First Contact (S04E15)
Airdate: 18 February 1991
Written by: Dennis Russell Balley, David Bischoff, Joe Menosky, Ronald E. Moore & Matthew Piller
Directed by: Cliff Bole
Running Time: 42 minutes
In the vast and enduring legacy of the Star Trek franchise, a narrative construct built upon the twin pillars of deep space exploration and the fostering of understanding between wildly diverse cultures, the thematic concept of First Contact was bound to surface repeatedly throughout its history. For a considerable time, however, this momentous theme remained largely implicit, functioning as background lore or a premise already established rather than the focal point of a specific story. It was not until the franchise was somewhat more mature that the intricate drama of First Contact took centre stage as the primary narrative engine. This occurred roughly halfway through the run of The Next Generation, the show widely regarded as the jewel in the franchise’s crown, specifically in its fourth season with the eponymous episode First Contact.
The episode opens with immediate intrigue, dropping the viewer directly into a high-stakes situation on the planet Malcor III. We find Commander Riker in a hospital bed, receiving urgent medical treatment under the watchful eye of Dr. Berel (George Hearn). The medical staff quickly notices that Riker possesses some rather strange and inexplicable anatomical details that do not align with their knowledge of physiology. This biological anomaly is explained by the fact that Riker has undergone extensive surgical alteration to appear as a Malcorian, allowing him to walk among the native population unnoticed. His mission was to blend in, to study the society from the inside out, gathering data that would be impossible to obtain from a distance.
This undercover operation was necessitated by a critical development in Malcorian society: they stand on the very eve of a monumental technological leap, namely the discovery of warp drive. Such an achievement is about to render contact with the Federation all but inevitable. Consequently, the USS Enterprise was tasked with the delicate mission of preparing for this First Contact by gathering as much intelligence as possible. However, with Riker compromised, held by the Malcorians and out of contact with the ship, Captain Picard decides that caution must be replaced by action. He beams down directly into the office of Mirasta Yale (Carolyn Seymour(), Malcorian scientist in charge of the warp drive programme. Picard brings her aboard the Enterprise, offering her a tour to demonstrate the realities of interstellar life and explaining why First Contact must be handled with extreme care to avoid inducing paranoia, mass hysteria, or violence. She is tasked with relaying these findings to Chancellor Avel Durken (George Coe). The Chancellor is subsequently beamed aboard, and while he takes the news—that his people, who believe themselves to be the centre of the universe, are emphatically not alone—somewhat graciously, the revelation shakes the foundations of his worldview.
Chancellor Durken’s relatively open-minded views, however, are far from universal within his government. His security minister, Krola (Michael Ensign), vehemently opposes any contact with the Federation, viewing these "aliens" not as potential friends but as existential threats and enemies. When Riker makes a misguided and desperate attempt to escape the hospital, Krola seizes upon this to bolster his arguments. In a drastic move, Krola acquires Riker’s phaser and attempts to shoot himself, aiming to frame Riker as a murderer and thereby prove the aliens' hostility. Fortunately for everyone involved, the plan fails because the weapon had been set to stun. The Enterprise promptly beams both Riker and Krola aboard; after successfully treating the latter, they return him to the planet. In the aftermath, Chancellor Durken reaches a sombre conclusion: the Malcorian people are not yet ready for First Contact. Consequently, the warp programme must be cancelled, and all knowledge of the Enterprise and the Federation must be suppressed or dismissed as mere conspiracy theory. For Mirasta Yale, whose life’s work has effectively been ended by this decree, there is a silver lining; she asks for, and is granted, the opportunity to leave her world behind and travel the universe as a member of the Enterprise crew.
First Contact is frequently cited as one of the more underrated episodes of the entire run of The Next Generation. Its relative obscurity can be partially attributed to the fact that it was overshadowed by the eponymous 1996 feature film, which shared the title but little else in terms of plot. Furthermore, critics have noted certain similarities with the Season 3 episode Who Watches the Watchers, although the premise here is distinct; in the earlier episode, the Enterprise was desperately trying to prevent contact after an accident, whereas here they are actively preparing for it. Despite these comparisons and the overshadowing by the film, the episode’s standing has steadily grown over the years. It is no longer unusual to find it ranked among the top tier of TNG episodes in polls conducted by devoted "trekkies" who recognise its narrative strength.
The primary reason First Contact succeeds so effectively lies in its intelligent script, which makes a genuine effort to wrestle with the complex ethical and political issues inherent in encounters between two advanced civilisations. The script—remarkably the collaborative work of five different authors, including the distinguished Ronald D. Moore—handles this delicate subject matter by utilising an alien perspective. Simultaneously, it makes these aliens resemble 20th-century Earthlings as closely as possible, ensuring their reactions to the arrival of a technologically superior species mirror the reactions widely expected from humans in real life. The script avoids the simplistic route of heavy-handed moralising or using the Prime Directive as a convenient narrative cop-out, a flaw found in some earlier and decidedly inferior episodes. Instead, both sides of the issue—those accepting and those rejecting First Contact—are given weight and valid arguments. The paranoid reactions of figures like Krola are presented as understandable, logical responses when one is confronted by alien impostors infiltrating one's society.
The episode benefits immensely from brilliant dialogue, which elevates the political discourse. A particularly memorable line is given to Chancellor Durken, who graciously accepts the news that he is suddenly no longer the most important leader in the universe, displaying a mix of humility and pragmatism. The production also benefits from great casting. Carolyn Seymour delivers a standout performance; having previously played a Romulan commander in the episode Contagion, she proves her versatility again here, bringing depth and intelligence to the role of the curious scientist.
On the directing front, Cliff Bole, one of the most reliable and skilled directors in the TNG arsenal, also does a stellar job. His tendency to "show off" with flashy camera work is much subdued here, serving the story rather than his ego. He keeps the tension high and the pacing tight, allowing the script and the actors to take centre stage without unnecessary visual distractions.
However, one specific detail might have denied this episode a claim to perfection: a silly subplot involving a Malcorian nurse named Lanel, played by Bebe Neuwirth under heavy prosthetic makeup. She agrees to help Riker escape from the hospital, but only on the condition that the alien engages in sexual intercourse with her. Riker, ever the pragmatist, reluctantly agrees, and the deed is done, although it ultimately does not change the trajectory of the plot significantly. While this detail adds a moment of levity and confirms Riker’s "Kirk-esque" reputation as a ladies' man on a galactic scale, many purists would find it tonally out of place. In an episode that deals with such profound issues as cultural identity and the shock of first contact, this licentious subplot feels like a jarring anachronism that slightly undermines the serious tone established elsewhere.
RATING: 8/10 (+++)
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