I'd like to make this short. Not too great a script that mainly serves to point out the special talents of Wesley Crusher, finally resulting in his promotion to acting Ensign. Kamel does his job as Kosinski, a dislikable, over-confident and arrogant Starfleet engineer quite well (but is there room for such a behavior in the 24th century?), although his humiliation in the end is a bit too peaceful. A man of his character should have fought harder for his reputation, shouldn't he? The Traveler as the "gentle giant" with all his understanding and care seems a bit too plastic, and the writers' intention of creating an antagonist to the Enterprise officers tending to not taking Wesley seriously, ignroing him or whatsoever is much too obvious. His merely being used for purpose destroys a lot of potential of this not revolutionary but quite intelligent set-up. After "The naked now" (TNG 1.2) this is the second episode blown by Wesley Crusher, my dislike of whom still growing from show to show.
There also could have been a philosophic point to the show by daring to further explore the time-space-thought connection but once again Roddenberry's view is too restricted to experiment. What this show needed was a real kick off, something avantgarde leading to finally overcome the 60s TOS concept. As stated before in other comments this show's special achievements lie clearly beyond the plot. Introducing Rob Bowman (also known for his work on "The X-Files" in the 90s) we see what an innovative style of directing can make of a show. Those low angle shots of some bridge personnel are really something new as well as the exploration of the engineering set. But as good as the directing was, engineering seemed a bit empty without a charismatic chief engineer. At this early time of the series the problem of not having included that character became a problem. Argyle isn't the one to do the job and Riker does his best to compensate but that's not enough... Special effects are OK (and even outstanding for a TV show at this time) as are the performances of the leads. Data has to step aside for this one, leaving space for the guest cast's "odd couple", who for a moment seem to carry the show but the weak exit of Kasinski and the sudden disappearance of the Traveler aren't satisfying.
Yvette Picard (the Captain's mother) leaves no impression, Worf's pet grants a minimal glimpse into Klingon culture and we hear some Mozart in space (one of the first influences of classical culture on the show).
But why of all Wesley Crusher? I mean there's Worf, Tasha, LaForge and Troi (and Dr. Crusher as well) waiting for a chance to extend their characters and lift them above mere sidekick status. There really isn't enough room for another bridge officer and that's what Picard's temporary loss of mind promised us. Another bad moment is the follow-up advise scene on the bridge with Worf, LaForge and Data all beginning with "Captain..." and delivering one line each (horribly static). And what happened to sickbay? Another power failure, leaving only emergency lighting? Or night aboard the Enterprise? One of the worst sets in ST history... on the other hand the engine room is quite good and saves the set design of the episode.
The first small step to leaving 60s movie aesthetics behind has been made but the writing concept still is stuck in its uninspired, anachronistic cage leaving only minimal potential for development...
There also could have been a philosophic point to the show by daring to further explore the time-space-thought connection but once again Roddenberry's view is too restricted to experiment. What this show needed was a real kick off, something avantgarde leading to finally overcome the 60s TOS concept. As stated before in other comments this show's special achievements lie clearly beyond the plot. Introducing Rob Bowman (also known for his work on "The X-Files" in the 90s) we see what an innovative style of directing can make of a show. Those low angle shots of some bridge personnel are really something new as well as the exploration of the engineering set. But as good as the directing was, engineering seemed a bit empty without a charismatic chief engineer. At this early time of the series the problem of not having included that character became a problem. Argyle isn't the one to do the job and Riker does his best to compensate but that's not enough... Special effects are OK (and even outstanding for a TV show at this time) as are the performances of the leads. Data has to step aside for this one, leaving space for the guest cast's "odd couple", who for a moment seem to carry the show but the weak exit of Kasinski and the sudden disappearance of the Traveler aren't satisfying.
Yvette Picard (the Captain's mother) leaves no impression, Worf's pet grants a minimal glimpse into Klingon culture and we hear some Mozart in space (one of the first influences of classical culture on the show).
But why of all Wesley Crusher? I mean there's Worf, Tasha, LaForge and Troi (and Dr. Crusher as well) waiting for a chance to extend their characters and lift them above mere sidekick status. There really isn't enough room for another bridge officer and that's what Picard's temporary loss of mind promised us. Another bad moment is the follow-up advise scene on the bridge with Worf, LaForge and Data all beginning with "Captain..." and delivering one line each (horribly static). And what happened to sickbay? Another power failure, leaving only emergency lighting? Or night aboard the Enterprise? One of the worst sets in ST history... on the other hand the engine room is quite good and saves the set design of the episode.
The first small step to leaving 60s movie aesthetics behind has been made but the writing concept still is stuck in its uninspired, anachronistic cage leaving only minimal potential for development...