My DS9 Rewatch Odyssey
- Thread starter ananta
- Start date
Great review and episode.
I am completely on Kira's side of her argument. The Cardassians had no business being there. By being there in any form, they are legitimizing the pillaging and raping of that world. That made them all targets. The only ones I can give a pass to are Cardassian children, as they obviously go where their parents take them. No child should be a target.
Your take on Kira's final words are interesting, and I didn't consider that. I always took it as her saying that Prin used his 'innocence' at just being a laundry guy that was injured as an excuse to go kill those who hurt him.
The possible plot hole of his facial scarring... given that we see Bashir and others easily taking care of such scarring makes Prin look like a dummy for not simply seeking the same treatment, but I have a theory as to why he didn't. It boils down to something that happens on Earth today... not enough insurance.
I'm serious. Cardassian society is totalitarian, so it makes sense that only the actual military and Obsidian Order members get the real, proper medical treatment and gear. Since he just 'ironed shirts for a living', he was not in a well enough position to get more than basic medical care.
As you said, Kira was reckless with endangering the baby... twice. First, when she was about to go into the quarters, and very luckily had a physical reaction. I think the baby was like, "No! This is deadly for us both!" The second time, going off to hunt Prin down. Given all she just went through, it's completely understandable that she went off like that.
And I have always thought Prin actually planned her to go off and find him. It would explain why he toyed with her with those messages. He knew she would go on her own when provoked enough. Plus, if he really meant what he said about taking care not to harm innocent people, he could only do that if he took the baby out himself. And that could frankly only happen exactly as what we saw was about to happen.
Pretty much agreed with everything else, including Mike Vejar's directing. (Funny coincidence, he would also direct "EMPOK NOR", another dark lit episode which ALSO happens to be a Bryan Fuller story credit.)
An 8? Agreed.
I am completely on Kira's side of her argument. The Cardassians had no business being there. By being there in any form, they are legitimizing the pillaging and raping of that world. That made them all targets. The only ones I can give a pass to are Cardassian children, as they obviously go where their parents take them. No child should be a target.
Your take on Kira's final words are interesting, and I didn't consider that. I always took it as her saying that Prin used his 'innocence' at just being a laundry guy that was injured as an excuse to go kill those who hurt him.
The possible plot hole of his facial scarring... given that we see Bashir and others easily taking care of such scarring makes Prin look like a dummy for not simply seeking the same treatment, but I have a theory as to why he didn't. It boils down to something that happens on Earth today... not enough insurance.
I'm serious. Cardassian society is totalitarian, so it makes sense that only the actual military and Obsidian Order members get the real, proper medical treatment and gear. Since he just 'ironed shirts for a living', he was not in a well enough position to get more than basic medical care.
As you said, Kira was reckless with endangering the baby... twice. First, when she was about to go into the quarters, and very luckily had a physical reaction. I think the baby was like, "No! This is deadly for us both!" The second time, going off to hunt Prin down. Given all she just went through, it's completely understandable that she went off like that.
And I have always thought Prin actually planned her to go off and find him. It would explain why he toyed with her with those messages. He knew she would go on her own when provoked enough. Plus, if he really meant what he said about taking care not to harm innocent people, he could only do that if he took the baby out himself. And that could frankly only happen exactly as what we saw was about to happen.
Pretty much agreed with everything else, including Mike Vejar's directing. (Funny coincidence, he would also direct "EMPOK NOR", another dark lit episode which ALSO happens to be a Bryan Fuller story credit.)
An 8? Agreed.
But in that case, nobody has any business being anywhere. Where I live, some invader took the land from the people who lived there before and these people took the land from someone else who was there even earlier.... and this goes back to when people started fencing land instead of just being hunters-gatherers (like certain Indian tribes not so long ago)
Most lands in the world have been taken from people countless times...and never given back. The Bajoran seem to be kind of an exception. In reality, that sort of thing rarely happens. When the Romans invaded the Gauls they stayed there for five centuries, after which the people were more Roman than Gaul... In French few words are of Gaul origin much less than words of Roman/Latin origin.
The review made a lot of sense to me, the episode is a well-constructed drama / mystery. Just a couple of weak points in the story, for me…. Prin as a domestic servant having access to that much technical expertise for carrying out the assassinations, seemed like a stretch. And Kira [supposedly] being in the final stage of her pregnancy, wouldn’t be running around knocking out security guards. Or maybe that just shows how much stronger Bajoran women are. In any case Nana was amazing throughout.
Yup, I kind of assumed that Prin was obsessed with getting revenge from the moment of the accident onward. It’s possible he deliberately kept his face scarred to remind him of the pain, and that he did something Jake did in “The Visitor”; retrained to in weapons technology to implement his plan. It was certainly something he’d been working on for years.
“THE BEGOTTEN”
“Holy Prophets, Odo, that gelatinous phallus looks just like you!!”
Although a quiet, rather understated affair, “The Begotten” is nevertheless something of a low-key gem. The episode begins on a note of deja vu, with Quark coming into possession not of a baby Jem’Hadar, but this time a baby Changeling. What’s it gonna be next, barkeeper? A diaper clad Vorta? This, of course, leads to Odo taking on a parental role toward the gelatinous infant, even though he, himself, is no longer a Changeling.
It’s hard to go far wrong with an episode that puts Rene Auberjonois centre-stage and he’s particularly brilliant here, displaying a gamut of emotion and showing us significant chinks in the Constable’s armour as his tough guy persona slips and we see him as an adorably doting “parent”—and, once Doctor Mora arrives, as someone still reeling from a somewhat abusive childhood. As with “The Alternate”, the interplay between Odo and Mora is magnificently done, and it helps that both Auberjonois and James Sloyan are such talented actors, matching each other beat for beat. On the one hand, their adversarial relationship seems to have regressed a tad after they came to something of an understanding at the end of “The Alternate”, but, that said, such wounds never heal entirely and Odo most certainly finds himself triggered here as Mora attempts to impose his altogether harsher style of “parenting” on the Changeling. It’s an interesting look at parenting in which both men are initially far too stubborn to listen to each other and come to any kind of common ground.
That “The Begotten” works as well as it does is a testament to both strong writing and the wonderful performances because, really, it’s largely a bottle show featuring two men arguing over a lump of silly-putty. It’s no small accomplishment that Auberjonois, in particular, truly sells the premise and makes you CARE about this blob of goo. So much so that when the rather inevitable ending comes (I’d kind of sussed all along that there wouldn’t be a happy ending), I felt a genuine pang of sorrow. Of course, in keeping with many things in life, the ending is bittersweet, with Odo regaining his shapeshifting powers courtesy of the dying Changeling. Quite how this happened I have no idea, but I’ve found it’s best not to think too much about what’s basically Changeling magic. It certainly makes for an exhilarating and joyous moment as Odo exits the Infirmary and morphs into a great bird, soaring majestically though the Promenade. The look of sheer joy on his face as he re-forms quickly turns to grief as he realises the price he has paid to regain what he lost.
I have to express a note of disappointment over the whole Odo-as-a-human arc. It’s pretty much been a wasted endeavour, because the writers did very little with it. We got some nice scenes in “Apocalypse Rising” with Odo struggling to adapt to the transition, but aside from that, and Odo discovering the downside of having a fragile mortal body in both “The Assignment” and “The Ascent”, it really hasn’t impacted the character very much now, nor in the future. There was a great deal of potential that never came to fruition, which makes me wonder if the writers should have waited another season before reversing it again. At the very least it should have come after “A Simple Investigation”, aka the episode where Odo discovers relationships and sex.
Of course, we also have a B-plot which resolves another storyline set up at the end of season four: Kira’s pregnancy. I liked the symmetry of the two stories, and the closing scene with Odo and Kira comforting each other was short but rather beautiful and heartfelt. Generally, things are handled in a light-hearted fashion and there were a few smiles to be had, although things went rapidly downhill the moment Shakaar arrived. I can only imagine that his appearance here came about in the following manner:
Producers: “Hey, Duncan, we have a great episode coming up called “Rapture” in which your character plays an important role. Are you available?”
Duncan Regehr: “Nope, sorry, guys, I’m busy that week.”
(A week later)
Producers: “Hey, Duncan, we have a great episode coming up called “The Darkness and the Light” in which your character plays an important role. Are you available?”
Duncan Regehr: “Nope, sorry, guys, I’m busy that week as well.”
(A week later)
Duncan Regehr: “Hey, DS9 producers, I’m free this week! Do you have a great episode coming up in which my character plays an important role?”
Producers: (Long awkward pause) “Um, yep, sure...since you’re available we can squeeze you in...”
While Shakaar’s appearance was really necessary for the storyline in the previous two episodes, first as First Minister of Bajor, and then as head of the Shakaar resistance cell, his presence here is really...not warranted. I guess it is understandable that Kira would want her beau there for moral support, but it’s not his baby and he really has no business muscling in and being such a dick to O’Brien. I really wish they hadn’t bothered including him here and am rather glad it’s his final appearance in the show. This is only his third appearance in the show and he ended up wearing out his welcome fairly quickly. It’s a shame this storyline descends into sub-sitcom level hijinks and succumbing to that old cliche that whenever a woman is about to give birth the men automatically descend into hapless buffoons. As in “Looking For Par’Mach...”, we also get some schoolboy level stuff about “not peeking”. Oh, please, grow up.
The script didn’t even originally include the final scene which explores Kira’s conflicted heartache, but was put in at Nana Visitor’s insistence, thank goodness, as it’s something we definitely needed to see. I’m rather pissed at what a cipher Keiko has become by this point. She’s no longer a character in her own right, just a plot functionary. We had the potential to explore a unique, rich and complex relationship between Kira and Keiko, but the writers opted not to go there. As much as I love this show, it’s frequently quite clear that the lack of a female writer on the writing staff is reflected in the male-centric writing style and relationship focus. All the great relationships and double acts on this show are between men or men and women and we don’t really see many strong relationships between women. Yeah, Kira and Dax are clearly friends, but we never really see much of them together beyond the odd exchange, which is sad (especially given what a hoot they were together as far back as “The Siege”). Speaking of Dax, it’s nice to see her science lab back, but she’s strangely absent throughout. As the science officer you’d think she would have been the one to assist Odo with the Changeling, rather than Bashir (who, incidentally, is presumably a Changeling here). Again, Dax’s role as science officer was sadly under-utilised on the show, as evidenced by the fact we haven’t even seen the science lab in three seasons.
Anyway, Kira is no longer pregnant and the birth scene is surprisingly sensible and touching in spite of the petulant build-up. And Odo is no longer a solid. While the rest of the season sets about heating up the Dominion war arc and charting new territory for the series, it also gradually goes about restoring the status quo following the big twists at the end of the previous season (next up, Quark will get his business mojo back in “Ferengi Love Songs”). Favourite line of the episode unquestionably goes to Worf: “Constable, why are talking to your beverage?” The look he gives his own drink after Odo explains that it’s a Changeling is just as funny. Rating: 8
“Holy Prophets, Odo, that gelatinous phallus looks just like you!!”
Although a quiet, rather understated affair, “The Begotten” is nevertheless something of a low-key gem. The episode begins on a note of deja vu, with Quark coming into possession not of a baby Jem’Hadar, but this time a baby Changeling. What’s it gonna be next, barkeeper? A diaper clad Vorta? This, of course, leads to Odo taking on a parental role toward the gelatinous infant, even though he, himself, is no longer a Changeling.
It’s hard to go far wrong with an episode that puts Rene Auberjonois centre-stage and he’s particularly brilliant here, displaying a gamut of emotion and showing us significant chinks in the Constable’s armour as his tough guy persona slips and we see him as an adorably doting “parent”—and, once Doctor Mora arrives, as someone still reeling from a somewhat abusive childhood. As with “The Alternate”, the interplay between Odo and Mora is magnificently done, and it helps that both Auberjonois and James Sloyan are such talented actors, matching each other beat for beat. On the one hand, their adversarial relationship seems to have regressed a tad after they came to something of an understanding at the end of “The Alternate”, but, that said, such wounds never heal entirely and Odo most certainly finds himself triggered here as Mora attempts to impose his altogether harsher style of “parenting” on the Changeling. It’s an interesting look at parenting in which both men are initially far too stubborn to listen to each other and come to any kind of common ground.
That “The Begotten” works as well as it does is a testament to both strong writing and the wonderful performances because, really, it’s largely a bottle show featuring two men arguing over a lump of silly-putty. It’s no small accomplishment that Auberjonois, in particular, truly sells the premise and makes you CARE about this blob of goo. So much so that when the rather inevitable ending comes (I’d kind of sussed all along that there wouldn’t be a happy ending), I felt a genuine pang of sorrow. Of course, in keeping with many things in life, the ending is bittersweet, with Odo regaining his shapeshifting powers courtesy of the dying Changeling. Quite how this happened I have no idea, but I’ve found it’s best not to think too much about what’s basically Changeling magic. It certainly makes for an exhilarating and joyous moment as Odo exits the Infirmary and morphs into a great bird, soaring majestically though the Promenade. The look of sheer joy on his face as he re-forms quickly turns to grief as he realises the price he has paid to regain what he lost.
I have to express a note of disappointment over the whole Odo-as-a-human arc. It’s pretty much been a wasted endeavour, because the writers did very little with it. We got some nice scenes in “Apocalypse Rising” with Odo struggling to adapt to the transition, but aside from that, and Odo discovering the downside of having a fragile mortal body in both “The Assignment” and “The Ascent”, it really hasn’t impacted the character very much now, nor in the future. There was a great deal of potential that never came to fruition, which makes me wonder if the writers should have waited another season before reversing it again. At the very least it should have come after “A Simple Investigation”, aka the episode where Odo discovers relationships and sex.
Of course, we also have a B-plot which resolves another storyline set up at the end of season four: Kira’s pregnancy. I liked the symmetry of the two stories, and the closing scene with Odo and Kira comforting each other was short but rather beautiful and heartfelt. Generally, things are handled in a light-hearted fashion and there were a few smiles to be had, although things went rapidly downhill the moment Shakaar arrived. I can only imagine that his appearance here came about in the following manner:
Producers: “Hey, Duncan, we have a great episode coming up called “Rapture” in which your character plays an important role. Are you available?”
Duncan Regehr: “Nope, sorry, guys, I’m busy that week.”
(A week later)
Producers: “Hey, Duncan, we have a great episode coming up called “The Darkness and the Light” in which your character plays an important role. Are you available?”
Duncan Regehr: “Nope, sorry, guys, I’m busy that week as well.”
(A week later)
Duncan Regehr: “Hey, DS9 producers, I’m free this week! Do you have a great episode coming up in which my character plays an important role?”
Producers: (Long awkward pause) “Um, yep, sure...since you’re available we can squeeze you in...”
While Shakaar’s appearance was really necessary for the storyline in the previous two episodes, first as First Minister of Bajor, and then as head of the Shakaar resistance cell, his presence here is really...not warranted. I guess it is understandable that Kira would want her beau there for moral support, but it’s not his baby and he really has no business muscling in and being such a dick to O’Brien. I really wish they hadn’t bothered including him here and am rather glad it’s his final appearance in the show. This is only his third appearance in the show and he ended up wearing out his welcome fairly quickly. It’s a shame this storyline descends into sub-sitcom level hijinks and succumbing to that old cliche that whenever a woman is about to give birth the men automatically descend into hapless buffoons. As in “Looking For Par’Mach...”, we also get some schoolboy level stuff about “not peeking”. Oh, please, grow up.
The script didn’t even originally include the final scene which explores Kira’s conflicted heartache, but was put in at Nana Visitor’s insistence, thank goodness, as it’s something we definitely needed to see. I’m rather pissed at what a cipher Keiko has become by this point. She’s no longer a character in her own right, just a plot functionary. We had the potential to explore a unique, rich and complex relationship between Kira and Keiko, but the writers opted not to go there. As much as I love this show, it’s frequently quite clear that the lack of a female writer on the writing staff is reflected in the male-centric writing style and relationship focus. All the great relationships and double acts on this show are between men or men and women and we don’t really see many strong relationships between women. Yeah, Kira and Dax are clearly friends, but we never really see much of them together beyond the odd exchange, which is sad (especially given what a hoot they were together as far back as “The Siege”). Speaking of Dax, it’s nice to see her science lab back, but she’s strangely absent throughout. As the science officer you’d think she would have been the one to assist Odo with the Changeling, rather than Bashir (who, incidentally, is presumably a Changeling here). Again, Dax’s role as science officer was sadly under-utilised on the show, as evidenced by the fact we haven’t even seen the science lab in three seasons.
Anyway, Kira is no longer pregnant and the birth scene is surprisingly sensible and touching in spite of the petulant build-up. And Odo is no longer a solid. While the rest of the season sets about heating up the Dominion war arc and charting new territory for the series, it also gradually goes about restoring the status quo following the big twists at the end of the previous season (next up, Quark will get his business mojo back in “Ferengi Love Songs”). Favourite line of the episode unquestionably goes to Worf: “Constable, why are talking to your beverage?” The look he gives his own drink after Odo explains that it’s a Changeling is just as funny. Rating: 8
Enjoyed the episode and the evaluation. The story reminded me of TNG’s Data and Lal, though here the lost offspring brings about a longed-for transformation. Somehow the sick/dying changeling had the power to restore Odo, without infecting him. If Bashir is a changeling in this episode, seems odd that he doesn’t interact more with the infant changeling - maybe save it from dying.
Ananta wrote: As much as I love this show, it’s frequently quite clear that the lack of a female writer on the writing staff is reflected in the male-centric writing style and relationship focus. All the great relationships and double acts on this show are between men or men and women and we don’t really see many strong relationships between women.
So true - ! even on this thread...there was one other woman posting a couple months ago, guess she's gone.
The bar scene was fun - Odo looking as happy as he ever does, purely delighted.
QUARK: You're in a good mood.
ODO: Yes, I am. I am buying you a drink…. I feel like celebrating.
QUARK: What are you up to?
ODO: I am happy, Quark. Can't you just accept that? Actually, I should thank you… Here's to you, Quark.
Ananta wrote: As much as I love this show, it’s frequently quite clear that the lack of a female writer on the writing staff is reflected in the male-centric writing style and relationship focus. All the great relationships and double acts on this show are between men or men and women and we don’t really see many strong relationships between women.
So true - ! even on this thread...there was one other woman posting a couple months ago, guess she's gone.
The bar scene was fun - Odo looking as happy as he ever does, purely delighted.
QUARK: You're in a good mood.
ODO: Yes, I am. I am buying you a drink…. I feel like celebrating.
QUARK: What are you up to?
ODO: I am happy, Quark. Can't you just accept that? Actually, I should thank you… Here's to you, Quark.
Last edited:
Well, maybe it was a faux changeling. Maybe it was really a cure sent by the link for Odo's solidness... And The Bashir changeling was there to in part ensure that Odo gets that cure, in part turn Bajor's sun into a nova to disintegrate the station and Odo as well... That's the changelings for you, fickle as a weather vane!!!
Superb review, as usual.
As Vash mentioned above, there are similarities to "The Offspring", which is not surprising because Rene Echevarria wrote both episodes. A lot of the story beats are the exact same. Only the Kira subplot was an addition. But it works well in both situations because of the performances and because we care a great deal about Odo here, and Data over there.
Regarding Bashireling... remember what the Female Changeling said in "BEHIND THE LINES"? They forgave Odo. I always felt strongly that Bashireling orchestrated the entire scenario so Odo ends up getting his abilities back. What better way of forgiving him than giving back his abilities? At the very least, I think Odo was being tested in how he teaches the infant, and Bashireling saw how good he is with it, it was the basis of finally allowing to get the gift. It would certainly explain why it suddenly got that massive increase in radiation poisoning so long after Bashireling said he eliminated most of it.
Not much else I can add, really. Totally agree that Shakaar was wasted here when he could have been used in either or both of the previous episodes.
Rene Auberjonois' acting and his story is what makes this a 9, but the sitcom story brings it down to an 8. Good call, ananta.
As Vash mentioned above, there are similarities to "The Offspring", which is not surprising because Rene Echevarria wrote both episodes. A lot of the story beats are the exact same. Only the Kira subplot was an addition. But it works well in both situations because of the performances and because we care a great deal about Odo here, and Data over there.
Regarding Bashireling... remember what the Female Changeling said in "BEHIND THE LINES"? They forgave Odo. I always felt strongly that Bashireling orchestrated the entire scenario so Odo ends up getting his abilities back. What better way of forgiving him than giving back his abilities? At the very least, I think Odo was being tested in how he teaches the infant, and Bashireling saw how good he is with it, it was the basis of finally allowing to get the gift. It would certainly explain why it suddenly got that massive increase in radiation poisoning so long after Bashireling said he eliminated most of it.
Not much else I can add, really. Totally agree that Shakaar was wasted here when he could have been used in either or both of the previous episodes.
Rene Auberjonois' acting and his story is what makes this a 9, but the sitcom story brings it down to an 8. Good call, ananta.
Check above, I just said that.
You must have posted that while I was writing. But I've been posting that theory for years.
I'm glad I am not the only one who came to that conclusion. Makes me feel like I'm not crazy.
I'm glad I am not the only one who came to that conclusion. Makes me feel like I'm not crazy.
“FOR THE UNIFORM”
If DS9 were a product of the current streaming age, I can only imagine this script would be peppered with more than a few “F*@$* you!!”s.
Before I set out writing this, I took a brief look on another forum, expecting to see that others enjoyed this episode as much as I did, only to be astonished by the sheer amount of hatred and outrage. Some people declared that this episode was basically pissing on Roddenberry’s grave and that it isn’t actually a Star Trek episode—and if it is, it’s clearly the “worst episode ever”. Holy Prophets, Star Trek fans can be exhausting.
Personally, I find this a highlight of the season and a damn good piece of television. The brilliant Peter Allan Fields makes a triumphant return after leaving the writing staff at the end of season two and he delivers a rip-roaring yarn that’s vividly brought to life by some superb performances and first-rate directing by another talented newbie director, Victor Lobl. There’s so much I love about this episode: from the unrelenting pace and escalating tension, to the simmering emotion and fascinating moral and ideological clashes, right down to the impressive FX shots and literary references. For my money, while Eddington is hardly Khan Noonien Singh, this episode is perhaps best and most engaging cat and mouse chase Trek has done since THE WRATH OF KHAN.
The episode takes a grim and uncompromising look at Sisko, who clearly needs to get a Counsellor on the station ASAP. While this is the first reference we’ve had to Eddington’s betrayal since it happened last season, we’re told that Sisko has been in charge of bringing him in, although where he’s found the time to do that I don’t know...unless he got down to some hardcore Eddington hunting when the crew were off on Risa being obnoxious horndogs. We’ve already seen that there’s a darker side to Sisko’s nature: an obsessive, obstinate streak, and that really comes to the fore here. I get the impression it’s not only Eddington’s betrayal that has him so sore (after all, who REALLY cared about Lieutenant Commander Blandington?), but also Cal Hudson’s before him. That’s why this is personal—Sisko feels not only betrayed, but embarrassed and ashamed that he got so duped, not once, but twice.
Plus, let’s face it, Eddington is such a smug and sanctimonious guy, it’s kind of easy to dislike him, even though he truly believes he’s in the right. Fields picks up on something I noticed in the previous Maquis episode: that Eddington is a narcissist and that whether or not he truly cares about the Maquis cause, what he’s really doing is bolstering himself with a grandiose self-image; seeing himself as a brave and valiant hero and casting the Federation as the true villain (“You guys are worse than the BORG!!”). One of the most eye opening things I learned in life is that most of our behaviour is driven by an innate (and often unconscious) need to feel better about ourselves in our own eyes and in the eyes of others: basically, to bolster our ego and self-image. Eddington clearly lacks the self-awareness to know that’s what he’s doing, but Sisko and Dax see right through him and it makes for a fascinating discussion with much reference to Les Miserables. I enjoyed the analogy, although Dax’s snarky comments about Victor Hugo seemed a little mean-spirited.
I guess the thing that really riled many fans about this episode was Sisko’s descent into villainy. He certainly does cross a line here, although it’s nowhere near as bad as many seem to think. I initially thought he was poisoning an entire biosphere—ie., killing off all the animal and plant life, which would have been an unforgivable crime. However, what he actually does is release an agent that makes the planet uninhabitable for HUMANS. It’s a very specific target, and the planet remains entirely habitable for other species, because, as the closing Captain’s Log notes, the Cardassians left homeless by the Maquis go on to colonise this planet.
It is a shocking move, though, and there should have been more of a sense that Sisko would face trouble from Starfleet Command. And yet, as far as we know, there was not a single fatality; the Maquis had time to evacuate and it’s exactly what they did to the Cardassian colony (and were planning to do to all Cardassian colonies along the DMZ). At this point, they are, as Sisko points out, an unacceptable danger to not only the Cardassians and the precarious peace between the Federation and Cardassia, but also Starfleet. They’d tried reasoning with the Maquis, and they’d tried turning a blind eye. It really is about time someone took tough and, from where I’m standing, necessary action against them. I mean, these are terrorists and they’re going about poisoning planets and wrecking starships. This shit has got to stop. So I’m rather with Sisko on this. Eddington was due a comeuppance, big style.
I do wish the closing exchange with Sisko and Dax hadn’t been so flippant, however, and we’d had some indication that Sisko would have some tough questions to answer with Starfleet. Although, frankly, I imagine they’d probably slap him on the wrist while secretly being relieved that someone finally had the balls to take a stand against the Maquis. While we see groups of them huddled in caves as refugees, in the post-scarcity universe of the Federation this is totally unnecessary. Surely it’s about time these people left the hellscape of the DMZ and, I dunno, found somewhere nicer to live in the paradise that is the Federation? Are they trying to be martyrs?
Anyway, I found episode brilliantly executed from beginning to end. It’s permeated by a simmering tension and boasts some wonderful action scenes and impressive special effects (including the newly redesigned and far superior CGI depicting the Badlands). The disabling of the Defiant is neatly done, and so is her subsequent crawl back into battle. I loved the way we see the crew busily coordinating systems in order to manually pilot the craft, which really lent the episode a sense of realism and atmosphere, clearly inspired by old submarine movies. It’s quite refreshing to see and certainly more interesting to watch than the conn officer simply pressing a button and the ship speeding to warp as we normally see in Trek.
Victor Lobl’s directing is impressive; he cultivates a real moody, ominous tone and the tension rarely lets up. Performance wise, it’s another warp speed effort. Avery Brooks steals the show delivering a seriously bad ass performance. Yes, it’s a wonder there were any sets left standing given the amount of scenery chewing at points, but you know what—it works, and I loved his intense, captivating performance...and his crazily venomous line, “YOU BETRAYED YOUR UNIFORM!” always elicits something of a cheer. You tell him, Ben. Kenneth Marshall also gives his strongest performance as Eddington, with the new (and hastily abandoned) communications system doing something THE WRATH OF KHAN unfortunately failed to do: namely, let us see the two enemies interacting face to face and not simply on via a dramatically flat viewscreen overlay.
One of my favourites of the season, and the fact it’s controversial is a good thing—the real kiss of death are those mediocre, middling episodes of Trek that no one really gives a damn about. Rating: 9
If DS9 were a product of the current streaming age, I can only imagine this script would be peppered with more than a few “F*@$* you!!”s.
Before I set out writing this, I took a brief look on another forum, expecting to see that others enjoyed this episode as much as I did, only to be astonished by the sheer amount of hatred and outrage. Some people declared that this episode was basically pissing on Roddenberry’s grave and that it isn’t actually a Star Trek episode—and if it is, it’s clearly the “worst episode ever”. Holy Prophets, Star Trek fans can be exhausting.
Personally, I find this a highlight of the season and a damn good piece of television. The brilliant Peter Allan Fields makes a triumphant return after leaving the writing staff at the end of season two and he delivers a rip-roaring yarn that’s vividly brought to life by some superb performances and first-rate directing by another talented newbie director, Victor Lobl. There’s so much I love about this episode: from the unrelenting pace and escalating tension, to the simmering emotion and fascinating moral and ideological clashes, right down to the impressive FX shots and literary references. For my money, while Eddington is hardly Khan Noonien Singh, this episode is perhaps best and most engaging cat and mouse chase Trek has done since THE WRATH OF KHAN.
The episode takes a grim and uncompromising look at Sisko, who clearly needs to get a Counsellor on the station ASAP. While this is the first reference we’ve had to Eddington’s betrayal since it happened last season, we’re told that Sisko has been in charge of bringing him in, although where he’s found the time to do that I don’t know...unless he got down to some hardcore Eddington hunting when the crew were off on Risa being obnoxious horndogs. We’ve already seen that there’s a darker side to Sisko’s nature: an obsessive, obstinate streak, and that really comes to the fore here. I get the impression it’s not only Eddington’s betrayal that has him so sore (after all, who REALLY cared about Lieutenant Commander Blandington?), but also Cal Hudson’s before him. That’s why this is personal—Sisko feels not only betrayed, but embarrassed and ashamed that he got so duped, not once, but twice.
Plus, let’s face it, Eddington is such a smug and sanctimonious guy, it’s kind of easy to dislike him, even though he truly believes he’s in the right. Fields picks up on something I noticed in the previous Maquis episode: that Eddington is a narcissist and that whether or not he truly cares about the Maquis cause, what he’s really doing is bolstering himself with a grandiose self-image; seeing himself as a brave and valiant hero and casting the Federation as the true villain (“You guys are worse than the BORG!!”). One of the most eye opening things I learned in life is that most of our behaviour is driven by an innate (and often unconscious) need to feel better about ourselves in our own eyes and in the eyes of others: basically, to bolster our ego and self-image. Eddington clearly lacks the self-awareness to know that’s what he’s doing, but Sisko and Dax see right through him and it makes for a fascinating discussion with much reference to Les Miserables. I enjoyed the analogy, although Dax’s snarky comments about Victor Hugo seemed a little mean-spirited.
I guess the thing that really riled many fans about this episode was Sisko’s descent into villainy. He certainly does cross a line here, although it’s nowhere near as bad as many seem to think. I initially thought he was poisoning an entire biosphere—ie., killing off all the animal and plant life, which would have been an unforgivable crime. However, what he actually does is release an agent that makes the planet uninhabitable for HUMANS. It’s a very specific target, and the planet remains entirely habitable for other species, because, as the closing Captain’s Log notes, the Cardassians left homeless by the Maquis go on to colonise this planet.
It is a shocking move, though, and there should have been more of a sense that Sisko would face trouble from Starfleet Command. And yet, as far as we know, there was not a single fatality; the Maquis had time to evacuate and it’s exactly what they did to the Cardassian colony (and were planning to do to all Cardassian colonies along the DMZ). At this point, they are, as Sisko points out, an unacceptable danger to not only the Cardassians and the precarious peace between the Federation and Cardassia, but also Starfleet. They’d tried reasoning with the Maquis, and they’d tried turning a blind eye. It really is about time someone took tough and, from where I’m standing, necessary action against them. I mean, these are terrorists and they’re going about poisoning planets and wrecking starships. This shit has got to stop. So I’m rather with Sisko on this. Eddington was due a comeuppance, big style.
I do wish the closing exchange with Sisko and Dax hadn’t been so flippant, however, and we’d had some indication that Sisko would have some tough questions to answer with Starfleet. Although, frankly, I imagine they’d probably slap him on the wrist while secretly being relieved that someone finally had the balls to take a stand against the Maquis. While we see groups of them huddled in caves as refugees, in the post-scarcity universe of the Federation this is totally unnecessary. Surely it’s about time these people left the hellscape of the DMZ and, I dunno, found somewhere nicer to live in the paradise that is the Federation? Are they trying to be martyrs?
Anyway, I found episode brilliantly executed from beginning to end. It’s permeated by a simmering tension and boasts some wonderful action scenes and impressive special effects (including the newly redesigned and far superior CGI depicting the Badlands). The disabling of the Defiant is neatly done, and so is her subsequent crawl back into battle. I loved the way we see the crew busily coordinating systems in order to manually pilot the craft, which really lent the episode a sense of realism and atmosphere, clearly inspired by old submarine movies. It’s quite refreshing to see and certainly more interesting to watch than the conn officer simply pressing a button and the ship speeding to warp as we normally see in Trek.
Victor Lobl’s directing is impressive; he cultivates a real moody, ominous tone and the tension rarely lets up. Performance wise, it’s another warp speed effort. Avery Brooks steals the show delivering a seriously bad ass performance. Yes, it’s a wonder there were any sets left standing given the amount of scenery chewing at points, but you know what—it works, and I loved his intense, captivating performance...and his crazily venomous line, “YOU BETRAYED YOUR UNIFORM!” always elicits something of a cheer. You tell him, Ben. Kenneth Marshall also gives his strongest performance as Eddington, with the new (and hastily abandoned) communications system doing something THE WRATH OF KHAN unfortunately failed to do: namely, let us see the two enemies interacting face to face and not simply on via a dramatically flat viewscreen overlay.
One of my favourites of the season, and the fact it’s controversial is a good thing—the real kiss of death are those mediocre, middling episodes of Trek that no one really gives a damn about. Rating: 9
Last edited:
Wonderful insights. I also read a blog post that had so many complaints about this episode…yet, accurate as the plot holes are, it’s a powerful, memorable drama with emotional impact, electrifying performances. Loved how Sisko taps into Eddington’s literary fantasy and turns the tables. Sisko may not have a counselor, but Dax does a pretty good job of lightening him up when needed--she compares his actions to Curzon. Seems like James T. Kirk also made a number of equally reckless decisions to save the day.
@ananta: Great review! However, I'd like to add that this episode's undeniable dramatic value comes at a price. That price is Sisko's character, he's now the guy who bombarded civilians in order to get back at one guy. People often justify Sisko's dastardly behavior by saying "Hey, the maquis/Eddington did it first!" Sure, but Eddington is the BAD guy!!! Since when is a so-called good guy justified to do what the bad guy did? Khan tortured and killed people, was Kirk justified to do the same to get him? I think my point is made.
Excellent review! I was looking forward to your review when this episode came up.
I am completely with Sisko here. The Maquis poisoned a Cardassian planet, with enough supplies to do the same to every colony they had. They attacked and disabled TWO Starfleet ships. They disabled a Cardassian freighter that had civilians and was about to fall to their death in the atmosphere. And that was just what occured in this episode.
The Maquis had proven to be an intolerable threat, and they had to be stopped. Sisko restored the balance, at least... made a Maquis planet uninhabitable to humans, just as they did with a Cardassian world. They basically switched planets. And he got their biogenic weapons away from them, and took down one of their biggest leaders. It needed to get done.
I am always amazed at how Sisko is looked at badly here, when ALL captains of our shows have done some reprehensible things, but they get a pass... or are at least forgiven. Let's review a few of those things, shall we...
Kirk: He destroyed the computers of one world and forced the two planets to stop a computer run war or risk an ACTUAL war. We don't know if they ended up killing each other later anyway. ("A TASTE OF ARMAGEDDON") He destroyed Vaal, and very likely the people of that world are not adapting well to having to fend for themselves completely. ("THE APPLE") He supplied flintlocks to a primitive culture to fight against another side that was being supplied the same weapons... probably condemned them to a decades long war. ("A PRIVATE LITTLE WAR")
Picard: He allowed a human boy who was kidnapped as a baby to be raised by his captors. ("Suddenly Human") He was perfectly ready to let an entire civilization die instead of saving some of them. Without Worf's foster brother, that entire race would be extinct. ("Homeward")
Janeway: Summarily decided to journey through someone's space without trying to negotiate passage. ("THE SWARM") She made a deal with the Borg, a race that has killed and assimilated billions, just to get home a little faster. ("SCORPION") She was about to let an Equinox crewman be killed just to get tactical information on Captain Ransom... had Chakotay not interfered, he would be dead. ("EQUINOX, PART II")
Archer: He withheld a cure for a species, possibly condemning them to extinction. ("DEAR DOCTOR") He stole a ship's warp coil, stranding their crew in hostile space at the mercy of anomalies and pirates. ("DAMAGE")
Overall, they ARE heroes, and they ARE good examples. But even heroes are not infallible. They make mistakes. Sometimes those mistakes actually save lives. Other times, it's just the least of several bad choices.
What Sisko did here doesn't destroy his character any more than any of the things Kirk, Picard, Janeway, or Archer have done that would be considered just as bad... in some cases, WORSE. Sisko got his hands dirty to solve a problem. I respect that. A lot. It's one of the reasons he has been and will always be my favorite captain.
And he said it best... he's just a man. We tend to forget that these captains, our heroes, are just people. They can still succumb to things like anger, obsession, fear. They simply typically have a higher tolerance and threshold than the average person.
I give this episode a 10... a 9 is very fair, but given how this episode provokes constant controversy after almost 25 years, it has earned a 10 rating.
I am completely with Sisko here. The Maquis poisoned a Cardassian planet, with enough supplies to do the same to every colony they had. They attacked and disabled TWO Starfleet ships. They disabled a Cardassian freighter that had civilians and was about to fall to their death in the atmosphere. And that was just what occured in this episode.
The Maquis had proven to be an intolerable threat, and they had to be stopped. Sisko restored the balance, at least... made a Maquis planet uninhabitable to humans, just as they did with a Cardassian world. They basically switched planets. And he got their biogenic weapons away from them, and took down one of their biggest leaders. It needed to get done.
I am always amazed at how Sisko is looked at badly here, when ALL captains of our shows have done some reprehensible things, but they get a pass... or are at least forgiven. Let's review a few of those things, shall we...
Kirk: He destroyed the computers of one world and forced the two planets to stop a computer run war or risk an ACTUAL war. We don't know if they ended up killing each other later anyway. ("A TASTE OF ARMAGEDDON") He destroyed Vaal, and very likely the people of that world are not adapting well to having to fend for themselves completely. ("THE APPLE") He supplied flintlocks to a primitive culture to fight against another side that was being supplied the same weapons... probably condemned them to a decades long war. ("A PRIVATE LITTLE WAR")
Picard: He allowed a human boy who was kidnapped as a baby to be raised by his captors. ("Suddenly Human") He was perfectly ready to let an entire civilization die instead of saving some of them. Without Worf's foster brother, that entire race would be extinct. ("Homeward")
Janeway: Summarily decided to journey through someone's space without trying to negotiate passage. ("THE SWARM") She made a deal with the Borg, a race that has killed and assimilated billions, just to get home a little faster. ("SCORPION") She was about to let an Equinox crewman be killed just to get tactical information on Captain Ransom... had Chakotay not interfered, he would be dead. ("EQUINOX, PART II")
Archer: He withheld a cure for a species, possibly condemning them to extinction. ("DEAR DOCTOR") He stole a ship's warp coil, stranding their crew in hostile space at the mercy of anomalies and pirates. ("DAMAGE")
Overall, they ARE heroes, and they ARE good examples. But even heroes are not infallible. They make mistakes. Sometimes those mistakes actually save lives. Other times, it's just the least of several bad choices.
What Sisko did here doesn't destroy his character any more than any of the things Kirk, Picard, Janeway, or Archer have done that would be considered just as bad... in some cases, WORSE. Sisko got his hands dirty to solve a problem. I respect that. A lot. It's one of the reasons he has been and will always be my favorite captain.
And he said it best... he's just a man. We tend to forget that these captains, our heroes, are just people. They can still succumb to things like anger, obsession, fear. They simply typically have a higher tolerance and threshold than the average person.
I give this episode a 10... a 9 is very fair, but given how this episode provokes constant controversy after almost 25 years, it has earned a 10 rating.
I have already denounced all these instances so that definitely doesn't apply to me. Kirk, Picard, Janeway, and Archer are main characters in stories that I often enjoy but they're definitely no heroes of mine!!!
The point being that neither is Sisko!!!
"We don't put civilians at risk not even to save ourselves. If you don't believe that you don't belong in that uniform."*
Said Sisko to Worf...
Why is it that people keep forgetting that, Sisko is the one that SAID that?
Sisko's new motto should be: "Do as I say not as I do."
*Ironic that the title of the episode is "For The Uniform"...
