the year 2364 , this reference became obsolete as dates were then able to be set for the original series and the four previous films. When this happened, it was established that the events of the original series were about a hundred years before the events of TNG. With TNG's first season being set in 2364, 78 years prior would have been 2286 . Star Trek IV: The Voyage Home partly takes place during this year along with the shakedown cruise of the USS Enterprise -A .

On the special The Star Trek Saga: From One Generation To The Next , Gene Roddenberry commented, " On the original Star Trek , I practically lost my family from working so many twelve-hour days, fourteen-hour days, seven days a week, and I told them, 'You can't pay me enough to do that.' But then they said, 'Hey, but suppose we do it in a way in which' they call syndication, 'in which we don't have a network and we don't have all those people up there?' And Paramount was saying to me, 'And we guarantee that you will be in charge of the show.' "

Andrew Probert was first hired by Roddenberry in 1978 . However, not until 1986 , when Roddenberry was preparing to launch a new show, entitled Star Trek: The Next Generation , did he call upon Probert to take a lead design role. Everything had to be rethought, imagined, planned and redesigned. As the vision evolved in the designers' minds, the evolution was charted in successive sketches and paintings.

Among Probert's creations, in addition to the new Enterprise starship and many of its interiors including the main bridge , are many other featured spacecraft. The Ferengi cruiser , and even the Ferengi species, are Probert designs.

Roddenberry originally insisted on doing a one-hour pilot and assigned D.C. Fontana to write the episode, first titled Meeting at Farpoint . However, the studio was keen on having a two-hour pilot, mainly because they wanted something big and spectacular to launch the series, especially considering first-run syndication. Roddenberry himself volunteered to extend Fontana's script to two hours, eventually adding the Q storyline to it.

Ronald D. Moore commented, " Gene did not want conflict between the regular characters on TNG. This began to hamstring the series and led to many, many problems. To put it bluntly, this wasn't a very good idea. But rather than jettison it completely, we tried to remain true to the spirit of a better future where the conflicts between our characters did not show them to be petty or selfish or simply an extension of 20th century mores. " ( AOL chat , 1997 ) Rick Berman explained, " The problem with Star Trek: The Next Generation is Gene created a group of characters that he purposely chose not to allow conflict between. Starfleet officers cannot be in conflict, thus its murderous to write these shows because there is no good drama without conflict, and the conflict has to come from outside the group. " ( Captains' Logs Supplemental - The Unauthorized Guide to the New Trek Voyages , p. 8)

Roddenberry tried to recruit many production staff members from The Original Series to work on the new series. These included producers Robert H. Justman and Edward K. Milkis , writers D.C. Fontana and David Gerrold (who served as the main creative force behind the formation of the series), costume designer William Ware Theiss , assistant director Charles Washburn , composer Fred Steiner , set decorator John M. Dwyer , and writer John D.F. Black . Roddenberry also tried to bring back cinematographer Jerry Finnerman , but he declined the offer, being busy working on Moonlighting at the time. However, all of the above people finished working on the series after or during the first season.

Unit Production Manager David Livingston was responsible for hiring Michael Westmore for the pilot episode. ( ENT Season 3 Blu-ray , " Impulse " audio commentary )

Remastering [ ]

After several months of speculation and partial confirmation, StarTrek.com announced on 28 September 2011 (the 24th anniversary of the series premiere) that The Next Generation would be remastered in 1080p high-definition for release on Blu-ray Disc and eventual syndication, starting in 2012 . The seventh and final season was released on Blu-ray in December 2014 .

Cast and crew [ ]

The following people worked on The Next Generation ; it is unknown during which season or on which episodes.

Performers [ ]

• Antonio – background actor
• Charles Bazaldua – voice actor
• Terrence Beasor – voice actor (17 episodes, including the voice of the Borg )
• Libby Bideau – featured actress
• Brian Ciari – background actor: Cardassian ( TNG Season 6 or 7 )
• Amber Connally – background actress: child
• Phil Crowley – voice actor
• Vincent DeMaio – background actor: Enterprise -D operations division officer
• David Dewitt – background actor
• Gregory Fletcher – background actor Borg
• Dan Horton – background actor
• Carlyle King – voice actress
• Mark Laing – featured actor
• Daryl F. Mallett – background actor
• Tina Morlock – background actress
• Jean Marie Novak – background actress: Enterprise -D operations division officer
• Rick H. Olavarria – background actor (1988)
• Jennifer Ott – background actress: Enterprise -D command division officer
• Richard Penn – voice actor
• Judie Pimitera – background actress: Ten Forward waitress
• Paige Pollack – voice actress
• Jeff Rector – background actor: Enterprise -D command division officer
• Gary Schwartz – voice actor/ADR voice
• Beth Scott – background actress
• Steve Sekely – background actor
• Andrea Silver – background actress: Enterprise -D sciences division officer
• Oliver Theess – recurring background actor (around 1990)
• Richard Walker – background actor
• Harry Williams, Jr. – background actor
• Bruce Winant – supporting actor
• Stephen Woodworth – background actor

Stunt performers [ ]

• Laura Albert – stunts
• John Lendale Bennett – stunts
• Richard L. Blackwell – stunts
• John Cade – stunts
• Chuck Courtney – Assistant Stunt Coordinator
• Terry James – stunts
• Gary Jensen – Assistant Stunt Coordinator
• Lane Leavitt – stunts
• Pat Romano – stunts

Production staff [ ]

• Joseph Andolino – Additional Composer
• David Atherton – Makeup Artist
• Gregory Benford – Scientific Consultant
• Steven R. Bernstein – Additional Music Composer/Orchestrator
• Les Bernstien – Motion Control Operator
• R. Christopher Biggs – Special Makeup Effects Artist
• Howard Block – Second Unit Director of Photography
• Stephen Buchsbaum – Colorist: Unitel Video (Four Seasons)
• Alan Chudnow – Assistant Editor
• Marty Church – Foley Mixer
• Scott Cochran – Scoring Mixer: Advertising Music
• Robert Cole – Special Effects Artist
• Sharon Davis – Graphics Assistant
• David Dittmar – Prosthetic Makeup Artist
• Dragon Dronet – Prop Maker: Weapons, Specialty Props and Miniatures
• Jim Dultz – Assistant Art Director
• Shannon Dunn – Extras Casting: Cenex Casting
• Chris W. Fallin – Motion Control Operator
• Edward J. Franklin – Special Effects Artist
• Lisa Gizara – Assistant to Gates McFadden
• John Goodwin – Makeup Artist
• Simon Holden – Digital Compositor (between 1989 and 1994)
• Kent Allen Jones – Sculptor: Bob Jean Productions
• Michael R. Jones – Makeup Artist (early 1990s)
• Jason Kaufman – Prop and Model Maker: Greg Jein, Inc.
• Nina Kent – Makeup Artist
• David Kervinen – Visual Effects Illustrator: Composite Image Systems (4 Seasons)
• Andy Krieger – Extras Casting: Central Casting
• Tim Landry – Visual Effects Artist
• Lisa Logan – Cutter/Fitter
• Jon Macht – Post Production Vendor
• Gray Marshall – Motion Control Camera Operator: Image "G"
• Karl J. Martin – Digital Compositor
• Belinda Merritt – VFX Accountant: The Post Group
• John Palmer – Special Effects Coordinator: WonderWorks Inc.
• Frank Popovich – Mold and Prop Assistant
• Molly Rennie
• Chris Schnitzer – Motion Control Technician/Rigger: Image "G"
• Steven J. Scott – Digital Compositor
• Bruce Sears – DGA Trainee
• Casey Simpson – Gaffer
• Ken Stranahan – Visual Effects Artist
• Rick Stratton – Makeup Artist
• Greg Stuhl – Miniatures: Greg Jein, Inc.
• Tim Tommasino – Assistant Editor
• Peter Webb – Digital Compositor
• Gregory A. Weimerskirch – Assistant Art Director
• Bill Witthans – Dolly Grip

Companies [ ]

• Bob Jean Productions
• Movie Movers
• Newkirk Special Effects
• WonderWorks Inc.

Related topics [ ]

• TNG directors
• TNG performers
• TNG recurring characters
• TNG studio models
• TNG writers
• Character crossover appearances
• Undeveloped TNG episodes
• Star Trek: The Next Generation novels
• Star Trek: The Next Generation comics, volume 1 (DC)
• Star Trek: The Next Generation comics, volume 2 (DC)
• Star Trek: The Next Generation comics (IDW)
• Star Trek: The Next Generation soundtracks
• Star Trek: The Next Generation on VHS
• Star Trek: The Next Generation on Betamax
• Star Trek: The Next Generation on LaserDisc
• Star Trek: The Next Generation on DVD
• Star Trek: The Next Generation on Blu-ray
• Star Trek: The Next Generation pinball machine

External links [ ]

• Star Trek: The Next Generation at Wikipedia
• Star Trek: The Next Generation at Memory Beta , the wiki for licensed Star Trek works
• Star Trek: The Next Generation at the Internet Movie Database
• Star Trek: The Next Generation at StarTrek.com
• 2 Marlys Burdette

Insights Into the Financial Shift for Star Trek’s The Chase to Favor Deep Space Nine

T he journey to bring Star Trek: The Next Generation’s episode “The Chase” to life was fraught with challenges, not least of which involved budgetary constraints. Despite its potential, the episode faced numerous hurdles over the years, and even when it seemed to be on the verge of production, financial resources were reallocated to the then-new series, Star Trek: Deep Space Nine.

Rick Berman, a veteran executive producer for the Star Trek franchise, revealed how “The Chase” took several years and multiple writers to come into fruition. Further complicating matters, even when writers Ron D. Moore and Joe Menosky managed to put together a script, there remained issues that failed to resonate with Berman, drawing parallels to difficulties faced with the now-popular “Darmok” episode.

Reflecting on the challenges, Berman said, “Conceptually, it’s very interesting. I always had some problems with dealing with the whole idea of these kind of prehistoric creatures who are the fathers of us all. It’s not Roddenberry-esque, it’s very ’60s Roddenberry-esque.”

Adding to the complexities, executive producer Michael Piller pointed out an overindulgence in technobabble within the script attributed to Menosky’s creative vision. While defined by his unique ability to explore unexpected realms, Menosky’s approach led Piller to repeatedly question and return the script for revisions.

Furthermore, Ron D. Moore conceded that his initial ideas for the story were overly ambitious, with required effects exceeding the allocated budget. As the episode was being reworked to fit financial limitations, funding was further strained as the Deep Space Nine series began to command a greater share of the budget.

FAQ Section

What episode of Star Trek: TNG faced budgetary issues due to Deep Space Nine?

“The Chase” from Star Trek: The Next Generation experienced budget cuts due to the allocation of resources to the Deep Space Nine series.

Who were the writers that eventually crafted “The Chase” script?

Ron D. Moore and Joe Menosky are credited with the final script for “The Chase.”

Which Star Trek: TNG episode featured an alien species communicating through metaphors?

The episode “Darmok,” which aired on September 30, 1991, features the Tamarians, an alien species that communicates using cultural metaphors.

What were some criticisms of “The Chase” episode’s script?

Critics of the script, including Rick Berman and Michael Piller, pointed to its conceptual issues and excessive use of technobabble.

How did the budget reallocation impact the episode’s development?

The budget reallocation meant that the grand ideas initially envisioned for “The Chase” had to be scaled back, compromising the scope and effects of the final production.

While Star Trek: The Next Generation’s “The Chase” undoubtedly brought a fascinating concept to the Trek universe, its journey from concept to screen was fraught with obstacles. From creative differences to strained financial resources due to Deep Space Nine’s emergence, the episode stands as a testament to the challenges of television production. Despite the struggles, the legacy of “The Chase” endures, underlining the inherent dedication and resilience of the Star Trek production teams to tell compelling and imaginative stories, even amid fiscal and creative challenges.

Screen Rant

Star trek: discovery directly called back to one of picard’s greatest tng episodes.

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Star Trek: Discovery Season 5 Returning Cast & New Character Guide

Is star trek: discovery planning to resurrect book's dead planet, star trek: discovery’s neelix reference reveals what happened after voyager.

Warning: This Article Contains SPOILERS for Star Trek: Discovery Season 5, Episode 8 - "Labyrinths"

• Captain Burnham in Star Trek: Discovery faces a mind-bending test similar to Captain Picard's in "The Inner Light."
• Discovery Season 5, Episode 8 explores Burnham's inner journey to complete the Progenitors' treasure map.
• Comparison between Burnham and Picard's experiences shows a clever callback in Star Trek: Discovery.

Star Trek: Discovery season 5 sent Captain Michael Burnham (Sonequa Martin-Green) into her own mindscape, and it's a direct callback to Captain Jean-Luc Picard (Patrick Stewart) in Star Trek: The Next Generation 's "The Inner Light." In Star Trek: Discovery season 5, episode 8, "Labyrinths", written by Lauren Wilkinson & Eric J. Robbins, and directed by Emmanuel Osei-Kuffour, Burnham retrieves the final clue to complete the map to the Progenitors' treasure. Michael's inner journey is a test to assess her worthiness by 24th-century Betazoid scientist Dr. Marina Derex.

On X, Jörg Hillebrand (@gaghyogi49), who was a renowned researcher for Star Trek: Picard season 3, shared how Captain Burnham was hit with a nucleonic beam in Star Trek: Discovery season 5, episode 8, "Labyrinths" - the same way Captain Picard's mind was sent to the long-dead planet Kataan and lived the life of Kamin, one of the people of that lost civilization, in Star Trek: The Next Generation season 5, episode 25, "The Inner Light". Check out Hillebrand's side-by-side comparison of Star Trek: Discovery and Star Trek: The Next Generation below:

As Burnham seeks the universe's greatest treasure in Star Trek: Discovery season 5, she'll need help from a host of new and returning characters.

Star Trek: Discovery Season 5 Has Lots Of TNG Callbacks

Discovery goes deep into star trek's tng era.

The nucleonic beam that struck Captain Burnham is just one of many callbacks to Star Trek: The Next Generation in Star Trek: Discovery season 5. The entire fifth and final season of Discovery is a sequel to the TNG episode, "The Chase," which established that a race of ancient humanoids (called "the Progenitors" in Discovery ) created humanoid life in the galaxy. Star Trek: Discovery retconned one of the Romulans in TNG as Doctor Vellek (Michael Copeman), a member of a group of TNG -era scientists who found the Progenitors' life-creating technology and hid it, leaving behind a series of clues.

One of the scientists, Dr. Marina Derex, is an empathic 24th-century Betazoid like Star Trek: The Next Generation 's Counselor Deanna Troi (Marina Sirtis).

Among the clues in Star Trek: Discovery is Dr. Vellek's, and Captain Burnham and Captain Saru's (Doug Jones) mission to find it on Lyrek was a callback to Star Trek: The Next Generation episodes like "The Arsenal of Freedom." Discovery also introduced an android named Fred (J. Adam Brown), who resembles TNG 's Data (Brent Spiner). Star Trek: Discovery season 5 also wove in callbacks to Star Trek: Deep Space Nine, Star Trek: Voyager, Star Trek: Enterprise , and Star Trek: The Original Series , as well as a nod to Star Trek: Lower Decks ' Hysperians .

New episodes of Star Trek: Discovery season 5 stream Thursdays on Paramount+

"This happened with Vietnam too": "The Sympathizer" star Alan Trong on the power of anti-war protest

The actor discusses the role he first read for, the legacy of us vietnamese journalism and who sonny is based on, by teresa tran.

The following contains spoilers for "The Sympathizer" Episode 6, "The Oriental Mode of Destruction"

Fiction reflects reality in HBO’s “The Sympathizer,” in a way that feels both eerie and timely, where a young anti-war journalist reports on the effect of a war on innocent children and families. Alan Trong who plays Sonny, says the one person he was mostly in fear of watching the show was his mom. Having left Vietnam by boat in the ‘80s, she watched the show for the first time and was markedly shaken up. 

“She was like, 'I don't cry during movies.' She's very Vietnamese, but she cried during this,” Trong tells me in a Zoom interview.

As someone born and raised in Seattle, Trong lamented that American textbooks would often summarize the Vietnam War in a brief paragraph and conveniently leave out the effect the war had on Vietnamese civilians and refugees . “The more and more conversations that I have with non-Vietnamese people, the more I don't blame them [for not knowing],” Trong says. “People just don't know how our parents came here. It was never in any of our curriculums to know about this.”

But now all of that changes for the next generation with “The Sympathizer” which aims to depict the story of Vietnamese refugees in America post-1975 , from their side. Inspired by the real-life Vietnamese American journalists who opposed the Vietnam War in the 1960s to 1980s, Trong’s Son Do, nicknamed Sonny, is an investigative reporter who edits a newspaper that serves the Vietnamese American community. Similar to how the character is written in the novel of the same name by Pulitzer Prize-winning author Viet Thanh Nguyen, Sonny left Vietnam with the goal of one day returning with his education to help liberate the country from the United States. While studying in California, he led a group of Vietnamese anti-war students in monthly discussions at his college, which is wheen he befriended the Captain (played by Hoa Xuande ). 

When Captain returns to California after the fall of Saigon in 1975, he reunites with Sonny, who is revealed to have never left America since his student days. Where the Captain is sort of a calmer, morally ambiguous character intent on survival – striking a delicate, tenuous balance between the Southern Vietnamese refugees and his communist higher-ups – Sonny is a passionate, naked leftist, eager to solicit a direct quote or debate his opponent’s inconsistencies for his newspaper. 

"He’s just so frustrated with hearing about his people, kids and families that are being killed that have nothing to do with the war."

Their relationship begins to clash when Sonny becomes entangled with Captain’s former lover, Sofia Mori (played by Sandra Oh ), and when he starts to report on the General’s (played by Toan Le) grassroots, anti-communist military group, garnering him suspicions as a potential Viet Cong communist mole. At the same time, Sonny’s self-confidence begins to falter when Captain calls him out for his role in the Vietnam War effort, or specifically his lack thereof, leading to a violent debate and confrontation in Sunday's episode.

Trong is currently co-starring in the Broadway play “An Enemy of the People,” with "Succession" star  Jeremy Strong in New York City. In the Henrik Ibsen play, a man dares to publicly expose the hypocrisies and truths of his society and is punished for it. Even Trong found similarities between his current work and “The Sympathizer,” sharing how in both works, “people don’t really care about the people in the middle.” In other words, the people who get stuck in the crossfire deserve to have their stories told. Likewise, while chatting, I couldn’t help but bring up how Sonny’s fictional student journalism in the show mirrors the current real-life student reporting on the university protests against the Palestinian genocide, both of which have received backlash.

Trong sat down with me to discuss Sonny’s arc and the parallels between the show’s political messages and the current student campus protests. 

The following interview has been lightly edited for length and clarity.

Did you read the book before or after getting the role of Sonny? 

I read the book eight to nine times. People don't know this, but Hoa [Xuande] and I auditioned for the Captain. I never read anything for Sonny. It was all just for the Captain. They flew me to Korea for the first screen test. And there were certain directions that [Director Park Chan-wook] would give me on certain scenes where I'm like, the Captain wouldn't do that. He's an emotionally repressed kind of character. Looking back on it now, I'm pretty sure early on he knew that he wanted me as Sonny instead. But yeah I had read the book to just prepare for this. It was surprisingly informative for me, as someone who was born and raised in Seattle. It sounds weird to even say it out loud, but as a Vietnamese person, I just didn't really know a lot about my history.

I read that Sonny from the novel was a character loosely inspired by real-life Vietnamese American journalist Duong Trong Lam, who reported on anti-war activism and was assassinated in San Francisco in 1981 at 27 years old. Did you take any inspiration from this real-life journalist when prepping for the role?  

Yeah, absolutely,1,000%. I didn't know that Sonny's character was written based on Lam Duong. We share the same middle name, which is Trong. It's so crazy. I [spoke with] Viet Thanh Nguyen at the longevity party scene [in the show] because he had his little cameo there. He had told me that when he was writing Sonny there were parallels between the character and Duong Trong Lam. It's the historical fiction adaptation of that, literally. There’s the PBS Frontline documentary that's great about the Vietnamese journalists from 1981 until 1990 who were, as they would say, assassinated in America. Not a lot of that is in the script story-wise, but some parallels that helped activate a feeling of self-righteousness, anger, protectiveness, empathy, melancholy and guilt of maybe [Sonny] could have done something more. I could have done more to save my people. That's kind of the thing that drove Sonny. 

When I was doing “The Sympathizer,” I had a buzz cut. We were looking for a wig for a long time. I had sent photos of Ben Fong Torres. There’s a documentary that came out about him during the ‘70s era. What you see in the show is [Torres’] swoosh. And it's crazy because if you go back to the other documentary [I mentioned], that's the exact hairstyle that [Duong Trong] Lam had when he first came over through the American Field Society, which sponsored the students to study in America. There’s a photo of him in black and white . I was really geeked out. We didn't even plan that.

What do you think are Sonny’s primary character motivations as a journalist in the post-Vietnam War, post-1975 era? What did he feel was his responsibility? 

You see this in Episode 2. I was really nervous about being in Hoa’s face like that, but Director Park was like, '\"Just trust me on this. Just go in with full conviction in what you're saying. Almost cross the line right away. Then that way you can mask any guilt you have of, maybe you didn't do enough to stop this war." Because the Captain went back during the war, and Sonny stayed in America. Sonny will never admit this, but later on in the story, he feels like a poser and like he's not doing enough. Those types of human beings, whether they're journalists or not, it's an interesting human study. It's like, why are you acting with so much gravitas? It's because there's probably something under that that you're trying to cover up. And that was really interesting for me to play with.

In the novel, Captain describes Sonny as a very radical leftist character. He has communist sympathies in the same way that Captain is a sympathizer for the refugees in America. So I was curious, in your opinion, what communist beliefs does Sonny believe in? Any beliefs he disagrees with? 

Can I read you something? This is kind of in that world. This isn't in “The Sympathizer,” but there was a quote from [Duong Trong] Lam that he had when he was getting a lot of criticism for being a communist where he goes, “If you think I'm a communist, then prove it.” Journalists love to stir things up like that. It's fun for them. That was very helpful for me to make this guy human. Lam was not only a journalist but he also ran the VYDC, the Vietnamese Youth Development Center, which helped refugees with legal jargon for the Department of Social Services. If you're doing something that specific, then that means you care about your people. And it doesn't have anything to do with politics necessarily. A lot of the criticism that Lam was getting there was: one, they thought he was too young. Two, they thought he was too liberal. And three, they thought he was too Americanized. These are things I can relate to on a personal level that's like, why don't you take me seriously? 

"When you look at journalists who have been assassinated, there are a lot of cases where there was never justice."

To be further honest with you, I never put myself in a headspace of “I'm a communist” when I was playing Sonny. I would focus on printing photos of children from that era and listening to Trinh Cong Son, the Bob Dylan of Vietnam. These are songs of poetry where he's painting a picture of mothers sweeping the front of their yard, and then next thing you know it's getting bombed and then she doesn't have a yard anymore. That's what was activating for me. 

Can you break down Sonny’s emotions leading up to that shocking scene in Episode 6 when he gets assassinated by the Captain? 

It’s so funny, my family was like, “So do you die in it? Are you gonna die?” Because I die in everything I’m in. I’d say fear. Guilt. Loss of connection with another person who is my age and looks like me. Unexpressed grief. Franticness. Frustration that we couldn’t communicate effectively. I remember shooting some stuff in Episode 5 where there were moments where Sonny’s obviously poking at the Captain. I look at the Captain and think, is there a world where we could be family or friends? Are we actually on the same page here? Because this war s**t is really lonely. Hoa’s a great scene partner. You see so much behind his eyes, saying, "Can we be together in this? Does it have to be like this?" A lot of unexpressed stuff. I think that the ripple effect on the Captain for the deaths of Sonny and the Crapulent Major is that these are things that he didn’t want to do. Guilt. I think the Captain in the second half of the book and show, he’s living through a state of perplexion and confusion because two ghosts keep on haunting him. 

We’re living in such a different time with social media now, but back then, thanks to these brave journalists, there were physical representations of civilians being massacred, innocent families. That is the reason I think why it sparked. And as you see why it’s sparking so much right now because you see people who have nothing to do with politics, nothing to do with an agenda, a regime, anything, they’re just trying to find grains and rice for their kids. I think there was a statistic from a panel that Viet Thanh Nguyen did at either Harvard or Yale, where he said there were approximately 58,000 American soldiers who died in the Vietnam War. But there were 3 million Vietnamese that were massacred or didn't make it out. And then other additional millions in Laos and Cambodia, which many people don't even know about.

There’s a line in the play I’m in right now called "An Enemy of the People" that gets a rumble of laughter every night thanks to Amy Herzog, our playwright. Also, Henrik Ibsen. But the line is, "In America, we wouldn't have to worry about anything like this." And it gets a rumble of laughter every night. Sometimes I'll be backstage listening to that laughter before I enter the stage. And I'm like, wow, this is kind of heartbreaking in a way that thousands of people are able to relate and recognize this pain that in America, we feel completely lost in leadership and empathy and these things. And that's why the joke hits so hard. And that's like watching Episode 4 of “The Sympathizer,” there were so many moments where I would just be laughing so hard. But then after the laughter, I'd be like, "Damn, I feel kind of sad inside."

Do you think there are any similarities between the conflicts and motivations that Sonny navigated in the show with what’s currently going on right now with the student campus protests sweeping the nation? 

If anybody follows Viet Thanh Nguyen on any social media, you’ll see that he’s attending a lot of these protests. He used to do it when he was younger as well. Of course, there are parallels. Yeah, of course. Going back to the feeling of frustration that Sonny had, at a certain point, he’s not taking a clear political side. He’s just so frustrated with hearing about his people, kids and families that are being killed that have nothing to do with the war. That’s why people are protesting. There was this other thing I saw from my favorite poet Ocean Vuong. He was saying something along the lines of, "I can’t believe I’m living in a time where it’s a crazy idea to stop killing children. It’s like what are we living in right now?" This is not really a political thing. It’s like a human thing. At least what I’m talking about and what Sonny is talking about. But of course, there are parallels. 

In the play [I’m in], Petra who’s the daughter, sits down and goes, . . . something along the lines of, "I hate that I feel this way. I keep on having this thought that they deserve what comes to them." Dr. Stockman, who is played by Jeremy Strong, whose character has every human right to be cynical, to be like, you’re right. F**k those people. Yet he’s kneeling down and he goes, "We shouldn’t think like that. In a few years, I’m going to be gone. You’ll be gone. But your little brother will still be here and the truth will be told." The through line of the play is that we just have to imagine. It hits every night. Part of me has avoided looking at [the news], because I’m just so sensitive to it. Because this happened with Vietnam too. 

Do you think Sonny views the act of the protest and its ability to create change in a pessimistic or optimistic light? Or do you think maybe he started out viewing it one way and then by the time he died, he viewed it in another way? 

I don’t think anything is ever linear. With Sonny, I think it fluctuates. People will call him a poser and he feels like a poser himself. He feels like a complete fraud. I think a person like that has to have high feelings of pessimism. You can only feel that when you’re alone when you come home to your apartment. The moment you walk out, you act all, "I’m confident, I’m convicted in my power." That’s how I felt playing him. Let’s fake it til you become it, you know? Sonny loses hope over the course of the show whether he shows it or not. That’s why you see him getting frustrated with the Captain. Perhaps pessimism and cynicism are a byproduct of that frustration with the Captain. He looks at the Captain and he’s like, "You are somebody that can absolutely help this cause. And you’re choosing not to. Like the war is over. What the f**k are you doing? You know this is not right."

How does the character of Sonny reflect the legacy and impact of Vietnamese journalism, student journalism or even Vietnamese student journalism in the U.S.? Any combination of those.

That’s a great question that I don’t know if I have the answer to. When you look at journalists who have been assassinated, there are a lot of cases where there was never justice. I’m not an activist. I look and I observe the situation I see. This is a show with some parallels to that. I don’t know if it’s even my place to answer that, because I’m not family of these victims, because that’s what they are. I really hope that having Sonny’s character written as a character contributes to some way of showing that somebody tried, you know? I’m being super vague, but with the kind of things that we’re living through today. These students are trying. Whether there’s something that comes out of it or not, they’re trying to stop the war or bring attention to a specific region of a country, to stop military funding. That’s what Sonny was trying to do in the story. He’s a representation of the anti-war movement. 

You’ve made it to “The Sympathizer” and you’re working with heavyweights like Sandra Oh, Robert Downey Jr. and Director Park Chan-wook. What was that like?  

It’s like a masterclass, honestly. I don’t really have scenes with Robert, but he’s just been a supporter. He and [his wife] Susan came to see [“An Enemy of the People”]. He and Jeremy Strong did a movie called “The Judge,” which I really recommend to anybody who hasn’t seen it. That movie is one of my favorites. But Robert’s been supportive of not just me, but everybody. He’s aware of what self-esteem is. Sometimes we as humans need a little boost. He’s like, "Hey, just want to remind you how dope you are." He has that understanding of human behavior that’s like a real leader.

Sandra is an effortless scene partner. I think all of us hope to evolve into someone like that, someone who is questioning everything openly in a non-combative way. Just a very, "I’m holding responsibility for my function in this story." The level of care that’s put into everything. It was dope to see an experienced, very seasoned Asian female actress who has so much power in her body and conviction in her creative choices.

Speaking of seasoned Asian American and Asian female actresses. Because I’m somebody who grew up watching “Paris by Night ,” what was it like getting to work with Vietnamese legends Nguyen Cao Ky Duyen and Kieu Chinh? 

[Laughs] Ky Duyen must get this all the time from our generation. "Oh my god, we used to watch you at karaoke parties!" It’s just weird. It’s like, "Whoa! Aren’t you the emcee of that one show?" That’s crazy. Like my uncles were so lit off of Heineken, Cognac and f**king Macallan and there’s belligerent music blasting. This is Seattle for me, and I’m watching "PBN" on VHS tapes. It’s like, [to Ky Duyen], "That’s you, isn’t it?" [Laughs]. I didn’t really have any scenes with her, but we were together a lot. 

My Ba Ngoai was telling me about Kieu Chinh. I really had to catch up with Vietnamese cinema. And I finally watched " Journey from the Fall" (2006) , which starred Kieu Chinh. Which is an amazing film. Oh my god. To be honest, I wasn’t too familiar with it. But as my Ba Ngoai was telling me, she’s like earlier generation. She did all those movies. I felt so honored to be working with them both. 

What was the dynamic like working with the other actors on “The Sympathizer”? Was it cool to get to work with a mostly Vietnamese cast?

Oh, I can’t stand them. I can’t stand them. [Smiles]. I mean, no, it’s hard to not get close, you know? You’re completely thrown into this thing that’s so nerve-wracking, joyful, fulfilling and stressful. You have to lean on each other. Vy [Le], who plays Lana, is from Nha Trang, but she went to a boarding art school in Boston. So her Vietnamese is on point. But I feel like the more she hangs out with us, her Vietnamese gets s**ttier and s**ttier. We have that broken, five-year-old Vietnamese, you know? Then there’s Fred [Nguyen Khan], who’s from Montreal. Hoa is from Australia. I’m born and raised in America. There are these three different diasporas. But at the same time, we have a shared sense of humor of not feeling like we belong. We traveled together in Thailand and we went to Vietnam afterwards. We spent a month there just to get away and eat and drink. And we went to these gay clubs in Saigon, which I had no idea even existed. Yo, Saigon is getting progressive. When I would travel with my dad to Vietnam, I was always told that this is what Vietnam is, but until I went on my own as an adult and experienced the country for myself, I was like, yo, this is actually not what my dad told me it was. 

Yeah, it’s because [our parents] left at a very specific time. I think Vietnamese Americans, who don’t visit the motherland often, or who just get their information from their parents, get information that is stuck in time. We’re told Vietnam is conservative, that it’s very homogenous. But when you start to craft your own relationship to Vietnam as an adult, outside of your family, you realize that Vietnam is very diverse. They’re actually much more open-minded than you think they are. And it’s because they’re humans and not just quote-unquote Vietnamese people that we’ve been told growing up. I’m really glad that you and the cast got to experience that after the shoot.

That was so beautifully said. I’m definitely a Saigonese kind of guy. 

It’s the best acting job I’ve ever had in my life. 1,000%. There’s no contest. I’ve never done theater, like a real play. I did a small musical as a background character and some stuff in community college. But I’ve never done a real drama play on stage. It’s so fulfilling. I have so much gratitude for even being able to be a part of something like this. Because it’s like I kind of feel like I’m relearning how to act. It’s like free education. 

Jeremy Strong is . . . there’s a reason why he’s nominated for a Tony. He’s different every night. He cares a lot about what he’s doing. I share similar sentiments of feeling that the space is sacred and somehow almost being drawn to this dangerous element of theater. There are moments when we think, why did we sign up? Like this is crazy. There are nights when the nerves start kicking in because of certain circumstances. But then we enter the stage anyway, and it’s a lot smoother than I thought it was going to be. 

Want a daily wrap-up of all the news and commentary Salon has to offer? Subscribe to our morning newsletter , Crash Course.

Your character Sonny in “The Sympathizer” has a calling when it comes to his profession. Do you feel similarly, that you have a particular purpose as an actor?

Yeah, 1,000%. I have a little brother. I feel like not only him but there's a lot of younger Vietnamese kids who may or may not have access to a role model. Now we're talking about representation and all these cliché things, but it's important to me. Because when I was growing up, I never felt sexy. I never felt like I was allowed to cry, that I was allowed to be scared of something, that I was allowed to be self-righteous about something, that I was allowed to be petty if I wanted to be petty. It's a very common thing in our culture, you know? I remember what it was like to want to date a white girl because that was what made me feel powerful. This sounds kind of self-important, but at times it does feel like, “Well s**t, I'm lucky enough to get this far.” I would like to keep on being selective about what I do and being curious and checking in on my humanity so that my little brother or somebody that is under 10 years old can see me. If I would have known that I could be more than enough through watching movies, it would have saved me at least a lot of pain and self-doubt as I was coming into adulthood.

"The Sympathizer" airs Sunday nights on HBO and streams on Max.

about this topic

• In “Watchmen,” just as in real life, feelings about Vietnam remain uncertain
• With "Da 5 Bloods" Spike Lee triumphantly reflects with Black experience of the Vietnam War
• How the trauma of the Vietnam War led to the age of "alternative facts"

Teresa Tran is a writer, critic, and filmmaker based in Atlanta, Georgia

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