Haven (S01E10)
Airdate: November 30th 1987
Written by: Tracy Tormé Directed by: Richard Compton
Running Time: 46 minutes
Majel Barrett’s enduring status as the undisputed First Lady of Star Trek transcends her profound personal connection as Gene Roddenberry’s wife and muse; it is fundamentally anchored in her unparalleled acting contributions across the franchise’s decades-long history. Her journey commenced with the groundbreaking yet initially rejected role of the formidable Commander Number One in The Cage, the original Star Trek pilot. She subsequently graced The Original Series with her dual presence as the compassionate Nurse Christine Chapel and the instantly recognisable, soothing voice of the Enterprise computer – a role she would reprise consistently throughout the franchise’s evolution. While newer generations of Trekkies may primarily associate her with the delightfully overbearing Lwaxana Troi, the Betazoid ambassador whose flamboyant entrances became a hallmark of The Next Generation, it is crucial to acknowledge that her introduction occurred precisely in the first-season episode Haven. This instalment served as the debut for a character who would become a vital comedic and narrative counterpoint within the TNG universe, further cementing Barrett’s irreplaceable legacy through yet another distinct and memorable persona.
The narrative of "Haven" unfolds as the USS Enterprise-D orbits the idyllic Class M planet Beta Cassius IV, universally known simply as "Haven" for its renowned breathtaking beauty and pervasive tranquil atmosphere. Captain Jean-Luc Picard receives notification of an incoming package for beam-up, which materialises as a Betazoid gift box – a whimsical device operated by the actor Aaron Shimmerman. This unconventional courier delivers the news of the imminent arrival of Ambassador Lwaxana Troi, Deanna Troi’s formidable mother, accompanied by the Miller family. Counselor Troi subsequently elucidates the purpose of this visit: an arranged marriage between herself and Wyatt Miller (played by Robert Knepper), a young and promising doctor, with the ceremonial union scheduled to take place aboard the Enterprise.
Captain Picard’s reaction to these developments is palpably negative, stemming from two significant concerns. Firstly, he is deeply displeased at the prospect of losing Deanna Troi, a valued and integral member of his senior command staff, whose empathic abilities and counsel have proven indispensable on numerous occasions. Secondly, the mere presence of Lwaxana Troi, with her trademark eccentricity, unapologetic assertiveness, and tendency towards the obnoxiously demanding, grates significantly on his meticulously maintained command environment. This friction intensifies as Lwaxana engages in comically acrimonious exchanges with Wyatt’s mother, Victoria Miller (Nan Martin), while simultaneously attempting to deploy her considerable charms in Picard’s direction – advances he deflects with weary politeness. The potential departure of Deanna also profoundly unsettles Commander Riker, whose deep personal and professional bond with the Counselor is evident in his visible discomfort and concern throughout the proceedings.
The initial meeting between Deanna and Wyatt reveals the complex, somewhat fragile foundation of their betrothal. Wyatt explains that he accepted the arranged marriage partly out of a sense of familial obligation, but also due to recurring, vivid dreams and artistic visions of an ideal woman he felt destined to meet. Convinced by Betazoid telepathic lore that such profound visions must signify a genuine psychic connection, he believed Deanna had somehow projected herself into his subconscious. A crucial caveat, however, undermines this premise: Wyatt readily admits that Deanna Troi does not physically resemble the woman who haunts his dreams and appears in his artwork, introducing a dissonance that foreshadows the plot’s impending resolution.
Simultaneously, the serene planet of Haven faces an external crisis. A vessel carrying the last surviving members of the Tarrelian civilisation – a society ravaged and nearly exterminated by biological warfare – approaches the system. This ship carries a deadly plague, posing a catastrophic contagion risk to Haven’s population and the Enterprise crew. After protracted and frustrating attempts to establish communication, Picard finally hails the vessel. The revelation is astonishing: Arianna (Danitza Kingsley), one of the Tarrelian survivors, bears an uncanny, near-identical resemblance to the woman from Wyatt’s dreams. Her own artwork, displayed during the communication, mirrors Wyatt’s visions, depicting him in return. Confronted with this tangible manifestation of his prophetic dreams – a true psychic soulmate – Wyatt experiences an immediate and profound shift. He abandons the arranged marriage to Deanna without hesitation and, in a decisive act, beams aboard the Tarrelian ship, intent on utilising his medical expertise to aid the plague-stricken survivors in their search for a cure.
Haven arrives at a point where The Next Generation was actively striving to establish itself as a true ensemble drama, moving beyond the Kirk-centric model of TOS to allow deeper exploration of its diverse regular cast. Deanna Troi, however, had proven a stumbling block for some viewers early in the series. Her empathic abilities were frequently perceived as vague, almost redundant, leading to criticism that her character lacked concrete utility within the Starfleet framework. Written by Tracy Tormé, Haven represented a deliberate and largely successful effort to address this criticism. By delving into Betazoid culture, societal structures, and the specific pressures faced by Deanna as the daughter of a prominent ambassador, the episode added significant layers of complexity to her character, highlighting the cultural dissonance between Betazoid traditions and the human-centric Starfleet environment.
Nevertheless, the chosen vehicle for this character development – an imminent, ship-altering marriage – proves somewhat clunky. Given the episodic nature of early TNG, where character departures were exceptionally rare narrative devices (especially for core crew members), the premise that Deanna might genuinely leave the Enterprise strained credulity from the outset. The narrative’s ultimate resolution, cancelling the wedding, was further telegraphed with almost comical obviousness. A recurring, lightly humorous thread involved the Betazoid tradition of conducting wedding ceremonies entirely in the nude – a concept inherently incompatible with the constraints of 1980s American network television broadcast standards. The sheer improbability of such a scene ever being aired made the marriage’s cancellation feel preordained, diminishing genuine dramatic tension.
This sense of contrivance is compounded by the Tarrelian subplot. Initially presented as a serious, potentially catastrophic external threat demanding Picard’s attention, the Tarrelian ship and its plague ultimately function as little more than a convenient deus ex machina. Its sole narrative purpose appears to be providing Wyatt with his destined soulmate, thereby freeing Deanna from her marital obligation and allowing her to remain aboard the Enterprise – precisely the outcome required by the show’s fundamental structure. The gravity of the plague threat is consequently undermined, reducing a potentially compelling sci-fi dilemma to a mere plot device.
Despite these structural weaknesses, Haven remains an immensely entertaining and light-hearted episode, embracing a distinctly sitcom-like tone that provides welcome levity within TNG’s often weighty early seasons. Majel Barrett is undoubtedly the episode’s driving force, seizing the opportunity to portray Lwaxana Troi with unapologetic, scene-stealing gusto. Her performance is magnificently complemented by the towering, near-silent presence of Carel Struycken as Mr. Homn, Lwaxana’s enigmatic valet. Struycken, later iconic as The Giant in Twin Peaks, imbues Homn with an aura of silent, imposing competence that perfectly offsets Barrett’s flamboyance; both actors clearly relish their roles, establishing a dynamic that would become a recurring highlight of the series.
Critical reception, however, has not been uniformly positive. Astute fans have noted minor continuity quirks, largely attributable to the episode being produced earlier in the season than its eventual broadcast order. More substantive criticism, however, emanated from feminist perspectives. Detractors argued that the core premise – Deanna Troi expected to abandon her Starfleet career to follow her husband – jarred profoundly with Gene Roddenberry’s foundational vision of a progressive, egalitarian 24th century. The very concept of an arranged marriage for a Starfleet officer, particularly one involving the abandonment of a professional role, was seen by some as fundamentally at odds with the utopian ideals Star Trek purported to champion, presenting a curious regression rather than advancement.
These narrative shortcomings, while valid, are significantly mitigated by the episode’s overall execution. Director Richard Compton delivers a solid, visually appealing product. Costume design, particularly Lwaxana’s extravagant gowns, aids in visually distinguishing the cultures involved. Compton maintains a brisk pace that keeps the inherently silly premise engaging, skilfully balancing the comedic elements of Lwaxana’s antics and the Picard-Riker discomfort with the more serious undertones of the Tarrelian plight and Deanna’s personal dilemma. The humour lands consistently, largely thanks to Barrett’s fearless commitment and the strong supporting performances.
At the end, Haven stands as a fascinating, albeit flawed, chapter in The Next Generation’s development. It succeeds admirably in fleshing out Deanna Troi and introducing the indelible Lwaxana Troi, providing essential cultural context for the Betazoid character. Majel Barrett’s performance alone elevates the material considerably. However, its reliance on a narratively improbable central conflict resolved by a perfunctory deus ex machina, coupled with thematic elements that arguably contradict Star Trek’s core philosophy, prevents it from achieving true greatness. Yet, its sheer charm, confident direction, and the undeniable entertainment value generated by its central performances ensure that Haven remains a thoroughly enjoyable, if intellectually slight, diversion – a testament to the fact that within the vast expanse of the Star Trek universe, even a somewhat awkward attempt at cultural exploration can yield significant, enduring character dividends and pure viewing pleasure.
RATING: 6/10 (++)
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