Where No One Has Gone Before (S01E06)
Airdate: October 26th 1987
Written by: Diane Duane & Michael Reeves Directed by: Rob Bowman
Running Time: 45 minutes
It is a truism of science fiction television that even the most revered series often require time to find their footing, and Star Trek: The Next Generation proved no exception to this rule. Much like its predecessor, The Original Series, which began with the somewhat lacklustre The Man Trap before delivering the groundbreaking Where No Man Has Gone Before as its second pilot, TNG experienced a similar trajectory. The initial episodes of the 1987 revival stumbled through uneven storytelling and character development that failed to capture the magic of Roddenberry's original vision. However, with the sixth episode of the first season, Where No One Has Gone Before, the series finally demonstrated its true potential. This instalment marked the moment when TNG ceased merely imitating its predecessor and began establishing its own identity, delivering the kind of ambitious, thought-provoking science fiction that would ultimately define the franchise's golden age.
Inevitably, comparisons between the two series arose, particularly given the similarity in titles between this episode and TOS's seminal second pilot. Both narratives feature an Enterprise venturing beyond the known boundaries of space, encountering phenomena that challenge the crew's understanding of reality. Yet Where No One Has Gone Before demonstrated how Star Trek in the 1980s could not only benefit from superior production values and technological advancements but also deliver more sophisticated storytelling. While TOS's episode relied heavily on dramatic tension between Kirk and his former friend Gary Mitchell (who gains godlike powers), TNG's offering explored more complex philosophical territory—examining the relationship between thought, reality, and consciousness itself. The episode proved that contemporary Star Trek could maintain the spirit of exploration while embracing more nuanced concepts, benefiting from both improved special effects budgets and a deeper understanding of what made the franchise resonate with audiences.
The plot commences with the USS Enterprise-D rendezvousing with the USS Fearless to collect Starfleet propulsion specialist Kosinski (Stanley Kamel), portrayed with delicious arrogance by the prolific character actor. Kosinski claims to have developed revolutionary warp drive improvements, though his quiet, enigmatic assistant (Eric Menyuk) immediately captures the attention of young Wesley Crusher. As they work on the Enterprise's engines, Wesley develops an intuitive rapport with the mysterious assistant. When the experimental warp drive is tested, it succeeds beyond expectations—propelling the ship to the M-33 galaxy, so distant that a return journey at maximum warp would require three centuries. In desperation, Captain Picard authorises another test, only for the assistant—revealed as "The Traveler" from the planet Tau Alpha C—to send them a billion light years further, to the very edge of the universe. There, crew members experience hallucinations and reality itself begins to unravel. The exhausted Traveler explains that they've reached a region where space, time, and thought converge, and Picard realises the crew must focus their collective consciousness on the Traveler's wellbeing to survive and return home.
Notably, this episode represents the first adaptation of a Star Trek novel for television, based on Diane Duane's 1983 work The Wounded Sky. Duane co-wrote the teleplay with Michael Reaves, though the original script underwent significant alterations by producers. The decision to adapt existing literary material demonstrated a willingness to draw from the expanding Star Trek universe beyond the television series, establishing a precedent that would influence future storytelling approaches within the franchise.
Where No One Has Gone Before stands as a remarkably fine piece of science fiction television, particularly impressive given its placement in TNG's notoriously uneven first season. The episode successfully integrates complex theoretical concepts—quantum physics, consciousness studies, and metaphysical exploration—within the constraints of a standard 45-minute television format. Particularly effective are the brief but revealing hallucination sequences that provide unexpected depth to regular characters. Worf's vision of childhood pet and Tasha Yar's childhood trauma offer glimpses into their psyches that would take entire episodes to develop through conventional storytelling. These moments demonstrate how the episode uses its central conceit not merely as spectacle but as a narrative tool for character revelation.
Visually, the episode represents a significant milestone for TNG, featuring the series' first extensive display of outer space beyond simple starfields. The depiction of the universe's edge—presented as a swirling, luminous boundary between existence and nothingness—remains striking even by contemporary standards. Special effects supervisor Robert Legato delivered visuals that were genuinely impressive for mid-1980s television production, creating an otherworldly aesthetic that conveyed both the beauty and terror of the cosmic unknown. These sequences established a visual language for depicting "the edge of reality" that would influence subsequent science fiction productions for decades.
The guest cast delivers uniformly strong performances that elevate the material. Stanley Kamel perfectly embodies the insufferable Kosinski, whose scientific pretensions mask profound insecurity. Eric Menyuk, who originally auditioned for the role of Data, proves ideally cast as the enigmatic Traveler, conveying ancient wisdom through subtle expressions and measured delivery. His scenes with Wil Wheaton possess an authentic, almost paternal quality that makes their connection believable. Veteran actress Helen Ware provides a poignant cameo as Picard's mother during his hallucination sequence, adding emotional depth to the captain's character.
Interestingly, the episode was originally scheduled to be directed by Donald Petrie, but scheduling conflicts led to his replacement with 27-year-old Rob Bowman. Despite his relative inexperience, Bowman handled the complex visual requirements with remarkable skill, demonstrating an intuitive understanding of both character moments and spectacle. His work here launched a prolific television career that would include eleven additional TNG episodes and numerous other genre productions. Bowman's direction avoids the staginess that plagued many early TNG instalments, instead embracing dynamic camera work that enhances the episode's sense of cosmic wonder.
However, the episode's most significant drawback centres on Wesley Crusher, who would become one of the most divisive characters in Star Trek history. The Traveler's insistence on Wesley's extraordinary potential—comparing him with Mozart—feels forced and unearned. Picard's subsequent decision to promote Wesley to "acting ensign" based on this single encounter establishes a pattern of unrealistic advancement that would plague the character throughout the series. While the character's prodigious intellect might theoretically justify his presence on the bridge, the execution lacks sufficient narrative justification, making his elevated status feel like an authorial imposition rather than organic character development.
In retrospect, Where No One Has Gone Before represents a crucial turning point for Star Trek: The Next Generation. It demonstrated that the series could deliver the kind of awe-inspiring cosmic exploration that defined the franchise's best moments, while simultaneously establishing narrative threads—the Traveler's interest in Wesley, the exploration of consciousness—that would resonate throughout the series' seven-season run. Despite its flaws, particularly regarding Wesley's character, the episode succeeded where previous instalments had faltered: it made viewers believe in this new Enterprise and its crew. More than three decades later, its exploration of the relationship between thought and reality remains philosophically intriguing, while its visual representation of cosmic wonder continues to inspire. For these reasons, Where No One Has Gone Before deserves recognition not merely as a good early TNG episode, but as the moment when the series finally stepped out of its predecessor's shadow and began charting its own course among the stars.
RATING: 8/10 (+++)
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