Conspiracy (S01E25)
Airdate: May 9th 1988
Written by: Tracy Tormé
Directed by: Clifton Bole
Running Time: 45 minutes
The inaugural season of Star Trek: The Next Generation remains a deeply contentious period for even the most ardent devotees of the franchise. Laden with the impossible burden of following the cultural phenomenon of the original series, compounded by Gene Roddenberry’s increasingly rigid vision for his "optimistic future," the production was beset by creative turbulence, wildly inconsistent scripting, jarring tonal inconsistencies, and the ignominious departure of a core cast member. Expectations, perpetually sky-high amongst the trekkie faithful, were frequently dashed against the rocks of undercooked concepts and technical limitations. Yet, amidst this maelstrom of frustration, few episodes proved as genuinely shocking, as memorably disturbing, or as unexpectedly effective as the penultimate offering of that troubled season: Conspiracy.
Conspiracy also represents a significant, albeit early, departure from the strictly episodic format that defined The Original Series (TOS), a trend that would become increasingly prominent in later Trek iterations. It functions as a direct narrative sequel to the earlier first-season episode, Coming of Age. This subtle weaving of continuity, rare in TNG's debut year, lends the paranoia and urgency a greater sense of consequence. The plot ignites when Captain Jean-Luc Picard, commanding the USS Enterprise-D on a routine scientific mission near Pacifica, receives a clandestine communication from his old friend, Captain Walker Keel (Jonathan Farwell) of the USS Horatio. Keel’s message is urgent and deeply unsettling, demanding an immediate, secret rendezvous to discuss a matter threatening the very security of the United Federation of Planets. Heeding the call, Picard diverts to the derelict mining colony of Dytallix B. There, he is confronted not only by Keel but also by Captains Trylla Scott (Ursaline Bryant) and the unmistakably alien Rixx (the iconic Michael Berryman, whose distinctive appearance here inadvertently established the Bolian species, later named after the episode’s director, Cliff Bolen). To prove their identities and the gravity of their claim, they subject Picard to a barrage of intensely personal questions only his closest confidants would know. Keel then reveals his chilling discovery: over recent months, high-ranking Starfleet officers have exhibited profoundly aberrant behaviour – suspicious transfers, inexplicable appointments – suggesting either a vast conspiracy or, more horrifyingly, that key personnel have been fundamentally altered. He implores Picard to investigate, confessing he even suspects his own crew.
Picard, initially sceptical but inherently duty-bound, finds Keel’s claims corroborated almost immediately. Data’s meticulous analysis of Starfleet personnel transfers and command decisions reveals statistically improbable patterns matching Keel’s observations. The grim confirmation arrives moments later: the Enterprise detects debris consistent with the USS Horatio, apparently destroyed. This tragic event also validates the cryptic warnings Rear Admiral Quinn (Ward Costello) had conveyed to Picard during a tense visit to the Enterprise months earlier in Coming of Age. Convinced of the conspiracy’s reality, Picard alters course for Earth, intending to confront Quinn directly at Starfleet Command.
His reception, however, is profoundly disorienting. Admiral Quinn, when met, completely disavows his previous concerns, claiming his earlier doubts were unfounded paranoia. Simultaneously, Picard is invited to an exclusive, seemingly routine dinner with three senior Admirals at Starfleet Headquarters. The atmosphere is thick with unspoken tension. Back aboard the Enterprise, the situation escalates violently: Quinn beams over under false pretences and attempts to implant a grotesque, insectoid parasite – which he chillingly refers to as a "superior form of life" – into Commander Riker. A brutal physical struggle ensues; Riker’s resistance is overcome by Quinn’s unnatural strength, and both Geordi La Forge and Worf are swiftly incapacitated before Dr. Crusher intervenes, stunning the Admiral with her phaser. This attack confirms the horrifying truth: the parasites are real, and they are seizing control of Starfleet’s highest echelons.
The climax unfolds at Starfleet Command. Picard, attending the aforementioned dinner, is presented with bizarre, living larvae as part of the meal – a horrifyingly clear sign the assembled Admirals are hosts. Just as the trap seems sprung, Commander Riker beams down, apparently infected and joining the gathering. In a masterful twist, Riker reveals his feigned infection, drawing his weapon and opening fire, providing Picard the crucial distraction needed. They confront Dexter Remmick (Robert Schenkkan), whose body harbours the central "mother" organism. A desperate firefight culminates in Picard and Riker destroying both Remmick and the monstrous creature erupting from his torso. Admiral Quinn is later successfully treated, and Starfleet seemingly purged. Yet, Data’s final observation, noting a persistent, unexplained beacon originating from Earth, leaves a lingering, deeply unsettling question: had they truly eradicated the infestation?
It is undeniable that the core premise – a parasitic invasion subverting humanity from within – is far from original science fiction. Veteran fans would instantly recognise echoes of Jack Finney’s Invasion of the Body Snatchers and Robert A. Heinlein’s The Puppet Masters. Ironically, this very scenario was Roddenberry’s imposition. He vehemently rejected earlier script drafts depicting a more conventional, human-led coup within Starfleet, deeming such internal power struggles fundamentally incompatible with his utopian vision of the 24th century. This creative intervention, however, proved double-edged. While arguably diluting the political intrigue, it directly enabled the episode’s single most infamous and unforgettable moment: the graphic, gory destruction of Dexter Remmick. As laser fire strikes him, his head violently explodes, disgorging the writhing, multi-limbed mother organism in a sequence of shocking visceral horror. Critics immediately drew parallels to the body terror of Alien, The Thing, or Cronenberg’s Scanners. This level of explicit gore was deemed utterly unacceptable for broadcast television, particularly within the context of Star Trek, leading to the scene being heavily censored or the entire episode banned outright on several networks, cementing its controversial legacy.
On a strictly technical level, however, "Conspiracy" is exceptionally well-executed for its era. Makeup maestro Michael Westmore delivered effects of astonishing quality, particularly the central parasite creature and the infamous head explosion, work that rightly earned him the Emmy Award for Outstanding Achievement in Makeup for a Series. While some elements, such as the stop-motion claymation used to depict the smaller parasites scurrying, appear undeniably dated to modern eyes, the overall craftsmanship remains impressive. This technical prowess is matched by Tracy Tormé’s intelligent script. It masterfully builds suspense through the Dytallix B meeting, the Horatio’s destruction, and the tense infiltration of Starfleet Command. The narrative twists – Quinn’s reversal, Riker’s feigned infection – are genuinely effective, propelling the episode with relentless momentum. The final tease of the Earth-based beacon, while a familiar trope of 1980s sci-fi horror, was wisely never pursued in subsequent TNG seasons or series. This restraint prevents it from feeling like a cheap setup and instead allows "Conspiracy" to stand as a unique, self-contained nightmare within the Trek universe.
Cliff Bolen’s direction is equally crucial to the episode’s success. He crafts a palpable atmosphere of dread and paranoia, particularly in the shadowy, atmospheric sequences on Dytallix B, showcasing excellent production design for the abandoned colony. The action sequences, especially the brutal fight involving Quinn, Riker, Geordi, and Worf, possess a raw physicality uncommon in early TNG. Furthermore, the episode holds the distinction of being the first in The Next Generation to feature scenes set on Earth itself (Starfleet Command in San Francisco), a significant expansion of the show’s visual scope. The casting, particularly the inclusion of the unforgettable Michael Berryman as Captain Rixx, not only served the immediate plot but inadvertently seeded a new species into Trek lore.
If a single element feels distinctly out of place, it is Data’s intermittent, somewhat forced attempts at comic relief, particularly his laboured efforts to "understand humour" during tense moments. These moments feel like relics of the season’s earlier, more uncertain identity, jarringly contrasting with the episode’s otherwise serious, suspenseful, and genuinely horrific tone. Yet, even this minor flaw cannot overshadow the episode’s overall impact.
At the end of the day, Conspiracy represents a fascinating paradox of Star Trek: The Next Generation’s tumultuous first season. Born from Roddenberry’s controversial creative mandates and the production’s general instability, it embraced a level of graphic horror deemed anathema to the franchise’s perceived family-friendly ethos, resulting in significant censorship. Its core concept, while derivative, was executed with remarkable technical skill, intelligent scripting, and taut direction. It dared to break format with subtle continuity, introduced lasting lore elements (the Bolians, Earth settings), and delivered a finale of shocking brutality that resonated precisely because it violated expectations. For all its controversies and the season’s surrounding mediocrity, Conspiracy transcends its origins. It is not merely a "better" Season One episode; it is a genuinely gripping, suspenseful, and thematically rich piece of science fiction horror that demonstrated the nascent series’ potential for bold storytelling, even when that boldness risked alienating its core audience. Its enduring memorability, decades later, is testament not just to its shock value, but to its fundamental effectiveness as a tightly wound, expertly crafted thriller – a dark, disturbing jewel in the otherwise rough-hewn crown of TNG’s difficult debut.
RATING: 8/10 (+++)
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