“Redemption, Part I” is written by: Ronald D. Moore and
is directed by: Cliff Bole. It was
produced under production code 200, was the 26th episode of Star
Trek: The Next Generation Season 4, the 100th episode overall,
and was broadcast on June 17, 1991.
Were Star Trek: The Next Generation not
initially broadcast in first-run syndication, “Redemption, Part I” is the point
where the show reached the 100-episode threshold to enter syndication. It’s possible that were this on regular
television “Redemption” would have been the finale of the show. Now because the past two seasons had been
incredibly popular and there was already a guarantee of a fifth season, but “Redemption,
Part I” was still written and produced without Ronald D. Moore knowing where
the second part is going. For my part, I
also do not know where the second part is going, this is not a show that I am looking
at in retrospect. “Redemption, Part I”
is an episode that structurally diverges from where the third season of Star
Trek: The Next Generation ended. “Redemption”
ends with a cliffhanger, but it’s a cliffhanger that quite easily could have
been cut and the episode would not have changed. The emotional weight of the resolution has
nothing to do with the cliffhanger, it’s an element that there is a future story
coming in the opening of the fifth season.
“The Best of Both Worlds, Part I” ended with the point of highest tension
of a single adventure, while “Redemption Part I” ends with a shakeup of the
status quo. Worf, having his honor
restored, resigns his commission from Starfleet to assist his brother and
Gowron in stopping a Klingon civil war that is brewing. Michael Dorn gives a great emotional exit, easily
to be read upon initial broadcast as a full exit from the show. Obviously as this is a first part and season
five opens with the continuation of the show, but the framing is easily read
that Worf is gone and would be a future special guest star. This is a season that already had the same
thing happen to Wesley Crushser, played by Will Wheaton.
The actual cliffhanger for “Redemption, Part I” is one
designed to fuel speculation. It’s
furthering a plot point from two episodes ago.
In “The Mind’s Eye”, Denise Crosby played a character in the shadows manipulating
the Romulan plot. In “Redemption, Part I”
she returns, presumably playing the same character, manipulating the sisters of
Duras, Lursa and B’Etor played by Barbara March and Gwynyth Walsh respectively,
into causing a civil war. The reveal is
that Crosby is playing a Romulan that looks similar to Tasha Yar. As a cliffhanger, it is actually the episode’s
weakest element. Now, this may be
because the version of the episode available is a high definition restoration, however,
Denise Crosby’s voice is at no point disguised through the episode and her name
is present in the guest cast after the opening credits. The reveal is shot quite well, it’s very
evocative in terms of where it indicates the episode is going, but it does not
actually add much to the story. Before
these final moments, there already was scenes with this character and the
Klingons so the audience already knows that the plan is to take over the
Klingon empire and provide some sort of revenge on the Enterprise. It’s possible that the character’s status as
a Romulan is meant to be a twist, but in context with “The Mind’s Eye” that
twist is particularly odd. Crosby plays
the part well and it is obvious that the fifth season is going to open with
explanations as to who exactly she is and what connection to Picard and the Enterprise,
but it is a part that is just a further tease for the next season.
The actual plot of “Redemption, Part I” is installing
Gowron as Chancellor of the Klingon High Council. For a season finale, there is a great risk
being taken by instead of filling it with action and spectacle as “The Best of
Both Worlds, Part I”, it’s a very dialogue heavy episode around Klingon
political discussions. Ronald D. Moore
actually puts a lot into crafting the Klingon politics as fully centered on
their culture, issues and all. There is
an underlying misogyny to Klingon politics, women cannot serve on the council so
Lursa and B’Etor have to use an illegitimate son of Duras Toral played by JD Cullum. The sisters have to be working in the shadows
and behind the scenes, and their actual plan is noted as being far too clever
for the intricacies of Klingon society. That
society does not allow them direct access to power, however, their actions do
contain the indirect power to put their society into extreme turmoil. The best scene of the episode is Picard, for
lack of a better word, confronting the pair diplomatically, knowing that he is in
a no win situation. He has been brought in
as arbiter for Gowron’s claim to the high council, and everybody in the scene knows
that no matter Picard’s decision, there is going to be turmoil be it Gowron
being murdered in the night leading to a civil war, or Gowron not being
instilled therefore leading to a civil war.
Picard also knows that because he is a Federation starship captain,
whatever civil war follows, he will not be allowed to interfere. The Klingon Empire is still a separate entity,
it’s why Picard refuses Worf’s extended leave at the end of the episode.
With all of those elements, the episode belongs to
Michael Dorn. This is very possibly his best
performance, Moore’s script reflecting Worf’s growth as a person coming to
terms with his identity as a Klingon raised by humans. There is a fantastic scene early in the
episode where Worf is doing weapons training with Guinan, Whoopi Goldberg
clearly having the time of her life playing the character as the mentor she is
with the extreme knowledge and power.
Worf as a character had to have several steps on his journey of
identity. This episode is where he gets everything
that he wants, Gowron restores his honor by the end of the episode, however, it
comes to be hollow. He is not excited to
be going home at the beginning of the episode, because he knows there is going
to be turmoil and he has obligations to others.
This is an episode where the emotional crux is that Worf has to make a
stand with his people and brother, leaving the Enterprise behind. Director Cliff Bole does a particularly good
job of centering Worf in every scene that he is in even when he is not the
focus of the scene. This is also an episode
that looks fantastic while still being within the boundaries of an episode of
television. The model work representing
the Klingon home world is particularly great while the interior sets are shot
so incredibly well, despite the small size of the sets. These are very obviously sets on a television
budget but they are also ones that work so well for the story that is being
told.
Overall, “Redemption, Part I” is very different take
on a season finale for Star Trek: The Next Generation. It feels far more complete than “The Best of
Both Worlds, Part I” and yet it also is clearly only the first half of the
story. In terms of performance, it is
Michael Dorn’s best so far, plus bringing back Tony Todd is a particular
treat. There is some understated gender
commentary that I do hope is picked up on in the resolution because it
introduces a pair of fascinating female characters. There is not an attempt to one-up the
previous season’s finale, instead going for a character focused, political
drama that works excellently even if it leads to a less than effective
cliffhanger. 9/10.
Bottom 5 Episodes of Season 4:
5. The Nth Degree
4. Suddenly Human
3. The Loss
2. The Host
1. Galaxy's Child
Bottom 10 Episodes of Star Trek: The Next Generation So Far:
10. Too Short a Season
9. The Host
8. Galaxy's Child
7. Shades of Gray
6. Home Soil
5. Justice
4. Up the Long Ladder
3. Angel One
2. The Child
1. Code of Honor
Top 5 Episodes of Season 4:
5. Half a Life
4. First Contact
3. Family
2. The Best of Both Worlds, Part II
1. The Drumhead
To 10 Episodes of Star Trek: The Next Generation So Far:
10. Q Who
9. First Contact
8. Elementary Dear Data
7. The Offspring
6. Yesterday's Enterprise
5. Family
4. The Best of Both Worlds
3. The Drumhead
2. Sarek
1. The Measure of a Man