Reader Request: Sub Rosa (Star Trek: The Next Generation)

Sometimes my readers love to torture me. This is one of those times. Honestly, I think I have been putting off doing reader requests specifically to avoid watching this episode again. As you’ll note from my list of the 100 Greatest Episodes, plus another review since then, I think highly of the show Star Trek: The Next Generation, but it’s not perfect. Sometimes, they missed the mark, and this episode is definitely not a bullseye. This is more akin to throwing the dart, missing the board entirely, and having it ricochet into your buddy’s eye. It’s not the worst episode of TNG, but it’s solidly in my bottom five. If you want to know my least-favorite TNG… well, request it. I’m not watching that piece of shit again without reason.

Quick Recap of Star Trek: The Next Generation: Takes place about 100 years after the original Star Trek and features the crew of the next starship Enterprise. The notable crew members are Captain Picard (Patrick “I’m basically made of magic” Stewart), Commander Riker (Jonathan Frakes, the episode’s director), chief engineer Geordi La Forge (LeVar Burton), Chief of Security Worf (Michael Dorn), Android Lt. Commander Data (Brent Spiner), Lt. Commander Counselor Troi (Marina Sirtis), and this episode’s focus Doctor Beverly Crusher (Gates McFadden). They explore the universe dealing with random problems ranging from legal issues to reality-warping aliens.

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Not pictured: Wil Wheaton, who wisely wasn’t in this episode.

That’s enough background, on to the creepy ghost sex!

SUMMARY

StarTrekTNGFuneral.pngThe episode begins at the funeral for Beverly Crusher’s grandmother, Felisa Howard (Ellen Albertini Dow), who was apparently a doctor on a Scotland-esque planet called Caldos IV. During the funeral, Crusher sees a weird guy (Duncan “I was Zorro in the 90s” Regehr) leaving that apparently does something to her ladybits, but from her face might just have been gas. No one else appears to have seen him.

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Crusher goes back to her grandmother’s cottage (which, despite it being the future, is still a cottage), and looks through it for mementos, finding her grandmother’s diary and a candle which apparently had great spiritual value to the Howard Family (Crusher’s maiden name). As she heads upstairs, a man named Ned Quint (Shay Duffin) enters and blows out the candle, saying that it was bad luck for her grandmother. Beverly kicks him out, because that’s what you do to creepy strangers who come in and mess with your stuff.

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You mean I don’t look sane?

Back on the Enterprise, the engineering team determine that there is a problem with Caldos IV’s weather system, and that an unexpected storm is brewing. Subtle. Meanwhile, Crusher has been reading her grandmother’s diary and discovered that, despite being 100 years old, her grandmother was in a casual sexual relationship with a man in his 30s named Ronin. From the diaries, it appears that Ronin started seeing Crusher’s grandmother, Felisa, shortly after the death of her own mother. Since we already had dialogue in the episode that mentioned that Crusher’s own mother died when she was young and that her grandmother raised her, this is the creepiest foreshadowing ever.

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Stroke that… knee?

While Crusher sleeps on the ship, a ghostly presence starts to undress her then says her name, waking her up. Crusher goes to talk to Counselor Troi about it, saying it’s a dream, and the dialogue in this scene might be the worst in almost any episode of any version of Star Trek. Not just because Crusher is discussing reading a “particularly erotic chapter of [her] grandmother’s journal,” something that SHOULD NEVER BE IN A TV SHOW, but because it comes off as a weirdly clinical discussion about sexuality. I suspect this is tied in to the fact that women getting sexual gratification, even in the abstract, is essentially guaranteed to get your ratings boosted to MA, but maybe the person writing the dialogue just hadn’t ever heard anyone talk about sexual experience. The credit for the screenplay is a woman (Jeri Taylor), while the teleplay credit is a man (Brannon Braga), so I ultimately have no idea what led to the weird-ass sequence between these two characters.

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This is not normal.

The next day, Crusher visits her grandmother’s grave and runs into Quint (sadly, not the one from Jaws). Quint warns her that a ghost is causing the weather problems, and that if she lights the candle, the ghost will come for her. He also warns her not to go to her grandmother’s house. However, a thunderstorm comes up, which prompts the Enterprise crew to start working on fixing the weather control system. Crusher is forced to take shelter in her grandmother’s cottage, finding it full of flowers.

She hears things moving around the house and sees the reflection of Ronin (the guy from the funeral) in a mirror. Ronin talks to her as a disembodied voice, telling her that he was the visitor from the night before. She moves to call the Enterprise, but is struck with sudden disorientation and either arousal or pain (maybe both?). The voice says that it loves her, just as it loved her grandmother before her. It claims it was born in 1647 in Glasgow and lived with Crusher’s ancestor Jessel Howard, then stayed with every Howard woman after the last one died (apparently the surname was matrilineal until Beverly?). This includes moving to Caldos IV at some point.

The spirit then tries to “merge” with Crusher, which she resists… only for her to be seen back on the Enterprise acting as if nothing has happened. When Troi questions her, she says that she’s “seeing” Ronin, but only in the physical sense.

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On the bridge of the Enterprise, fog is rolling in, as weather control is now malfunctioning onboard the ship. The crew catches Quint trying to alter something on a panel, saying that someone is going to kill them all. An energy discharge kills Quint before he can explain. Beverly determines that he was killed by an anomalous energy pulse, meaning it was no accident (Dun dun duuuuun).

Beverly returns to the cottage to talk with Ronin, who is now corporeal, but only for a few minutes at a time. Ronin begs her to light the candle, which is where he lives. She has to go back to the ship to get it, while Ronin travels to the ship in a beam of energy. She lights the candle in her quarters on the ship, which allows Ronin to appear and merge with her. Crusher then resigns her post with Starfleet and states her intention to become a healer on Caldos IV. Picard is unable to stop her, legally. Searching for the energy source that killed Quint, Geordi and Data find it coming from Crusher’s Grandmother’s grave. Crusher and Ronin “merge” again, this time in a manner which appears pretty much fully sexual. Picard comes to check on Crusher, finding her in a mildly compromising position.

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Oh, yeah, merge that weird non-corporeal essence with me, baby.

StarTrekTNGRonin2Picard points out that something is wrong with Crusher, forcing Ronin to appear as himself. Picard questions Ronin until he disappears, resulting in Ronin shocking Picard in the same way that he killed Quint earlier. Refusing to let Picard die causes Ronin to separate from Beverly, with Ronin intent on stopping Geordi and Data from exhuming Felisa Howard’s grave. Ronin, in Felisa’s body, rises from the grave and disables the pair. When she arrives, Beverly realizes that Ronin is an Anaphasic lifeform which has to bind with a host in order to keep living, finally destroying the candle. Ronin tries to possess her again, but she kills him with a phaser, before dropping to her knees crying.

At the end of the episode, Crusher and Troi are talking about the fact that Crusher is somewhat sad that she couldn’t be with Ronin, because he made her grandmother very happy.

END SUMMARY

This was not an easy re-watch, and I was tempted to just do it from memory, but in the end I caved.

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NOT. HEALTHY.

Here’s the thing about this episode: It never feels anything but creepy to me. Crusher says at the end that Ronin “seduced” her and her grandmother, but the first time we see her interacting with him, he’s undressing her while she sleeps. The next time, he keeps her from calling out to the Enterprise, makes her physically weak, then apparently “merges” with her without her consent. From then on, we’re shown that she’s now almost physically dependent on Ronin, to the point that she’s shaking like a heroin addict while waiting for him on the ship. He’s literally corrupting her mind to make her want him. Nothing about this is “seduction,” unless you have a very messed-up idea of courtship. And that could very easily have been brought up at the end. Beverly could have expressed some anger at the fact that she was basically mind-raped for the entire episode, but no, instead, she says “oh, who cares if he literally manipulated her mind to make her love him, as he had done countless times before, he made her happy.” And then she’s kind of sad that she couldn’t just stay happy with Ronin. I get that the ghost orgasms were really good, but, seriously, he was clearly altering your mind, woman!

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For the record: Yes.

This isn’t a new concept, that maybe it’s worth losing your free will to gain happiness. And if the story was about addressing that idea, maybe it wouldn’t be so bad, but it’s not. That’s not even a particularly great concept to address in Star Trek, since one of the primary conceits of the series is that humanity is basically always in a state of self-actualization, which makes it basically incomparable to the search of happiness in the modern world, where humans rarely achieve that point in their lives. So, the ghost banging continues to seem more akin to sexual assault and brainwashing than seduction or pleasing. This episode kind of reminds me of why I don’t like some modern “semi-erotica” like 50 Shades of Gray, because it’s basically treating an abusive relationship as just being sexually aggressive.

Also, everyone’s behavior in this episode is a little off. First, no one seems to be super weirded out that Crusher would have sex with a guy who had just been sleeping with her grandmother. I dunno all of what happened in the next 350 years in Star Trek, but I really hope we don’t follow the timeline that assimilated “normal to be wiener cousins with your grandmother” into the culture. And, understand, this isn’t like a distant relative Beverly never met, her grandmother is the one who raised her, making her effectively her mom. Second, Crusher really doesn’t seem affected by the fact that Ronin straight up kills a guy for almost no reason. Despite the fact that she’s later extremely concerned when Picard gets mildly injured. Is it that it’s Picard who is her on-again-off-again love interest? Maybe, but it’s still weird that a guy gets killed and nobody really comments on it. Third, what the hell is wrong with Troi? Why does she never realize that Beverly, one of her closest friends, is being controlled by a strange force? Instead, she basically keeps advising her to “go with it.” She’s the worst counselor ever.

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You don’t do your job well, and you never wear your damn uniform.

The dialogue in this episode is also notably bad, even by Star Trek standards (look, I love the shows, but the dialogue is generally either crap or gold, no in-between). On Memory Alpha, there’s even a quote by writer Rene Echevarria that he can reduce this episode’s writer to a shuddering mass by saying “I can travel on the power transfer beam,” a particularly stupid and useless line that somehow still made it into the episode.

The episode’s inspiration, The Turn of the Screw by Henry James, also doesn’t really help sell any kind of love story. If you haven’t read it, go read it now, it’s not particularly long and it’s online for free . Or, if you’re gonna be lazy, let me just summarize it as “governess looks after two young children while dealing with a haunting by two former lovers.” Ultimately nothing about the story really lends itself to this idea of an “inherited ghost lover,” except for the gothic setting.

So, I don’t like this episode at all, and I regret watching it again to write this review. I had to re-watch “Darmok” just to get the taste out of my mouth. Thanks, readers, for torturing me again.

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews.

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5) Queen of Heaven (I, Claudius)

I, Claudius is a miniseries, but, much like with some of the earlier shows, I could not care less about technicalities. A pox on all pedants (including, usually, me). It’s 12 episodes long, and all of them are amazing, but this one goes beyond.

IClaudiusBookI, Claudius is an adaptation of Robert Graves’ novels I, Claudius and Claudius the God. It is a fictionalized account of the early Roman empire, going from Augustus to, you guessed it, Claudius, and supposedly told by Claudius himself (he narrates it from the end of his reign). Claudius did, in fact, write an 8 volume autobiography of his family, but, since it didn’t survive, we only know the gist of it, and that the historian Suetonius thought it was “tasteless.” Given the nature of some of his predecessors, as shown within this show with a decent amount of accuracy, it would be impossible to write a “tasteful” history of the Julio-Claudians (the family of Augustus).

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Dear Penthouse Forum Romanum: I never thought it would happen to me…

The show is narrated by Claudius (Derek Jacobi) at the end of his life, with the entire series happening in flashback. Here’s the story so far, for those of you who don’t know slightly fictionalized histories of the early Roman Empire (warning, this show is dense as hell, this’ll take a few minutes. If you want to skip, go down a bit): Augustus (Brian Blessed) was the first emperor of Rome. Much of the first part of the story concerns the events that surround him seeking an heir. Augustus’s wife, Livia (Siân Phillips), wants her son, Tiberius (George Baker), to be the next emperor, and she will do almost anything to get it.

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If looks could kill, she’d… well, she kills everyone anyway.

Livia is the best character on the show, and among the best characters of all time. She is the epitome of someone working behind the scenes. She murders anyone that gets in her way, usually with her own batch of poison, always keeping herself removed from actually having to do anything direct. She poisons Marcellus (Christopher Guard), the first heir of Augustus. She implicitly has Marcus Agrippa (John Paul), the second heir, murdered so that his wife, Julia (Frances White), Augustus’s daughter, will be free to marry Tiberius.

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Pictured: Tiberius. Not Pictured: Dignity

She coerces Augustus into forcing Tiberius to leave his wife Vipsania Aggrippina (Sheila Rushkin), whom Tiberius loves, and marrying Julia, who he does not (he hates her to the point that he beats her and is banished from Rome). When Livia’s other son, Drusus (Ian Ogilvy), begins to encourage Augustus to return Rome to a Republic, Livia sends her own personal physician to oversee him after he has a small injury. Unsurprisingly, he dies shortly after. When Augustus announces his intention to perhaps give power to his grandsons, they die in “accidents” over the next few years. Livia uses agents to reveal that Julia has been engaging in “deviant behavior” which contrasts with Augustus’s strong moral code, resulting in her banishment, and the end of Tiberius’s. Tiberius is then named co-heir with Postumus Agrippa (John Castle).

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Young Claudius

Now, Claudius, son of Drusus, actually enters the story. Claudius has both a limp and a pronounced stutter, and, despite the fact that he reads constantly, is thought to be a fool because of those disabilities. In fact, the historian Pollio (Donald Eccles), tells him he needs to exaggerate those faults, because otherwise he’ll be thought of as a threat, and probably killed by Livia. When Augustus determines that Postumus alone should succeed him, Livia frames Postumus for rape and has him banished. Postumus, having seen the depths of Livia’s drive to make Tiberius emperor, tells Claudius all that has happened because of her, and reiterates “Play the fool, Claudius.” When Augustus is told of Postumus’s innocence, Livia poisons Augustus. When he fails to die and takes the precaution of only eating food he picks himself, Livia paints his fig vines with poison. In case anyone doubts the succession, she has Sejanus (Patrick Stewart) kill Postumus. Tiberius is finally Emperor.

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Patrick Stewart as Sejanus. Yes, it’s a wig.

Unfortunately, it turns out that Tiberius is a terrible, terrible person (who knew having a mother that kills people all the time might affect your development?). The only thing that stops total tyranny is Germanicus (David Robb), Claudius’s older brother, who, naturally, dies. It turns out, however, that this one wasn’t Livia. Germanicus was actually killed by his son, Caligula (John Hurt), but Livia manages to convince Plancina (Irene Hamilton), the wife of Piso (Stratford Johns), the governor of Syria, to murder her husband and place the blame on him to spare Caligula.

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Claudius, Caligula, Tiberius: Three Emperors

OKAY THAT’S THE BACKGROUND TO GET TO THIS EPISODE.

SUMMARY

IClaudiusSejanus2.jpgFor those of you who have been keeping count, Livia has murdered basically everyone. She’s killed her husband, her son, her grandchildren, his grandchildren, friends, enemies, you name it. All to get her son to be Emperor. The story then jumps ahead to later in Tiberius’s reign. Tiberius pretty much just holds orgies and forces women into prostitution, supported by young Caligula. Sejanus actually runs the empire, and he uses it mostly to seize property and imprison his enemies. Everything sucks, is what I’m getting at. When she confronts him in the street, Livia even says that Drusus (her other son, who she KILLED) should have been emperor instead of Tiberius.

IClaudiusDinnerClaudius is called to a dinner with Livia. Livia, now old, reveals that she has been hiding a secret from almost everyone. She has found that there is a Sibylline prophecy which says that both Caligula and Claudius shall become emperors. Livia, finally having accepted that Tiberius is a waste of a man, exacts a promise from Caligula and Claudius to have her become a goddess after her death. Caligula dismissively agrees and leaves. Claudius, however, finally reveals his true self to her, surmising that Caligula will be the next emperor because Tiberius would want someone even worse to follow him, so that he will be remembered well by comparison. As he is talking, Livia notes that Claudius has lost his stutter, and no longer pretends the fool. Because of this, she begs him again to make her a goddess when he’s emperor. Claudius laughs at the thought of being emperor, and agrees, thinking nothing of it.

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Caligula cruelly mocks Livia

The scene then jumps to Livia’s deathbed 6 years later. She calls for Caligula and Claudius. Caligula arrives first, and, when Livia asks if he remembers his promise, tells her that he will be the god, and that she will burn in hell, tormenting her as she lies helpless with the knowledge that he will destroy everything in the name of his deification. Claudius arrives soon after Caligula leaves, and Livia asks him if he will uphold his promise. Claudius then sits down and asks about every bad thing that she’s done. All the people she’s killed. She admits to everything, freely, and admits that it was all wrong. She thought she was doing it for all the right reasons, her son, but she now understands that she never should have done any of it. Claudius, seeing not a monster, but a woman who has lived long enough to realize that she has done horrible things that can never be undone, tells her that he will make her the “Queen of Heaven.” She passes peacefully in bed.

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END SUMMARY

Okay, first, almost no performance has ever matched Siân Phillips as Livia. It was a role she was clearly born to play. She is loving to her children, a monster in practice, and, in the last scenes, just a sad old woman looking on a world that she ruined in the name of blind love. Now, she knows that she is facing not just death, but true damnation, and she requests just one thing: deification. This isn’t in the name of preserving her legacy, however. It’s just the only thing that might actually allow her to be forgiven for what she’s done.

IClaudiusDieAHero.jpgIn The Dark Knight, Harvey Dent famously says “You either die a hero, or you live long enough to see yourself become the villain.” Appropriately, he was addressing the concept of the dictator at the time, specifically Julius Caesar, the precursor to the Julio-Claudians. This is the opposite of that. This is the villain living long enough to see what happens when she wins. And, make no mistake, this is her having won. She achieved the goal of the massive machinations she’s been working for decades. She made an emperor out of her beloved son. The problem is, she didn’t ever think to help make him a good emperor. Or even a good person. She just gave him power that he didn’t ask for or deserve.

IClaudiusCrimeAndPunishmentIn Crime and Punishment, Dostoevsky addresses a similar theme to Livia on her deathbed. Even when you’ve gotten away with a crime, even if you believe that the crime was justified by some “higher order,” in the end, you will never escape your guilty conscience. That’s supposed to be the purpose of societal values, to make sure that, even when you go free, you are still a prisoner in your own mind. You may pretend to not see the walls, but, when you are old, you will look around and see every brick you have laid around your soul, and you will know that your existence has amounted to nothing but pain. If you have any belief in the natural goodness of people, then part of making a better world is to remind people that breaking their own ethics will one day bring them the pain that they have inflicted upon others. This episode is the culmination of that. It ends not with a monstrous empress sitting behind the son that she has brought to power, but with a grandmother telling the only person she has left that her life was a mistake. And perhaps, too, we should learn from Claudius, who sees the agony that she has brought upon herself as being a torment that won’t end, and promises her forgiveness. It’s not that she deserves it, it’s that it’s the right thing to do.

PREVIOUS – 6: The Sopranos

NEXT – 4: WKRP In Cincinnati

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews

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Reader Bonus: Chain of Command (Star Trek: The Next Generation)

Alright, so, this was probably the easiest voter-bonus episode to write. I’ve watched this episode (both parts) a dozen times at least, because it is nothing short of a master stroke for Star Trek. It barely missed the cut-off for the actual list, and only because the episode that DID make it is amazing for exactly the same reason as this one, but to a greater extent: That Patrick Stewart is a global treasure.

StarTrekTNG-1Picard
NO SINGLE NATION MAY LAY CLAIM TO HIS BRILLIANCE

I’m not going to revisit the premise of Star Trek in depth. There’s a ship. It goes into space on a journey. It’s staffed with the best and brightest that humanity and its associated planets have to offer. It’s called the Enterprise. This version, however, has the best captain (FIGHT ME), Jean-Luc Picard (Patrick F*CKING Stewart).

StarTrekTNG2-1Janeway
Please don’t look at me like that, Janeway

This first episode starts off with Picard losing command to be put on a covert mission to deal with the Cardassian threat. No, not the one with the sex tapes. They’re an alien race.

No, not the one with the sex tapes.

SUMMARY

Picard is replaced by Captain Jellico (Ronny Cox), whose command style, by comparison, is… not as good. Picard goes with a small team on a mission to destroy a cache of biological weapons. They arrive on the target planet, but, finding no signs of weaponry, they suspect a trap and try to escape. Picard is captured and brought to Gul Madred (David Warner), who informs Picard that the entire mission was a setup to capture him in order to obtain secrets on the Federation. That’s the first episode, and it’s… well, only okay. But, it sets up the amazing second episode.

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Jellico did actually get Troi into a uniform, though.

Madred spends the entire episode torturing Picard. Starvation, dehydration, humiliation, beating, shocking, forced nudity, degradation. The crew borrowed a list from Amnesty International when writing it, and put basically all of the ones that would be allowed on network television into the episode.

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And Patrick Stewart sells it all.

It starts by Madred telling Picard that he has no name. Picard will only be called “human.” Then, Madred starts to try to break Picard’s will, and these are some of the most powerful scenes in the entire series. The most memorable exchanges involve Madred showing Picard four spotlights behind his desk. Madred asks Picard how many lights he sees. Picard says four. Madred tells him there are five, and when Picard disagrees, Madred uses a device implanted in Picard to cause him all varieties of simulated pain.

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“How many lights do you see?”

Meanwhile, the crew of the Enterprise is told Picard is captured, but they are forced to disavow his actions, which means he’s not eligible for rights as a prisoner of war. These scenes mostly just serve to allow for time-skips on the Picard scenes.

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Although, they do give Jellico some solid redemption.

Madred brings his daughter in to work, and he and Picard banter about the nature of raising children to believe that it is alright to value no other sentient life. Madred claims that the Cardassians used to have a rich spiritual society, and it led them to starve. Now, the Military rules, and everyone is fed (Update: Madred would have supported Thanos). Picard responds that Madred’s children will have full bellies, but empty spirits. He then mocks Madred by denying that there are any lights.

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Does Picard have a “are you shitting me?” look? Your question is answered.

Picard is shown to start resisting by separating his mind and body, envisioning himself at his family’s home in France. As Madred tries to break him, Picard starts to turn the tables, pointing out that Madred knows torture is ineffective at getting information or control, so Madred is clearly just using it to punish people because he feels weak. Picard calls him pitiable. Madred proves him right by just shocking him again.

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Picard turns the tables in the middle of a torture session. Most people would just cry.

Finally, the Enterprise is able to intercept a Cardassian ship and threaten to detonate a series of mines that would destroy them in order to force the Cardassians to release Picard.

Madred, having been told that Picard is going to be released, goes to confront a dehydrated, delirious Picard. Madred tells the captain that the Cardassians have conquered the planet that the Federation was defending and that the Enterprise was destroyed, and that they have no need for him anymore. Madred then offers to let Picard live a life of comfort in exchange for one thing: Telling Madred that he sees five lights. Picard, wavering, and uncertain, starts to speak, and then the guards come in and inform Picard that he’s being returned to the Enterprise.

StarTrekTNG2-8FourLights.png

In what is one of the most amazingly bad-ass moments in the history of television, Picard, a beaten, broken, shadow of a man, turns to his captor and tells him:

“THERE ARE FOUR LIGHTS!”

Couldn’t find an HD copy, but here’s the scene anyway. It’s also on Netflix.

It’s an amazing scene that would rouse the heart of even the most stoic or cynical of people. It is nothing short of a triumph of the human will against circumstances that should render a person into a shaking pile of incoherent wailing. Which is what makes it even more notable when, in the last scene of the episode, Picard talks to Counsellor Troi (Marina Sirtis), and admits to her that, during the last exchange, he did see five lights.

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Picard has trouble even admitting to himself he was broken. But he still won. Amazing.

END SUMMARY

People who took High School English seriously probably have read Nineteen Eighty-Four by George Orwell. One of the most iconic scenes in the book is when the protagonist, Winston Smith, is tortured by the Party’s propaganda agency, the Ministry of Love. The torturer, O’Brien, begins to try to force Winston to think in Newspeak, the Party’s language, by torturing him to the point that when he holds up four fingers, Winston will believe there are five.

‘How can I help it?’ [Winston] blubbered. ‘How can I help seeing what is in front of my eyes? Two and two are four.’

‘Sometimes, Winston. Sometimes they are five. Sometimes they are three. Sometimes they are all of them at once. You must try harder. It is not easy to become sane.’

That is what Madred is doing here. While Madred is originally supposed to be getting specific information out of Picard, by the end, he has long forsaken that in the name of just breaking Picard’s mind. And, much like the end of the book, Madred does finally succeed, even if only for a moment. At the end of the book, Winston has learned that hope is gone, because the Party controls everything. Unlike Winston, Picard is saved by the momentary appearance of hope because he learns that the Cardassians don’t fully control him anymore. Hope is what a person can hold onto when everything else is lost, and it is anathema to being controlled.

The other central difference between Winston and Picard is that Winston never was able to challenge his torturer, because he never understood what the Party wanted to do to him or what their goals were. Picard, on the other hand, understands exactly what the Cardassians want and what Madred really is thinking at almost any given time. He is able to use that to turn the tables at certain points and regain a position of power.

Using Nineteen  Eighty-Four as a comparison here is particularly apt, because the Federation is the exact opposite of the Party. The Party, and apparently the Cardassian Empire, lives to oppress and control for the sake of control and oppression under the pretense of survival. The Federation exists to put every person within it into a state of self-actualization at any given time. Every person on Earth is cared for, and given the basics to allow them to self-determine for free for the sake of advancement. Pretty much the best possible view for the future contrasted with the worst.

But, mostly, this episode just has Patrick Stewart being awesome. If it wasn’t for the fact that the first half is slow and the intercuts with the regular crew weren’t so off-putting (seriously, it was a bad idea to put Patrick Stewart and David Warner in a scene together and not consider that it made everyone else look like worse actors by comparison), this would have made the list proper.

If you want to check out some more by the Joker on the Sofa, check out the 100 Greatest TV Episodes of All Time or the Joker on the Sofa Reviews.

If you enjoy these, please, like, share, tell your friends, like the Facebook page (https://www.facebook.com/JokerOnTheSofa/), follow on Twitter @JokerOnTheSofa, and just generally give me a little bump. I’m not getting paid, but I like to get feedback.

The good half of the episode (the scene above starts at 45:15):
https://dailymotion.com/video/x5hpsdb