The Big Goodbye

While I am sure that holodeck episodes of "Star Trek: The Next Gereration" were pretty popular (since they repeated this gimmick in many episodes of "Deep Space 9"), I always hated them as they never really seemed to fit in with the other shows and seemed very contrived. Some, like this one, were bad--and some were horrible (such as the Moriarty and baseball team episodes in both shows).

Picard is supposed to do some complicated diplomatic mission with some annoying insect people. The problem is that a holodeck malfunction keeps him trapped with a few other cast members in a pulp fiction novel. In many ways it's like a Raymond Chandler novel--which has ZERO to do with a sci-fi show! Some people might have enjoyed it--I would much rather see film noir OR sci-fi--not both at the same time. Pretty dumb and unfortunately the first of many.

By the way, if you do watch, note Laurence Tierney as the heavy and Dick Miller as a newspaper salesman.

"The big goodbye" introduces us to the first holodeck adventure, in this case Captain Picard posing as private investigator Dixon Hill. This episodes creates some sort of standard pattern, repeated several times on TNG as well as DS 9 and Voyager. After entering the holodeck something goes wrong and the characters have to deal with the program under different circumstances beyond playing a game (represented by the failure of the holodeck's safety program).

This concept is used to expand Star Trek's possibility and enabling a kind of genre-mix. Picard's Dixon Hill stories are examples of 1940s crime fiction and their representation on the screen are referred to as Film Noir often having the stereotype antihero in the lead (see for example Chandler's Marlowe stories or Polanski's all time classic "Chinatown"). Star Trek never focuses on the story (mostly it's a simple "how-do-we-get-out-of-here" scenario) but enables the actors to take a different approach to their characters. Those Holodeck "games" are commonly used for recreation and reflect the private interests of the crew members. Therefore the technical aspect is always neglected and from that point of view the stories are never sound (but did Star Trek ever had a technical, scientific point to it, I mean besides some utopic concepts?).

"The big goodbye" shows a relaxed Patrick Stewart, a McFadden that hardly ever looked better in a Star Trek episode (at least the early ones) and Data has some great scenes, too (although I find it hard to believe that pulling the lamp's plug out of the wall would have really surprised him, for the fact that he'd done research on that period and its customs). Wesley continues turning peaceful Trekkies into potential murderers (why didn't they take him to the holodeck and let the gangsters finish him off?) but all in all this one's fun...

While preparing for an intricate diplomatic mission, Picard takes some time to relax in the holodeck as his favourite literary character, private eye Dixon Hill. Of course, things go wrong which threatens not only the captain, Data, Crusher and a 'redshirt' but also the mission.

Finally, the series explores the potential of the holodeck by delivering a story that blends sci-fi Trek silliness with countless film noir homages. Great support from Tierney and Miller and plenty of comedy courtesy of Spiner's Data imitating every gangster movie you've ever seen. Not only does it ask questions as good sci-fi should but it's also a huge amount of fun.

Writing in 2021, it is great to see that I am not the only person taking a retrospective look at Star Trek, the Next Generation. When this series was first released in 1987, a little less than twenty years after the end of the Original Series, many people thought that, without Captain Kirk and his crew, it couldn't really be Star Trek. However, original creator Gene Roddenberry, was fully invested in the casting, writing and overall look of the new series, so let's see how it shaped up:

A superb Holodeck episode which further excursions into this ultimate fantasy world will struggle to match. The enthusiasm with which the writers, set dressers, costume designers and cast (both regular and guest) inhabit this stylised, 1940s detective "noir" is palpable.

We, the audience, bought into it then and buy into it now: the overall quality of the episode easily overcoming its absurder moments and some rather glaring plot holes.

Dr Crusher gets to do some real doctoring. She actually seems to care about the injured guest crewman Whalen (aka Mr Redshirt) and works hard to save him. If only other writers had done her character justice like this.

The philosophical question of what happens to these imaginary characters when the holosuite is switched off is a serious science fiction trope to which Patrick Stewart does justice with some serious actor-ing. He manages to suffuse the words "I don't know" with all the immensity of the infinite unknown. Of course, the writers get their own back on him in the final scene with one of most ridiculous pieces of long-winded alien gibberish ever set to page but his Shakespearian training means that the "Klaxon speech" is delivered perfectly.

(Senior Trekker scores every episode with a 5)

"The Big Goodbye" from Star Trek: The Next Generation is a delightful episode that takes viewers on a journey back to the 1940s through the magic of the Holodeck. This episode, directed by Joseph L. Scanlon and penned by Tracy Tormé, stands out as one of the highlights of the first season, mixing sci-fi with film noir in a way that's both entertaining and innovative.

From the outset, the episode captures the essence of classic detective stories with its attention to detail in period costumes, set design, and even the vintage cars on the street. The guest stars, particularly Harvey Jason as Felix Leach, bring an authenticity and charm that elevate the episode's atmosphere. Their performances are spot-on, perfectly capturing the tropes of noir cinema with humor and style.

Patrick Stewart shines as Captain Picard, who steps into the shoes of detective Dixon Hill with an enthusiasm that's infectious. His interactions with the holographic characters, especially the playful banter with Data, provide some of the episode's best moments. Gates McFadden as Dr. Beverly Crusher also gets a chance to showcase her comedic skills, notably in a scene where she struggles with high heels, adding a light-hearted touch to the narrative.

However, the episode isn't without its flaws. The writing for some of the regular characters, like Tasha Yar and Geordi LaForge, feels underdeveloped. Tasha, in particular, is notably absent from key scenes where her presence as security chief would be expected. Additionally, while the episode won a Peabody Award, it misses an opportunity to delve into the social issues of the 1940s, which could have added depth to the narrative.

The Holodeck's malfunction adds tension and a bit of mystery, but it also raises questions about the technology's reliability, which becomes a recurring theme in Star Trek. This plot device here is used effectively to explore the boundaries between reality and simulation, a concept that would influence many future Star Trek stories.

"The Big Goodbye" is a fun, engaging episode that showcases the potential of the Holodeck as a storytelling tool. Its blend of sci-fi and noir elements, combined with strong guest performances, makes it a memorable watch, though it could have been enhanced with deeper character involvement and social commentary. Deserving of its recognition, it's a testament to how Star Trek can blend genres to create something uniquely entertaining.