Trek was pretty popular in 1993-1994; Paramount made $640 million off Trek-related merchandise alone the last year of TNG's run. This amuses me in retrospect, as I wasn’t watching any Trek in 1993 or 1994. One of the few (literally) years of my life where that was the case. I was in a hippie-and-neohippie bubble for most of the 90s, although I was TOS-obsessed for the mid to latter half of it. As described elsewhere, it took a little longer (and two ex-girlfriends) for me to find my way back to TNG and beyond.
Anyway, you don't come here for the McBiography; you come here for the Countdown! Who's with me? (cups ear). Excelsior!
26.
Lieutenant Ro graduates from advanced tactical training and is sent
by Picard to lure Maquis terrorists into a trap.
A bit of an "Assignment: Earth" thing going on here, with the episode mainly being a tablesetter for Voyager. It's also a send-off for Ro, I guess, but neither of these things are particularly remarkable or justify this being the penultimate episode of the frigging series. It's coming in last place for that reason; this was a tactical mistake. (All the worse because "Emergence" - which would make the perfect penultimate episode - preceded it.)
Michelle Forbes was lured back to the Trek fold (after passing on being part of both the DS9 and VOY cast) by a personal phone call from Jeri Taylor, who promised her all the sort of things an actor likes to hear (dynamic character struggle, noble departure, etc.) Does this episode have any of that, though? Enough of it, anyway? Ro was for my money kind of a non-starter in TNG, "Rascals" and "The Next Phase" notwithstanding.
Admiral Nechayev gets a send-off, too. She's a little better these last few episodes, but still not a fan. Starfleet Admirals remain a giant pill.
25.
The Borg are being led by Lore. Data falls under his control
by being fed negative emotions.
This child of many writing-room fathers is a bit of a disaster, especially as a season cliffhanger/premiere, but it lands here instead of last place because I do like a couple little things. In that respect (and right down to its ending free-for-all of extras shooting and running in every direction) it's a bit like the Casino Royale (1967) of TNG two-parters. Hugh deserved better. Beverly's section, for example, is good; Gates does good work in those scenes. Nice callback to "Suspicions" with the meta-phasic shielding in star's corona.
Geordi's memory of Data swimming either contradicts or explains the design update re: his abilities as a flotation device mentioned in Insurrection. Speaking of memory, I didn't remember any of this stuff between Lore and Data. I can't say I liked it much or really care too much, but all the emotion chip stuff here gave me all sorts of new reasons to dislike Generations even more than I already did. The damn thing was instrumental in the resolution of his evil-twin, multi-season-spanning story arc, whereas in the movie it's used for mostly-unfunny comic relief.
God, Generations is terrible.
24.
A pair of scientists show that warp drive is harming the fabric of space while the Enterprise investigates a Federation ship's disappearance.
My watching-notes mention that all the Geordi / Data cat stuff is "good but slightly conspicuous." My Nemecek-Companion-reading notes tell me this is because they began filming this with an unfinished script and had a lot of time to fill, so Data and Geordi got to wax-cats for longer than expected.
This is another child-of-many-fathers/casserole-from-previously-scrapped-ideas. One storyline (Space Greenpeace) had been around in some fashion for awhile, and others were cobbled from here and there. I’ve no real beef with the warp-speed-pollution idea, although it comes across somewhat clumsily here. Sometimes these Trek analogs have too much one-to-one relationship with the real world, and sometimes they get a little lost in translation. This is of the latter, I think. A bit like the Orgainian Peace Treaty; it exists only to be excepted once or twice, then ignored.
Two last things: (1) The shaky-bridge/countdown/ship-threat stuff at the end of this is about as representative an example of such a thing as you can get. Digitize that in amber and get it to the Trek museum. And (2) It’s there if you want it: Geordi and Picard at the end of this one are virtue-signaling hard along 2020 lines. This isn’t some intentional woke tailspin but more a result of the failure of the “message show” coming together. Says Jeri Taylor: “I’ve been on enough series and tried to do environmental issues to realize that they are so hard to dramatize. Because you’re talking about the ‘ozone hole’ (and such) It’s so hard to make it emotional and personal and give impact on that kind of level. You oversimply the solutions, and you end up with boilerplate and platitudes and nobody’s happy.”
Funny about that.
23.
A psychic breakdown puts Lwaxana Troi in a coma
and Deanna works to save her life.
Not a great one. I kind of like the general idea, but a few too many "Please... what is... poem" and "and this is... pri-va-cy"s and slightly clumsy exploration of repressed-memories. Lxawana really should've went out on the high of "Half A Life." People often mention this one as the one with Kirsten Dunst and so it is; it's also got Norman Large (a fellow Rhode Islander) as Ambassador Maques. He played one of the Romulans in "Unification" and appears in DS9 and Voyager as well. I always say I'll avoid imdb-tribia in these things but sometimes can't help myself.
Vocab for telepaths: metaconscious, paracortex. I think I've heard "metaconscious" before, but "paracortex" is new. I like it.
22.
Wesley considers his future as the Enterprise is ordered to remove Native Americans from a planet that is about to fall under Cardassian jurisdiction.
This isn't as bad as I remembered, but it falls short of enjoyable. There’s a lot to overlook in this one: (1) Wesley’s attitude. I understand the logic of the arc and it’s a realistic portrayal of the sullen-youth-returned-from-school, but it’s just unpleasant. It’s funny, though – everything from his adoption of “native” dress and custom to his surliness is so very true-to-twentysomething. In any generation. (It certainly was me in my early twenties.) (2) A lot of the wonkiness in getting these American Indians to this planet on the Cardassian border. "We left earth to preserve our culture” is rather vague. Couldn't they have done that far closer to home? Isn't Earth part of their culture? Isn't the moon terraformed in the Trek future? Seems like they could've chosen some isolated spot on the moon and done the same thing. (3) The whole Picard-must-atone-for-ancestor's-mistake thing is dumb. Is Picard some college-age kid from nowadays, or is he a twenty-fourth century Starship Captain? Would the same dynamic exist in the future?
And (4) The change of (Lakonta?) to The Traveler. Let's face it, the optics here are that Wesley (student / person of privilege) is briefly tutored by a wise Indian (Tom Jackson as Lakanta) who turns out to be a secret white guy (Eric Menyuk at the Traveler * ) This works against the other themes of the episode and makes Wesley’s enlightenment a tad "problematic" to use the terminology-of-the-wankers.
* Assuming we see The Traveler as some white guy. We shouldn’t, we should see the story through the lens of the story, as an alien from Tau Alpha C. But, we don’t. I wish we did. Don’t shoot the messenger.
Ron Moore wanted to write about his own journey as a former naval cadet who chose a different career than the one he was groomed for. Understandable I guess, but wasn't Wesley conceived as a stand-in for a young Gene Roddenberry? I don't recall his being conceived as a stand-in for a young Ron Moore. Not that this should absolutely preclude Moore from using his own experience, but I'm glad Piller found the middle way by bringing in the Traveler. I'd have handled the character and his departure differently, but this at least roots things in experiences Wesley has had previously on the show.
I think these Indians were originally supposed to be the tribe Chakotay was to be from in Voyager? They decided not to retain this, I guess. All of it speaks to the clumsiness and contradictions inherent when dramatic intentions collide with dramatic reality.
21.
Geordi tries to rescue his mother's starship via a remotely controlled probe.
There's some interesting thematic potential here but I don't think they got there. It's an interesting Geordi-and-dead-mother counterpoint, though, to the batshit Dr. Crusher experiences with her dead grandmother later in the season. I don't think Ben Vereen ever comes back as Geordi's Dad.
20.
Deanna investigates the suicide of a crewman and uncovers a murder that took place during construction of the Enterprise.
A haunted nacelle tube? A murder from Utopia Plantitia leaving a “psychic photograph”? (This is the idea, incidentally, of many a King work, Bag of Bones as one of many examples). All of it makes enough sense, I guess, I just felt it unfurled itself somewhat ploddingly.
The whole Troi/ Worf thing was a good fake-out. I’ve mentioned numerous times how I never really got back into TNG until the intervention of ex-girlfriends. I remember an early date with one of them where I insisted Troi and Worf got together at least once, because I remember seeing them making out, and she didn’t remember this episode. Later we watched this episode together and deduced I must have just seen part of this episode but not the ending. It’s certainly a plausible explanation. I think I was going more from having seen “All Good Things” so many times before seeing all the episodes leading up to it. They definitely treat the Worf/Troi thing as an ongoing plot thread in the series finale, then drop it entirely for the movies.
Anyway, everything here (the creepy dude, Troi’s unraveling) is kind of retread-y of previous Troi episodes.
19.
A routine medical treatment inadvertently creates a virus that begins to de-evolve the Enterprise crew while Picard and Data are on an away mission.
This is a pretty wonky idea. Many of the best Trek episodes are. This is not, alas, one of the best Trek episodes .
Worf’s venom-spray is a great jump scare.
18. and 17.
The Enterprise crew investigate the apparent murder of Captain Picard during an archaeological trip. Riker is kidnapped by mercenaries and finds Picard working as part of a pirate crew led by David Coverdale from Whitesnake. Picard and Riker help them collect archaeological artifacts to prevent an ancient Vulcan weapon from falling into the wrong hands.
I know what you're thinking.
 |
| ... |
Okay it's not him. But man that visual is silly. It's not that different from the Klingon-TNG look - what is it that doesn't work here that works for Gowron and K'ern and the rest? I don't know. Is it the shirt? This guy looks like an aging singer for a metal band, though, and there's no way around it.
This is the kind of two-parter that could have been a Flash Gordon, Friday the 13th the Series, X-Men, Buffy et al. two-parter just as easily. Nothing wrong with that, just those standard-genre-type twists, that kind of pacing. Robin Curtis (Saavik from The Search for Spock) plays the Vulcan - is she a Vulcan? Or a Romulan? I can't even remember. Anyway, this was better than I remembered, but we're still in the doldrums of s7 episodes.
David Coverdale does the ol' Cliff Claven pain-switcheroo thing on himself. Which amused me to think of as "the old Cliff Claven trick." I wish that was an actual term.
16.
DaiMon Bok returns to exact revenge on Picard by trying to
kill the son Picard never knew he had.
The good news: this is an unexpected callback to an earlier-season development. The bad news: it's a Ferengi recall.
“I’m going to kill your son, Picard!” says Bok. A few too many times. He might only say it once, but come on, even once. I mean look at that grin, too, up there in that picture. Sometimes I don't know how these things get by professional actors and crew. Fun fact: everytime I see this line in my notes I say it in my head like “I’m going to steal your girlfriend, Woo-dee!” I also liked: “My revenge is at hand…” as a literal message he sends later.
The whole Picard-has-a-son? thing is handled well enough. The ending farewell and zoom-in on Picard is weirdly touching. Patrick Stewart has talked of the strains the show took on his family life, most notably the relationship with his son(s). He has this bit of real-world sadness in common with at least two other Enterprise captains (William Shatner and Scott Bakula, although it was Quantum Leap that had the described effect on Bakula’s marriage and not Trek. Maybe Enterprise messed with his family life, too, I don’t know. Captaining even a fake ship is serious business.)
Indebted to the Companion for pointing out we have a New Paris ("Galileo Seven"), a New France (DS9's "The Forsaken"), and here a New Gaul. Ma famille maternelle est très heureuse.
15.
Worf attempts to convince his son Alexander to embrace his warrior heritage.
Wasn’t Alexander three years old when his Mom died? He’s ten now? I wrote this in my notes thinking I was blowing the lid off a mistake in plain sight, as I did when watching "Relics" and Scotty and Geordi use the transporter when the shield was still up. I discovered in both cases (in the Companion and from googling) how well-remarked upon these things are. It's like coming from a vacation in Scotland and excitedly telling anyone will listen about the mysterious local legend of "Nessie."
We last saw Sloyan in “The Defector” (and he's in VOY later) and he does a good job as the Alexander of the future, although I’d have appreciated a bit more about his whole time travel set-up. Some story of magic-beans-with-a-catch from some wayward planet or something. It all seems like elevator travel, back and forth, which is inconsistent with other Trek time-travel stuff. (I don't think it's ever consistent, though, so who cares.) Or maybe the catch was he has to live out his life in the past now, and he becomes Alexander’s mentor, or something. This is the epitome of moot.
Not going to lie, there were a few moments watching this where I couldn’t help thinking: I’m watching two white actors in blackface talk about the difficulty of assimilation… I also note that it's possible to appreciate the irony of this without writing some wanker-manifesto about it or crying on Facebook or donating money to some asshole. FFS, people, get a goddamn grip.
14.
Worf and Troi reluctantly play host to two Iyaaran ambassadors while Picard
crashes in a shuttle with another Iyaaran. He is rescued by a human
female who exhibits strange behavior.
This one was later reshaped into two VOY episodes, the Scott Thompson one and the Tank Girl one. I think I prefer them as VOY episodes. The twist was pretty good, but kind of easy to see.
A little retread-y of that other TNG one, as well. Both the one with Geordi and the Romulan and the one with the Fake Picard. But hey it's season 7, everyone's saying goodbye, everyone's remember-when-ing.
Okay, from here on down we move into mostly "A" level episodes.
13.
Reclusive aliens imprison Picard and Dr. Crusher on charges of espionage.
Experimental implants linking their minds telepathically cause them
to face their latent feelings for each other.
The sideways romantic dynamics of Picard/ Beverly and Riker/ Troi were handled well in TNG. Well, Riker/Worf/Troi got a little confusing (see above) but I like how the show never institutionalized any of the romances. And here, with an eye to the franchise on the big screen, they gave the fans something close to a consummation of the Picard/ Beverly relationship without tying the male lead down for the upcoming big screen adventures. I think it's handled well.
Another episode that ends with Picard staring out a window, alone. The inner life of a ship captain.
12.
Data encounters a woman claiming to be his "mother" while the Enterprise
assists an alien planet in re-stabilizing their planet's core.
Lots of family angles going on in s7, eh? Data’s Mom, Picard’s son, Worf’s brother, Geordi’s parents, added to the ones already built into the show (Troi and her Mom, Beverly and Wesley). This is a valiant attempt to close up some loopholes in Data’s backstory. It’s the twist that turns this one into something far worthier than the initial set-up. There’s some compelling irony with Data – a synthetic lifeform but with very real surrogate family – bonding with his mother, discovering she too is synthetic, more of a sister to him, really, but imbued with a “mother’s” consciousness.
I’ve decided every time I hear ‘crystalline entity’ I’m going to randomly punch something or someone. That’ll be my takeaway from the 2020 TNG Rewatch Project. The TNG writers occasionally got hold of some turn of phrase they ran into the ground ("Galorndon Core" is another; you can picture the writers saying that over and over in the writer's room and nodding, chewing on the syllables like a nice piece of steak) and this was one of them.
11.
The Enterprise finds an ancient library that recreates its civilization by taking possession of Data and transforming the ship. Data exhibits symptoms of dissociative identity disorder.
Here’s a memorable one. There’s not really a lot of “heart” in this one, but it’s all very interesting and beautifully designed. Spiner gets another chance to showcase more of his range. It really is unfortunate no other show seems to have explored this actor’s abilities. I don’t know what his deal is, actually. I watched a bit of Fresh Hell ten years ago or whenever it was. Did you? Is it that he’s kept a low profile or that he never landed an alternate gig? Maybe he just never wanted to. I could live pretty comfortably in the shadow (both career-wise and economically) of TNG and maybe that's him, too.
The idea of a haunted space mausoleum / interactive-library-of-Alexandria-still-running-after-civilizational-collapse has been explored in lots of sci-fi. Easy to see why – the idea is agreeably mysterious and malleable to many scenarios.
  |
| I love how Data's possessor recreates his throne in the engine room. |
10.
Riker's former Captain boards the Enterprise to retrieve the USS Pegasus. Picard investigates the circumstances of its loss and finds that there has been a cover-up.
I used to not like this one so much. Too much stock dialogue (honor/ duty/ traitor/ “I picked up a phaser, and I defended my Captain!” etc.). I was going through a phase for a few years of such sentiments always seeming misplaced in Trek. Thankfully I grew out of it. Now I can appreciate this story as the exciting bit of Philadelphia-Experiment-in-space drama it is without any hang-ups.
The idea of a treaty banning the cloaking device is a nice attempt to clear up the cloaking device discrepancies in Trek. I’m not sure it makes much sense, but I appreciate the attempt.
Did Riker and Picard ever bond much over having to abandon their first service and first command, respectively? They probably did back in the Stargazer episode or elsewhere. Perhaps this thing they shared in their backgrounds that is not very common for officers could have been mined for some nice moments between them.
9.
A civilization doomed to extinction is saved by a Federation observer – Worf's human foster brother – in violation of the Prime Directive, forcing the Enterprise crew to actively determine their fate.
This one is mostly a win. Paul Sorvino is solid as Worf’s adopted brother, and he even evokes a bit of Ted Bikel, i.e. the senior Rozhenko, so there’s nice (almost certainly unintentional) continuity with “Family.”
The Prime Directive case law here is less of a slam dunk, but it’s handled compassionately enough. I like the little things like Sign of LaForge. May the mob currently running ramshod over all American culture never discover and subvert this episode to further its own destructive, horribly-enabled ends.
8.
Data experiences strange dreams while the Enterprise has issues with its renewed warp core. But all is not as it seems.
I love this one.
Freud gets dumped on a bit, but he also gets to be something of the hero, the only one who advocates for clear and decisive action against the actual threat. ("KILL THEM.")
I didn't take too many notes on this one. I've watched it plenty of times over the years. It's a great little piece of TV, this. As is our next number:
7.
Dr. Crusher attends her grandmother's funeral and finds that the house is inhabited by a spirit who is 800 years old and was her grandmother's lover.
I’ve spoken often of my love for this episode over the years. A lot of folks flat out hate it. I guess I can sympathize, but I profoundly disagree. This is an incredibly entertaining episode, in all its icky-ghost-orgasm glory. Running ghost story tropes through the Trek-translator usually lands with me; pairing them with gothic romance tropes to them even moreso.
Beverly wins the s7 “family” sweepstakes here – and how! How for “Howard,” as in Picard saying “Not just one but two of the Howard women” looped over some silky jazz saxophones and bongos. And ending with the bagpipes of the haunted moor… I can hear it in my head, and it is glorious.
All the shouting at the end is dynamite. ("I LOVED ALL OF THEM!" etc.) And then the grandma sits up in the coffin and shoots lightning at people; I mean, how can people not love this episode? Both its Trek angles and its meta-commentaries angles put me in mind of “The Man Trap.” Excellent company. Although truthfully of the two, I prefer “Sub Rosa.”
For Beverly’s TNG episodes, “Remember Me” has all the heart, but this one has my heart.
6.
Junior officers buck for promotion as one of them is assigned the dangerous
task of helping a Cardassian spy.
I’ve got my concerns for the upcoming show of the same name - frankly I trust no one currently in charge of the Trek franchise - but I love this episode. I can only hope the showrunners of the show-to-be realize they're evoking a great episode of TNG and need to clear a certain bar because of it.
Excellent performances from all involved. Nice little mystery, good script. I've used Worf's lesson (not the literal hitting or anything, just the conclusion) many times.
5.
The Enterprise becomes an emergent intelligence. It is discovered that the ship is creating a new life form via the holodeck characters.
Here's another one I've always loved more than a lot of Treksters and another I always expect to downgrade as a result of that on re-watch, i.e. maybe this time, like “Conundrum” or “Clues” the objections I've heard or read over the years will finally land with me. But nope, just like the episodes aforementioned, I seem to love it even more every time I see it.
Meta but classy, inventive yet trope-ish, this one fits the whole s7 theme of family, to boot; this is the Enterprise family episode, where it gives birth. This is my personal favorite of all the meta-Trek commentaries given to us: this weird and genre-mixed ride, coming to an end and a new beginning, not fully understood but born of our mutual experiences.
"The intelligence that was formed on the Enterprise didn't just come out of the ship's systems. It came from us. From our mission records, personal logs, holodeck programs, our fantasies. Now, if our experiences with the Enterprise have been honourable, can't we trust that the sum of those experiences will be the same?"
Good perspective. Not just for TNG but for that other several-year-mission called the USA.
4.
Data loses his memory after retrieving radioactive fragments on a planet's surface
and endangers the humanoid settlement he encounters, while Deanna studies
to become a bridge officer.
God I love this one. The Frankenstein elements, the stock-amnesia episode run through Trek sensibilities, the disguised appearance and covert beam-out at the end, the viewer being one step ahead of everyone in the script, Deanna's lesson, all of it.
I always feel I should leave several paragraphs for the top 5 episodes. But what more is there to say? This is pretty much perfect.
3. and 2.
Picard finds himself being transported between three time periods, thanks to Q, with a spacetime distortion that threatens to destroy reality, growing larger in the past, and smaller in the future.
How many times have I watched this over the years? Thirty, easily. Possibly more.
I was spellbound by it for the first ten watches or so. Something about the unstuck-in-time-ness of it coupled with grokking "the paradox" as the important step to both spiritual maturity and species maturity struck me as incredibly profound when I was in my teens and twenties. It strikes me more like intellectual pettifoggery * now but it's still one hell of a finale. It manages to scoop up so much of everything that made the show what it was into one cogent and compelling narrative. That it serves as the other bookend to "Encounter at Farpoint" seems so natural in retrospect, like it was planned from the beginning, like they opened up a drawer in Gene's office after he died and the whole thing was bullet-pointed on an index card. All the chapeaus to everyone involved. Still holds up.
* "Grasp
the paradox" and all the rest (Q's insistence that Picard caused the
primordial guck not to coagulate) it's like a different version of
technobabble. What does Picard "grasp" that we are unable to? This
explore-every-moment is like Trek catechism. Somewhere within the space
of a single moment of time is the elevator ride to turning into the
Metrons.
I have a very vivid memory of seeing this for the first time, but I can't recall exactly when that was. I know it was after midnight, as I got home from my closing shift at Cumberland Farms and watched it on tape. I remember wanting a cigarette while it was going on but not wanting to stop, so I moved the TV so I could watch it from the porch outside. I remember this part the most vividly, my face pressed against the screen-door, trying to hold my smoke at an angle so it wouldn't drift into the house, and Q saying "Goodbye Jean-Luc, all good things must end". But I can't remember if this was 1994, 1995? Possibly 1996? Could it be that late? I'm reminded of that eternally true saying, people may forget what you said, but they rarely forget how you made them feel. I've never forgotten how seeing "All Good Things" for the first time made me feel, even if I can't recall the year I saw it.
If "Tapestry" was Picard's It’s a Wonderful Life, "All Good Things" is his Slaughterhouse Five. And replace a few buzzwords/ names below and this argument between Q and Picard cuts to the core of the cancel culture bullshit currently bewitching our media-academe overlords:
"We never reached a verdict. But now we have. You're guilty.
"Guilty of what?
"Of being inferior. Seven years ago I said we'd be watching you, and we have been, hoping that your ape-like race would demonstrate some growth, give some indication that your minds have room for expansion. But what have we seen instead? You worrying about Commander Riker's career, listening to Counsellor Troi's pedantic psychobabble, indulging Data in his witless exploration of humanity."
"We've journeyed to countless new worlds, we've contacted new species, we have expanded our understanding of the universe."
"In your own paltry, limited way. You have no idea how far you still have to go. But instead of using the last seven years to change and to grow, you have squandered them.
"We are what we are, and we're doing the best we can. It is not for you to set the standards by which we should be judged."
"Oh, but it is, and we have. Time may be eternal, Captain, but our patience is not. It's time to put an end to your trek through the stars, make room for other more worthy species."
One wishes those inflicting this conversation on themselves and everyone else would watch the damn thing through to the end, so they could absorb some of its "redemption and moving forward" sentiments. Guess what? We're all on Picard's side, here, every last one of us, every one you've ever heard or read about. Unlike Picard, we can only live in one era at a time.
This is likely the best series finale out there. The whole thing is oddly hopeful, too, coming from Q, who is more
like some emissary from Heaven here than the Mister Mxyzptlk character
we've seen in all his other appearances.
1.
Worf finds himself randomly shifting between alternate realities, after winning a tournament and celebrating his birthday.
I've often referred to "All Good Things" as the best TNG had to offer. It might be. But I think "Parallels" might be not just my favorite episode of the show but in my top 5 of all Trek shows. It's one of those that grows on you through repetition rather than wears on you.
I used to think the Red Letter Media reviews of the Trek movies were great. I still like aspects of them, but in one of them the reviewer refers to this episode as the one where Worf learns that "nothing he does in life actually matters." This is such a wrongheaded takeaway of this episode - hell, not just this episode but life itself. Alternate realities mean your choices don't matter? Completely indefensible nonsense. Needless to say, that is neither the lesson Worf learns here nor anywhere close to the point of the story. Or even a sensible thing to say in general. I deduct all the points, Red Letter Media, and may Q have mercy on your soul.
Riker's "It's good to see you again, Captain" to the Jean-Luc of "our" universe is such a great little moment. I also love the look over our Captain's shoulder to "his" Riker. Everything about the end is great, actually, even if I feel kind of bad for the Borg-damned Enterprise.
~
And now for one last time, here's some leftover screencaps:
Take a Bow
~
We have reached the end of TNG. But don't despair!
There will be two more posts. Hope to see you then.
