Manhunt (S02E19)
Airdate: June 19th 1989
Written by: Terry Deveraux Directed by: Rob Bowman
Running Time: 46 minutes
When a television series as ambitious and narratively diverse as Star Trek: The Next Generation spans seven seasons, it is an inevitability that certain episodes will emerge primarily as vehicles for lighter entertainment, consciously crafted to offer respite from the show’s frequent gravitas and philosophical depth. Such instalments are rarely destined for the pantheon of Trek classics; they seldom grapple with profound ethical quandaries or redefine the franchise’s trajectory. Yet, they frequently succeed admirably in fulfilling their modest, often commercially-driven, purpose: to provide accessible, uncomplicated fun for the devoted fanbase. Within this specific niche, the Season 2 episode Manhunt occupies a distinct, if peculiar, position. Its primary objective – delivering broad comedy through the rekindling of established character dynamics – is largely achieved, albeit at the expense of the series’ usual science fiction rigour, resulting in an episode that is undeniably entertaining fluff rather than substantive drama.
The script, penned by Tracy Tormé, a writer already held in considerable esteem by Trekkies for his pivotal contributions to Season 1, is particularly noteworthy for its deliberate stitching together of two seemingly disparate narrative threads he previously established. Tormé authored Haven, the episode which introduced the formidable, flamboyant, and utterly unforgettable Lwaxana Troi, the ambassador from Betazed, brought to vibrant life by Majel Barrett Roddenberry – the undisputed First Lady of Star Trek. He also crafted The Big Goodbye, a groundbreaking instalment that not only introduced the holodeck as a central narrative device but also gifted Captain Jean-Luc Picard his iconic alter ego: Dixon Hill, the hard-boiled 1940s private investigator navigating the mean streets of a simulated San Francisco. Manhunt functions explicitly as a sequel to both of these episodes. Its core conceit hinges on the successful, albeit tonally jarring, fusion of Lwaxana Troi’s overbearing romantic pursuit and Picard’s escapist holodeck adventures, creating a farcical situation that drives the entire plot.
The narrative ostensibly commences with the Enterprise-D undertaking a routine diplomatic mission: transporting two Antedean delegates – fish-like humanoids from Antede III – to a crucial conference on the planet Pacifica. Upon their arrival, however, the Antedeans lapse into a catatonic state. Dr. Pulaski initiates medical care. The truth, revealed later, is far less dramatic: this catatonia is merely a natural physiological response to the stresses of space travel, which the Antedeans find deeply unpleasant and traumatic.
En route, the Enterprise is ordered to take on an additional passenger: Ambassador Lwaxana Troi, accompanied by her ever-silent manservant, Mr. Homn. Her presence immediately disrupts the ship’s equilibrium. Lwaxana, fulfilling her role as Betazed’s representative, resumes her relentless, aggressively amorous campaign to secure Captain Picard as her husband. The episode introduces the rather eyebrow-raising concept of the "Phase," a Betazoid equivalent of menopause wherein the ambassador’s sex drive reportedly quadruples. Her daughter, Counselor Deanna Troi, explains this biological imperative to a mortified Picard, whose desperate attempts to evade his amorous pursuer lead him to seek sanctuary within the Dixon Hill holodeck programme.
Deprived of her primary quarry, Lwaxana’s attention inevitably shifts to other eligible males aboard the ship. Commander Riker, Lieutenant Worf, and even the adolescent Wesley Crusher (dismissed by Lwaxana as "too young") all receive varying degrees of her unsettling scrutiny. Picard’s temporary reprieve within the holodeck is shattered when Lwaxana, drawn by curiosity, ventures into the simulation herself. There, she becomes instantly captivated not by Picard-as-Hill, but by the holographic Rex (Rod Arrants), the burly, charming owner of the bar frequented by Dixon Hill. This distraction allows Picard to flee, but Lwaxana’s departure from the holodeck proves pivotal. Casually, almost as an afterthought, she reveals a startling truth gleaned through her telepathic abilities: the Antedeans are not diplomats at all, but assassins carrying concealed bombs intended to sabotage the Pacifica conference. Having delivered this crucial intelligence, she promptly departs the Enterprise.
It is here that Manhunt firmly establishes its identity as pure, low-stakes comedy. The episode is demonstrably not a classic, nor even a particularly great TNG instalment. Nothing of genuine consequence occurs; the stakes are laughably low (a potential, easily reversible marriage proposal to Riker would strain credulity even for casual viewers, given his status as a core character), and the late reveal of the Antedeans as assassins feels less like a narrative twist and more like a perfunctory plot device hastily inserted to provide some semblance of a “mission" for the crew. Crucially, however, this tonal inconsistency – shifting from broad farce to a perfunctory action beat – doesn’t fatally undermine the episode. Instead, the sheer absurdity of the premise and the commitment of the performances render the whole affair consistently entertaining. The audience is never asked to take any of it seriously, allowing the inherent ridiculousness of Lwaxana’s pursuit and Picard’s flustered reactions to shine as the primary source of amusement.
The episode’s success in this regard owes much to capable direction by Rob Bowman, who adeptly handles the physical comedy and the transitions between the sterile ship and the smoky holodeck. Furthermore, it benefits significantly from a strong ensemble cast working with the material they have. Majel Barrett Roddenberry, as ever, commits utterly to the larger-than-life Lwaxana, turning potential caricature into iconic comedy. Carel Struycken reliably conveys volumes through Mr. Homn’s silent stoicism, while Rhonda Aldrich reprises her role as Madeline, Dixon Hill’s loyal secretary. Notable additions include Robert Constanzo as the thuggish Slade Bender and, most significantly, Robert O’Reilly as the chillingly intense gangster Scarface. O’Reilly’s screen time is minimal, yet his ferocious presence made such a profound impression that he was swiftly recruited to reprise a radically different, yet equally intense, Klingon role: Chancellor Gowron, across both TNG and Deep Space Nine. Adding a layer of fan-service whimsy, Mick Fleetwood of Fleetwood Mac fame, known as hardcore Trek fan, appears in a brief cameo as one of the Antedeans.
Ironically, the writer most responsible for this peculiar blend, Tracy Tormé, held the episode in deep disdain. He had originally conceived Manhunt as a more focused, loving tribute to film noir, with the holodeck sequences forming the dominant narrative strand. However, under pressure from producer Michael Hurley – reportedly influenced by Gene Roddenberry’s desire to feature his wife, Majel Barrett, more prominently – the Lwaxana subplot was significantly expanded, effectively hijacking Tormé’s intended focus. Feeling his vision had been compromised and the episode reduced to fan service centred on one character, Tormé exercised his contractual right to use a pseudonym ("Terry Deveraux") for the teleplay credit. This incident, emblematic of the creative tensions within the show’s early seasons' production, contributed significantly to his eventual departure from the series.
In the end, Manhunt stands as a testament to the inherent contradictions within long-running genre television. It is an episode fundamentally at odds with Star Trek: The Next Generation’s core mission of exploring profound ideas through science fiction. Yet, through the sheer force of Majel Barrett Roddenberry’s unforgettable performance, the committed farce of the holodeck sequences, and a general willingness to embrace its own ridiculousness, it achieves its modest goal with surprising efficiency. It is a curiously charming confection, best enjoyed with a large dose of salt and an acceptance that not every voyage of the Enterprise needs to boldly go where no one has gone before; sometimes, it merely needs to provide a good laugh.
RATING: 6/10 (++)
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