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Which would be true except for the minor fact it does none of those things.
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That’s all true to be sure, but it’s also blindingly and bluntly obvious to the point I don’t even think it’s really worth taking the time to talk about.īut then what is there left to say about an episode like “Sins of the Father”? I could be my usual grouchy self and dispel some myths about the backstage stuff: This episode is frequently touted as being the moment where real characterization, serialization and world building was introduced to Star Trek: The Next Generation.
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And yes, it sets up “Redemption”, about which I have a lot to say, but I’ll save for the fifth season. Yes, the award-winning set design and matte paintings are all gobsmackingly good. Yes, yes, this episode sets in stone pretty much everything we think of when we think of Worf and the Klingons, yes it’s a strong character piece and yes it’s a major step in the development of more explicit serialization in episodic Star Trek. This is the kind of episode I hate because it leaves me with perishingly little new erudition to add to the glut of discourse that already exists. But “Sins of the Father” is also the kind of episode that’s exceedingly difficult for me to write about as it’s been extensively analysed and historicized by just about every major publication to cover the franchise.
#Tng sins of the father series
This episode is frequently held up as an important turning point for the series and rightly so, as it defines a lot about what Star Trek: The Next Generation (and Star Trek: Deep Space Nine too, for that matter) is going to look like going forward. What “The Enemy” was for the Romulans, “Sins of the Father” is for the Klingons.