I've returned to Deep Space Nine...

[Quinton O'Connor]

1x11
"The Nagus"

"Now go to your room! And no studying!"
-Rom

Might I just reiterate the fact that the early characterization of Rom is leaving your humble reviewer, a man quite familiar with his later depictions, damn nearly speechless. What a complete 180. I'm willing to accept a lot of things about shows, and let a lot of things slide, but this is whack, man. He was going to airlock his brother. How do you even begin to justify this transformation?

This is like... 'Sisko inferring his father is dead in that one episode' levels of craziness. Anyway, the episode.

All told, "The Nagus" is nothing to write home about, but after the travesty that was last week, I would imagine viewers would have practically welcomed TNG's standard-quality second season outings. It was a solid introduction to Ferengi culture As DS9's Developers Interpret It (TM) and it's certainly a stronger opening than they had in 1987.

Wallace Shawn's Grand Nagus Zek is as ridiculous as I remember, but I think his whiny, grating voice was a little worse here than it is later on. Just... not as refined. Am I wrong? At any rate, it was a joy to see him, so that worked. Every scene he was present in was a treat, and Shawn stole the show here.

Quark seemingly thrust into the role of the Nagus was certainly something every initial viewer must have known couldn't have stuck, but I'd think early bets throughout the hour would have led most to assume he decides he can't handle the pressure, or something. Thankfully, that's not how it went down; the idea that Zek was using him to test his son was entertaining. And who can forget this:

"You failed. Miserably!"

Back to Rom, though. His moment of flinching near the episode's climax was kind of unconvincing, and knowing what I do of his later characterization, I was downright shocked to see this all this. Being jealous of his brother is one thing, but he loves his brother so blatantly, so naively, for the majority of the series. Swallowing a pill like this, that he would assist in the attempted assassination of him, I... this is just... whack.

The meeting of the Nagus and all those other, undoubtedly important Ferengi is the highlight of the episode; watching the discussion and all its no-holds-barred business-is-everything dynamics was a hoot.

The subplot involving Jake and Nog was fitting, but I didn't care much about it until that great scene where Sisko discovers what Jake is really doing. That was touching and sweet. Oh, and is it just me, or was Jadzia telling her commander to go find his son just so she could eat all his stew?

Nothing about "The Nagus" is going to cause a life-changing epiphany for me, but nothing about it (apart from Rom... did I mention the Rom thing stunned me?) really rubbed me the wrong way.

Other than Rom.

Rating: 7/10

 

[Quinton O'Connor]

1x12
"Vortex"

"Home? Where is it? Some day we'll know... cousin."
-Odo

Won't you ever, buddy.

So after a dud and a decent, we have the third episode of the night, the classic. I think this first season has proven fairly uneven, but that doesn't mean it can't deliver when it wants to. "The Vortex" is an above-average character piece with some action and adventure sprinkled into the mix. It isn't perfect, but it's well worth watching.

And of course, this is the first of many episodes concerning Odo's loneliness and search for others of his kind. That alone secures it as worthy of discussion, but the fact is, it tackles the subject admirably enough that I think it would deserve the attention regardless.

I'd like to call attention to director Cliff DeYoung; his techniques are an integral part of the reason the near-neutrality of the episode between Odo and alien convict Croden actually succeeds. He keeps the camera firmly fixated on the latter for longer than many other directors might have done, allowing Croden's actor to breathe surprising life into a one-off character. As we seem to confirm later on, his tale is an understandable one, but the enigmatic quality of the character is really aided by the camera work. If we were staring at the talented Rene Auburjonois the entire hour, we never would have thought as much for Croden.

The plot involving the Miradorn Ah-Kel was ultimately handled better than I thought it would be; don't ask me why, but at first I had a feeling it was going to be a letdown. His actor was also solid, and there was something very visceral about his explanation that without his twin, he was nothing. The action involving his downfall still holds up surprisingly well seventeen years after initial airing, as does the Vortex itself. Beautiful work and proof that if done well enough, these sorts of things really can withstand the test of time.

Something that struck me as retrospective genius was how right some of Croden's people's myths concerning Changelings really are. For one thing, he calls Odo a 'Changeling', and obviously that's a zinger. He also claims the Changelings were persecuted and hunted, and again, bingo. It really adds a layer of believability to the Gamma Quadrant even this early on that these things line up perfectly, and it was no doubt intentional on the writers' part to tie it all together. Really, the only things Croden got wrong were the things he made up to suit his own ends. That stuff about the 'Changelings on the asteroid colony' was totally wrong, but then, there were no Changelings on the asteroid.

I'm almost a little taken aback that I don't have much more to say, considering just how long I droned on about "Dax", which I would put it on even grounds with this one. The ending, with Croden's daughter and Odo's decision to let them go, was downright amazing in my book; I'm not usually one for soppy little things with guest stars, but this was something I could get behind. I'd hoped Odo would make that choice, and as soon as Croden requested his daughter be watched over by the constable, I realized that since I never saw her later on, that was where things were headed. I'd like to go on record for saying that the Vulcan on the viewscreen was secretly Romulan; she said a couple of things that indicated she was not logical. "I was afraid..." was the beginning of a sentence, and it was spoken genuinely.

Oh, and Odo's smile was just classic.

Rating: 8/10

 

[DS9 Gal AZ]

the mullet aliens have made appear out of nowhere in Quark's.

I told people they had mullets!

And then Sisko goes and he greets the extraterrestrials, who have arrived from the set of That 70's Show and yet claim to be visitors from the Gamma Quadrant

HAH!

 

[Quinton O'Connor]

Yes, you were most assuredly proven correct in my book, madam.

 

[DS9 Gal AZ]

Thank you kindly, sir.

 

[Quinton O'Connor]

1x13
"Battle Lines"

"I have been brought here because it is time for these people to begin their healing process... just as you were brought here to begin yours."
-Opaka to Kira

In what is now the second episode I can imagine having been part of TOS with slight modifications (the other being the drug-induced vision that was "Move Along Home") this episode gives us Sisko, Kira, Bashir and Kai Opaka crashing onto a strange moon where a centuries-old conflict sees its combatants live, die and be reborn endlessly. The good news is, "Battle Lines" is filled with enough character moments (and a couple of fairly important ones!) and ultimately, it comes off as much better than it might have been without them. The bad news is, the overall execution of the episode is somehow very lacking and the obvious message is undermined by a predictable little mess.

I guess the point of the first scene, with the discovery of some Cardassian interpretations of various resistance members, was to stress that Major Kira is still very much tied to those recently-ended days. It isn't written with much enthusiasm, but I recognize its aim. Bashir soon contacts Sisko to inform him that Opaka is aboard, and after this, that and the other thing, the key characters of the episode are shot down by a defense satellite and Opaka is dead.

Whoa, wait, what? Opaka is dead! Now this is rather unexpected. So more things happen, we meet a group of people who have been at war with another group for a very long time, their leader is called Shel-la, and he's played by the talented Jonathan Banks. He explains the situation, but of course the next big moment comes with the return of Opaka, back from the dead.

So... death and rebirth, and the futility of war. From a broad standing, the themes are readily apparent and there's certainly nothing wrong with them. War usually is futile, although I recognize a certain unintentional irony in the fact that war is going to be a major theme in the show later on. Death and rebirth; am I grasping at straws, here, or could this be symbolic of Kira's new life? Bringing Opaka into the mix and giving them the obvious talk they were going to have (although I do wish it were longer) certainly suggested that.

Back to the execution. I'll give props to two things: the battle choreography was impressive, especially for so early on in the show's run. It ran a little longer without dialogue than I would have liked; color me silly, but despite my gender I'm not much for just watching fights drone on. Nonetheless, it was nicely performed by all involved, and while kind of corny, Bashir's heroic little leap to knock Sisko out of harm's way was strangely fascinating.

The other thing I liked was the revelation that the people of the prison were unable to leave. This was dark and dim enough on its own, but it also meant stranding Opaka, which as we all know, has long-lasting implications. Unfortunately, the writers were undoubtedly playing it on the safe side by not saying much to that end; you'd think Kira would point out that the Kai being as important as she is to Bajor, this could cause a degree of panic and instability. Especially if next week, a little girl squabbling means regional civil war. But I digress, it was nice overall.

O'Brien inventing something to locate the stranded command crew serves as further proof that he's a certifiable full-blooded Irish badass, but I suppose this is neither here nor there; I just saw an opportunity to throw it in there.

Everything else was comfortably bland. Sisko doesn't make half the defendant of Federation policies as Picard, although I'll admit maybe a chunk of that reasoning is because I know how much more easily he shoves it aside later on. The 'war is bad' theme grows tiresome, watching Dax and O'Brien locate people of whom we already know the location is uneventful, witnessing the deterioration of the attempted peace talks is predictable and shallow... this is simply not a piece I would recommend for people seeking a powerful, compelling hour. It isn't without redemption, and Opaka's line to Kira about her healing have begun is wonderful. But it's nothing groundbreaking.

Rating: 6.5/10

 

[Quinton O'Connor]

1x14
"The Storyteller"

"Once upon a time... there was a Dal'Rok!"
-O'Brien

And that sums things up well enough. On to the next episode.

Fine, fine. Actually, I didn't even dislike this episode, although it's another one of those early shows I see gets a lot of flak for being so... well, not at all like later DS9. But hey, let's not live in later years. Dream not of today, yes?

The first thing that everyone always talks about is the first ever coupling of Bashir and O'Brien. The humor isn't all there yet, though there are a few good one-liners in the mix. But the chemistry between the two actors is definitely evident, in that most pleasantly wrong sort of ways. They're two very different people, in physique, facial expressions, lineage, everything. And yet it is because of this simple principle that watching O'Brien think little of note about the young upstart doctor is so immediately entertaining; opposites attract and all that. It will be a long time before Miles admits he likes Julian 'a little more' than he does his wife, or even calls him Julian with sincerity for that matter. Even still, I had a smile on my face the whole time with these two, and that's a good start.

The A-plot is nothing spectacular, and it sort of sets the Bajorans back a little in my eyes. This village is falling for a ridiculous (though certainly frightening) ages-old trick, and its people are superstitious in a somewhat more annoying way than I'd have preferred. I don't know, maybe it's just the bit with the young women being offered to O'Brien, but these guys just don't seem like the same hard-working, relentless Bajorans I'm used to dealing with. And the Dal'Rok... well, O'Brien summed it up quite nicely in my chosen quote for the episode. I'm grateful it got a legitimate explanation, though -- somehow I was afraid it wouldn't. Being linked to the Celestial Temple is good from a series-continuity perspective, although I'm still not totally sold on the whole 'feeds on fear' thing. Must have been Pah-Wraith, that's for sure.

The A-plot's resolution is satisfying enough. It's certainly predictable stuff, but I recognize that "The Storyteller" wasn't written to be deeply motivating or anything, so as a lightweight piece, it's a decent ending. O'Brien fumbles the ball, and Hovath, the true Sirah, steps up to the plate. As Bashir hypothesizes, the now-dead original Sirah likely orchestrated events to get Hovath, outcast for past actions, to earn the people's trust by coming to them in their time of need. Fair enough, and it goes along way in repairing my look of disbelief at the notion that O'Brien was a 'chosen one' to do anything akin to this.

The B-plot, with more Misadventures of Jake and Nog (TM) and their relations with the young (as in, their age young) leader of one of two rival factions, is in some ways more compelling despite itself. The main cause for this is the fact that the girl Varis Sul, Tetrarch of her people, is rather effectively using Jake to formulate an understanding of his father. This shows a particular cunning, and while I wasn't impressed with her at the episode's beginning, I really grew to appreciate her character. At the age of fifteen, she's been made to stand for her people in their dispute with another faction. That's rough.

The misadventures themselves as the trio gets their dosage of screen time range in effectiveness. Nog's silly demeanor every time he attempts discussion with his obvious crush is worth a few chuckles, and it's all credit to Aron Eisenberg's acting; I haven't had a chance to say it yet, but I'm a real fan of his work on DS9. From dropout Ferengi youth to promising Starfleet initiate, his character's path is fun to watch and rarely a letdown. But the stint with Odo's bucket, while amusing as a concept, drags on a little long with the juvenile laughing and descends into the realm of cheese; the oatmeal-throwing is something I'm willing to accept as Nog's character doing early-Nog things, but I was sort of expecting a laugh track for a moment, and it all felt oddly staged.

The conclusion of this plot thread is pretty good. Varis gets a strong line with 'you don't lose by saying no'; it isn't stated outright but it's obvious this was a line of her father's, or something to that effect. Props to the young actress for selling it; it was almost my choice for the quote.

Someone should tell Jake that the outfit he's wearing for much of this episode is god-awful. I'd recommend Garak to him, but sadly we won't be seeing much of the plain, simple tailor for a while, will we?

Rating: 7/10

 

[DS9Continuing]

I don't know if you're familiar with the post-finale DS9 novels (aka the Relaunch), but they return to a number of these seemingly irrelevant and incongruous season 1 storylines and develop them in such a way as to make them feel much more like a real and consistent part of the DS9 milieu we are comfortable with. Specifically the Wadi, Opaka, Tosk, the Sirah and the Dal'Rok, the Ennis moon, and more.

 

[Quinton O'Connor]

1x15
"Progress"

"Look, I understand you're used to sympathizing with the underdog. You've spent your life fighting to overcome impossible odds... just like he's doing. But you have to realize something, Major... you're on the other side now."
-Sisko

Let's spend the first sentence asserting one very basic thing: this was a great episode. It would have been all the greater if the Misadventures of Jake and Nog (TM) weren't as pervasive and stood as a more relevant time sink than it wound up being, but the powerful interactions between Kira and Mullibok, accented by some genuine character development concerning the former, more than make up for any issues I had with the station-side goings-on.

Toran, a Bajoran Provisional Government official, arrives at the station as plans are well under way to tap Bajor's fifth moon, Jeraddo, for a great deal of energy. This is certainly a good cause, but three residents of the moon have refused to vacate. Toran isn't going to stall the operation for three lives when hundreds of thousands are waiting to reap its important benefits, as we learn when Kira returns to inform him of the stubborn people down below.

Kira is forced to do whatever is necessary to get them to safety, but by this point she's already met and grown to respect the effective leader of the bunch, a boastful, hard liner by the name of Mullibok. His company, Baltrim and Keena, have been rendered mute by the Cardassians, a painful reminder of the devastating occupation and welcome return to form for the show's original premise. But it is Mullibok who is the focal point in all this; when an early attempt to get the three residents to abandon their homes goes awry, his friends are forcibly removed but Kira, torn about her position and awaiting Bashir's assistance after Mullibok takes a phaser blast, chooses to let him stay where he is, temporarily.

The back-and-forth banter between Kira and the episode's guest star is done very nicely, especially for this point in the show's run. There is something very compelling at play, here; Kira has spent her whole life on the run, fighting the opposition for her land, her home. And now here she is being made to remove someone, a fellow Bajoran at that, from that land, from that home.

Mullibok milks this for all it is worth, and as I've learned on Memory Alpha, the intent was to make him a manipulative antagonistic sort with a good cause nonetheless, and this was not realized in the end. Indeed, the man comes off as sympathetic from the outset despite his bitter refusal to leave, but I contend that the episode works all the better for it. It assists in realizing Kira's plight, and might I add that Nana Visitor shines here like she hasn't shone yet. If "Dax" was Jadzia's first big opener, this is definitely Kira's, and not a moment too soon. "Past Prologue" gave us a nice introduction to her, but "Progress" tells us who she is.

We even get to hear Kira's birth-given name, and it's a lovely name that we'll be hearing much more of in the future. I recall Odo regarding her solely as 'Nerys' for a long time once their relationship takes off much later on. All of this is wonderfully performed; "Progress" is a quiet character piece that pulls off some splendid things. I was drawn into every word of every line from the time Kira begins telling the story of her tree to the end of Sisko's discussion with her, and the conclusion, with Kira firing on the just-finished kiln and then setting the cottage aflame, is chilling work. The episode cuts off too abruptly for my liking, but I can see why it did so from a thematic perspective.

That brings us to the B-plot. Hot on the heels of their recent romp, Jake/Nog comes back full-force with some fluffy latinum-chasing. This is all well and good, although two Jake/Nog subplots in two weeks seems a little overkill to me. Nothing of terrific interest unfolds this time, and they aren't even linked to something important. It was fun enough, mainly because Eisenberg is such a hoot, but the only thing I can think of that was particularly poignant was Nog's adamant refusal to believe that land is anything more than dirt. I really dig the dichotomy when the A-plot is all about a man's refusal to leave his land, so that got me thinking. Other than that, though, I see no reason to take up more than this one paragraph on their stuff and I feel a little cheated that it had to take up time that could have been better-spent on Jeraddo.

Rating: 8/10

 

[Quinton O'Connor]

1x16
"If Wishes Were Horses"

"Why do we tell her stories about evil dwarves who want to steal children?"
-O'Brien

I know, right?

After reading the review posted on Jammer's famous site for this episode, I was expecting to go into it feeling similarly. He points out that the sci-fi premise is rather silly, he blasts the fact that there isn't enough of a genuine reaction across the station that imminent doom is at hand, and he finds it all rather senseless. I find myself in agreement with him to a point, but I can't help it; blame it on the space emus, or the smirk-inducing Dax/Bashir/Dax dynamic, or the way Sisko and Buck Bokai light up while talking baseball... but I liked this episode.

Odo and Quark continue their now-expected repertoire in the first scene; I found Quark's offer to create a female shapeshifter playmate for his ever-rival rather amusing in regard to future events. Elsewhere at the bar, Bashir is making a passionate attempt to woe Dax, but things go predictably downhill for the young doctor. It's all fluff at first sight, but these are all integral little arcs in the show. That's something that's great about Deep Space Nine in comparison to other Trek series: even the most insignificant little opening pieces can be relevant all the same.

It's nice to see the O'Brien family opening the episode. This seems like as good an opportunity as any to make note of the fact that while I'm often not the biggest fan of this dynamic in fiction, as it tends to be written in a formulaic and uninspired manner, the O'Briens are nicely done here. Credit really goes to Hanae Hatae, who is one of the best child actors I've seen. I'm sure she was much too young to be conscious of it, but her line delivery is perfect for a laugh. (It's also really weird to note she's only eleven months younger than me. Seeing her as a three-year-old reminds me I was around that age when these episodes aired!)

So anyway. Miles is telling his daughter the age-old tale of Rumpelstiltskin, and of course, the title character himself appears. What ensues from hereon out is a ridiculous romp wherein the station's inhabitants seemingly conjure storybook characters, famous individuals, not-so-secret desires, inexplicable weather effects, uncooperative avian bipeds, and... oh, the near-destruction of DS9.

No doubt this is an episode chiefly played for laughs, and on that level it rarely fumbles. Reestablishing Julian's lust for Jadzia in the teaser is a wise move on the writers' part, as it really serves to flow quite well into the 'submissive' variety Dax he soon encounters. Everything about this is fittingly hilarious: the dazed, bewildered frontier doctor during the initial kissing spree, the humbled and embarrassed genius when beside the real Jadzia, the banter between the real and unreal duo as the awe-struck Julian is caught in the middle. And during the episode's climax, when faux-Jadzia is 'dying', there is a passion in Bashir's eyes despite himself.

Sisko and Bokai is also entertaining, even though I readily admit to having no idea what the hell they were saying. Doubtless, then, was Rumpelstiltskin's inquiry as to what language they were speaking intended for the uninitiated such as myself. Avery Brooks sold the part of a baseball-loving man in a world without baseball. I might not be much for keeping up with sports, but with people like Sisko out there today, in the real world, as fans of the game, well... I can certainly sympathize if baseball ever does become a dead art like the conversation here reveals. Bokai also has a great little scene with Jake; it's a harmless moment that tells us more about the aliens' intentions than it does anything about the younger Sisko, but it's a cool addition.

O'Brien and Rumpelstiltskin was a good pairing for the showcasing of fear for the aliens to interpret. There wasn't much in this thread that I found terribly entertaining, but I recognize its purpose and it's in keeping with the fairy tale to give us this shrewd figure and his annoying tendencies. Also, there was the gig with Quark and his tramps, and while I didn't find it amusing on its own, the inclusion of Odo and his reactions really sold it. Odo really shined with the chasing of the Gunji jackdaw; that is to say, the emu. The girlfriend and I cracked up at this. Seeing snow on the Promenade is one thing, but seeing an emu on the Promenade is somehow much, much funnier. Lastly, there is Kira's single imagination-fueled scene: a man enveloped in flames is eye-catching, though I must wonder how these things are acceptable in a franchise that allegedly goes to great lengths to keep itself watchable to most ages. I mean, I liked it... but I'm 23. I'm not 10.

So I've spent this entire time hammering away at all the significant character moments and the goings-on of the episode, without getting into its resolution. As you might imagine (oh, how witty), this has a lot to do with my enjoyment of the episode on the whole but lack of excitement regarding its conclusion. Sisko's sudden realization that the station is not, in fact, about to be torn asunder and everyone must unite to recognize this before things get further out-of-hand is done reasonably well, but drills how incredulous this all is deeply into the brains of the viewers. I half-expected Julian Bashir to stand up from his leaning posture with ruby red slippers and tap them together three times, excited as a schoolgirl. This isn't "Sacrifice of Angels", of course; a tense, jaw-dropping endgame wasn't going to be the order of the day. But somehow the climax just made me laugh in weird ways. I both enjoyed it and shook my head at it at the same time... I suppose that's understandable.

The last scene, between Sisko and Bokai, is a runner-up for best of show. Once again it's a reminder of how ridiculous everything is; it's hard to swallow the idea that the aliens had to follow a Federation ship through the wormhole to meet humanoids with imagination and get a feel for it. I mean, granted, the Jem'Hadar aren't great targets for this, but surely the Wadi, with their street drugs, would have been suitable. But like the rest of "If Wishes Were Horses", I've come to find that if you let your mind free a little -- indeed, if you let your imagination run a bit wild -- you'll find a clever little gem with enough substance for repeat viewing.

Rating: 7.5/10

 

[InklingStar]

Keep an eye on that baseball that Buck Bokai gave Sisko at the end of the episode. It's fun to look back later and remember that he got it from an alien pretending to be a baseball player.

 

[Quinton O'Connor]

Ah, too true! I should have included that in the review.

 

[Quinton O'Connor]

1x17
"The Forsaken"

"Nothing makes them happy! They are dedicated to being unhappy and to spreading that unhappiness wherever they go! They are the ambassadors of unhappy!"
-Bashir

Well, this could have been somewhat bad. Lwaxana Troi episodes in Star Trek: The Next Generation tend to be hit-or-miss; hits like "Half A Life" make me love her, but misses like "Cost of Living" make me second-guess myself. That's just me, and I could be wrong, but the point is, I was bracing for impact here.

No need to worry, of course, for between the talented Majel Barrett and her humorous chemistry with Rene Auberjonois, the talented Siddig El Fadil and his humorous chemistry with the various ambassadors and their actors, and the talented Colm Meaney and his humorous chemistry with... a computer, this episode comes out just fine.

The acting is crucial in "The Forsaken"; it's crucial in every episode, of course, but with a plot like this it needs to shine. Odo and Lwaxana getting trapped together on a Turbolift is far from original stuff, and if the characters' actors had no discernible chemistry, we would have been in for a boring hour. Similarly, the plot involving the sci-fi shenanigans of the week is quite an oddball -- a sentient non-biological lifeform is in need of 'attention' -- and we would have been yawning ourselves silly without Meaney's always-reliable depiction of Miles O'Brien and his discoveries. And what of Bashir and Sisko's near-tortuous treatment of him as he's forced to deal with the Federation ambassadors (not named Lwaxana)? Again, hardly compelling television, but the ambassadors are all played well to be the jackasses they are, and Fadil does an admirable job portraying the stretched-thin sort.

I could speak more of the technobabble plot, but all I really have to say is, it was largely uninteresting to me compared to the Odo/Lwaxana angle. Being the fan of characterization above all else that I am, you can probably understand that a 'long lost puppy probe' doesn't do much for me when I have Odo and his development to look at instead. But then, before I go any further, I'd like to make this installment's possible shark-jump and contend that perhaps the 'long lost puppy' angle was intentionally applicable to both the probe and Odo. At this point in the show, we aren't aware of his origins, but we're aware that he's alone. Physically, emotionally, he's alone. He's met none of his kind, and no one here, none of these solids, can really hope to understand him. That's his take on things here; he's a poor, hapless puppy. Indeed, there is something perfect about the notion that Majel Barrett is not only Lwaxana but also the computer here; it all comes together nicely.

I'll get the Bashir subplot out the way as well; it was a nice touch, and between his conversation with Sisko midway through the episode and the sudden, dramatic change in opinions on him from the ambassadors at episode's end, it made for a fun if irrelevant little piece. I think given how uninterested in the probe I was beyond its potential symbolism, these scenes helped me stay intrigued throughout. But I also think they could have just as easily never happened at all and I wouldn't have thought the hour particularly lacking.

Saving the best for last, the Odo/Lwaxana scenes were tasteful, thought-provoking, serious and fun. Things began a little rocky; I wasn't sure how I felt about the prospect of an entire episode with Lwaxana Troi chasing Odo around the station, as it seemed might occur based on the first several minutes. I enjoyed the chemistry between the actors from square one, though -- something I'm well-aware I've already mentioned, but it's worth repeating -- but as soon as the two characters stepped into the Turbolift together, I vaguely recalled where things go from there and indeed, by the time they'd been stuck together for half a scene, I was quite entertained.

If the Turbolift scenario had been strictly for laughs, I would have written this review with the probable mindset that it was done well and good fluff, but could have and should have delved deeply into the early characterization of the constable. And thankfully, that's exactly what transpired. The use of Odo's need to regenerate every sixteen hours as dramatic tension is highly effective, because it's all riding on his inability to open himself up to anyone, and turning into a liquid in front of someone has to be one of the most opening things a person could possibly have to go through.

The dialogue in these scenes is sharp, with a keen sense of where it's going but relentless in its refusal to appear entirely forced. Along the way, we learn some very interesting things about Odo, such as the fact that a Bajoran man ran experiments on him in a laboratory. This is far from throwaway banter, as anyone who has seen the rest of the series knows. As Odo is gradually forced to let go of his distanced personality, Auberjonois is delightful; lines about his hatred of parties and lack of eating (which eventually leads to the absolutely hilarious 'I can swim' a la Troi) go a long way in developing this character in a genuine, believable and utterly fascinating way. Indeed, Auberjonois himself cites this episode as one of his all-time favorites, for its crucial nature in broadening the canvas of his character.

"The Forsaken" works because of the close detail to characterization, mainly that of Odo but it's this grasp at who these people are so early in the show that makes the episode work on all levels despite some strangeness in its sci-fi plot. I would say it's probably the episode that best sums up many of the episodes in the first season: a premise that is far from exciting on its own, saved from being horribly boring by the strength of the characters within that premise. In this case, it works quite well, and it's clear by credit roll that the writers are getting a good grasp on Odo and teasing us for the years to come.

Rating: 8/10

 

[USS Lancelot]

Enjoyed reading your reviews. DS9 is my favorite of all the series -- I'm currently enjoying my fourth go through of the entire season.

And I definitely think I'm in the minority regarding the first two seasons. I though that were great, pretty much without exception. I can honestly say I enjoy the first two seasons as much as the later seasons. I never really thought they were hit-or-miss. I enjoy the whole Cardassian/Bajoran/Federation political thing. And while I do like the entire Dominion War arc that occupied the later four seasons, I also kind of missed the more laid-back, contemplative nature of the first three seasons.

 

[Quinton O'Connor]

Enjoyed reading your reviews. DS9 is my favorite of all the series -- I'm currently enjoying my fourth go through of the entire season.

And I definitely think I'm in the minority regarding the first two seasons. I though that were great, pretty much without exception. I can honestly say I enjoy the first two seasons as much as the later seasons. I never really thought they were hit-or-miss. I enjoy the whole Cardassian/Bajoran/Federation political thing. And while I do like the entire Dominion War arc that occupied the later four seasons, I also kind of missed the more laid-back, contemplative nature of the first three seasons.

Thank you for your kind words. I hope you're having as much fun on the station as I am!

Your interpretation of the series is further proof that there's something in it for everyone. I'm glad you enjoy the first two or three years as much as the remaining four or five; I actually seem to find in my trekking the web more of late that there are wildly diverse opinions on everything in this series, including which seasons are the strongest. While it seems on the surface to be the prevailing belief that the show got really good only after a few years of weaker points, I've found so many diverse statements on the matter in this past few weeks:

Some say the first season was an embarrassment overall with some noteworthy exceptions. Some others say it was the most immediately compelling of all freshman Trek years and as good as any other.

Some say the second season was 'more of the same' and consider it on-par with the first in mediocrity. Some others say it was one of the best years the show had, with more intimate, close-up character development than came thereafter.

Some say the third season was the most uneven, with the biggest pile of losers spread across several strong showings. Some others say the greater sense of adventure and addition of the Defiant paved the way for a powerhouse year.

Some say the fourth season was when the show finally became impressive, with a level of drama not seen before. Some others say bringing in Worf and the Klingons was unnecessary and distracting.

Some say the fifth season was the true peak of the series, with a strength of writing and characterization no other year could match. Some others say the show had lost its way somewhat, and was trumped by earlier years. (This, I confess, was an opinion I was most surprised by; indeed it appears quite the online minority say this, but Ericha Michelle Green seems like one of them.)

Some say the sixth season was magnificent; between the six-part opener and several other instant classics, it was unrivaled. Some others say that many other episodes were too weak and unconcerned with the war, creating a schizo of a year that is almost unwatchable.

Some say the seventh season was near-perfect in every way, and the ten-episode arc that wrapped things up was poignant and immense. Some others say that it was fairly underwhelming and the series finale is a severe letdown. (Let's face it, no series finale is ever going to escape completely unscathed; there will always, always be a group of people disgusted with it.)

And finally, some say Deep Space Nine is the pinnacle of the franchise and the most introspective look at humanity science fiction may have ever achieved. Some others say it is a perverse aberration and it distorts Gene Roddenberry's vision of the future in terrible ways, and it is often overlooked because it is simply atrocious.

What a world we live in, my friend.

 

[Quinton O'Connor]

1x18
"Dramatis Personae"

"What is it?"
"A clock! Isn't it fascinating?"
-Odo and Sisko

Fascinating? Yes, Sisko, I suppose it is. Bizarre, too. In many ways, that appropriately sums up this episode, and I'm willing to bet the always-strange Joe Menosky intended for things to come through that way when he penned this oddball.

The premise is a sci-fi staple. I think a quote from Ira Steven Behr best summarizes initial thoughts of mine when I began to realize what trope this show was employing:

""It was a third season show that we had the nerve to do in the first season. Anybody else would say 'You need to know the characters better before you twist them like this.' But seeing Kira come on to Dax – I don't care if it's first or third season, people are going to be interested in that!"

The whole 'characters under the influence of something that radically alters their personalities; watch chaos and hilarity ensue' thing has been done all over the place, and like Behr said, you usually don't want to do this until you have good reason to believe the audience has a substantial grasp on those characters. Without the context of how off-the-wall lines and performances are, the effect is severely diminished. But throughout Deep Space Nine's freshman year, I would say we did indeed gain a sufficient enough grasp on the cast to let this happen so early on, and furthermore, I would even argue this is a great time for it, for one very simple reason: Sisko and Kira are still butting heads quite often. Now I'll eat my words if they're doing that as frequently around the third or fourth year, because admittedly there are a lot of things I don't remember, but I don't believe they were like this later on.

And yes, Ira, I will admit that your line about Kira and Dax rings true. I couldn't help it; shallow and cheap as it was, watching Kira pull herself closer to Dax and offer her those seducing eyes was priceless. Credit goes squarely to Nana Visitor for making this work; on its own, it might well have otherwise come across as simply thin and ratings-grabbing, and would have held uncanny resemblance to certain moments in Star Trek: Enterprise. And one other thing while we're on this subject -- I'd be willing to bet part of the inspiration for Kira's Mirror Universe counterpart came out of her acting prowess in this episode; the Intendant is a delightfully sexy sadist of a scene-stealer.

Back to the overall episode itself, the disagreement between Sisko and Kira that begins the hour is believable and a good showing of the differences that still draw thick lines between the pair. Their disagreement over so many subjects in these early years is totally reasonable and much more enjoyable (in your humble reviewer's opinion) than watching two leaders always following the chain of command with one-another and always seeing eye-to-eye on everything. Not until Adama and Roslin in Ron Moore's Battlestar Galactica (2003) did I enjoy a contrasting leadership more than this. It's also a great opener for the setting of the episode; this is something Trek as a franchise excels at: the frequency of relevant first impressions setting the stage for the duration of the episode.

Soon enough, a Klingon warship arrives through the wormhole, and promptly... explodes. The ship's first officer manages to transport himself to the station in time to escape the flames, but dies almost immediately upon arrival; he's been shot, it's bad, and there's nothing Bashir can do for him.

It doesn't take long before the viewer notices the characters behaving erratically, and props go to Menosky and the rest of the production team for proving that this can be done with a still-new-to-the-airwaves cast. Only Odo and Quark seem unaffected among the principal actors, which is a fact that shares itself with the events of "Babel". Odo's currently-mysterious origins are fair explanation, but I'm left wondering if the Ferengi are the super-resilient creatures of the galaxy.

Events unfold in an entertaining enough manner, as Odo races to stop the increasing madness before opposing factions manage to tear the station apart in their influenced state. The Klingons were torn apart themselves by this insanity, and it's all thanks to the telepathic imprint of a culture known as the Saltah'na, which tore itself apart in a bitter power struggle but had the indecency to preserve its essence in energy spheres which maintain the capability to influence humanoids into allowing the personalities of the struggle to emerge. That's a lot of tearing, and it's also a fairly interesting explanation by typical Trekkian technobabble standards.

Along the way to the episode's inevitable conclusion, we're treated to numerous scenes which serve to raise the episode from fair to good: highlights include the strangely distant Dax and her obsession with stories involving Sisko, the already-mentioned Kira and her cunning, tempting ways, the paranoid O'Brien and Colm Meaney's amusing glares, the excitable Bashir whose only real difference from our man Bashir is his use of ominous words and desire to take sides, the reclusive Sisko and his clock-building obsession... and of course, the masterfully victorious Odo and his slipping through the ordeal to come out the hero of the conflict.

The episode takes a bit of a score cut for its somewhat-lacking final scene between Sisko and Kira; the words were a tad substandard and despite the former's 'this time' at the end of his sentence concerning forgiveness of Kira's attempted mutiny, it's all a bit too wrapped-in-a-bow for this series. I would have liked to have seen a bit more dialogue between the two of them, addressing the bigger question of if Kira would ever think things should have to come to such a point of her own volition. Even if it were as simple as Kira firmly rebuking any inquiries as ridiculous, it would have been a nice book-end to the opening scene.

Next week, it's the episode that, to say the least, is the fan favorite for best of the first season. Is it everything it's cracked up to be? Is it an enlightening experience? Is your humble reviewer remotely capable of giving it the write-up it deserves? Find out shortly!

Rating: 8/10

 

[Quinton O'Connor]

1x19
"Duet"

"You have no idea what it's like to be a coward. To see these horrors and do nothing."
-Marritza

Every once in a while, a television episode comes along with the emotional power of a hurricane. It rips through our perceptions, relentless in its impact. And when it's over, fans will talk about it for years, if not decades. I'm a firm believer that many alleged masterpieces are not the titans many would say they are, but rather above-average spectacles with a strong enough notion to blind people to their overlooked flaws. I think this not just of television, but of plenty of things throughout human history.

Even still, I have been proven wrong on several occasions. I have gone back to things, or seen things for the first time, expecting to catch the tiny slip-ups, the cracks in the wall, that the overly nostalgic have not spotted; usually I will find something that could have been a shade or two better, but there have been times, a few times, where I've been left as floored as the rest of them.

And yes, this is one of those times.

"Duet" is an almost-universally acclaimed installment in the long road that is Star Trek. It's virtually always cited as the finest hour in Deep Space Nine's first season, and beyond that, it's in so many top ten lists regarding the series as a whole that I can't think of any offhand that don't include it. It's a bottle show that relies entirely on its excellent script and the strength of its actors to convey that script, and on these and any other levels, it is an impressive feat.

The basic plot is simple yet effective, and as the episode rolls along it features several crucial, shocking twists that leave first-time viewers guessing for a very long, thrilling time. A Cardassian with a telling medical condition arrives at the station, seemingly by coincidence. His condition links him irrefutably to Gallitep, a dreaded word on the Bajoran tongue, for it is a hellish Cardassian forced-labor camp and the site of myriad atrocities.

Naturally, Major Kira becomes a central player in the proceedings. Her hatred, which truly represents the unified hatred of all Bajorans, is put to the test as she confronts the Cardassian, who first claims to have had nothing to do Gallitep, then changes his tune when facts prove otherwise and insists he was but a simple file clerk named Marritza, then adjusts his story yet again when investigations prove contradictory to his tale even still. At this point, he openly proclaims to be none other than Gul Dar'heel: the butcher of Gallitep himself, the tyrant ruler of the abominable facility who oversaw the humiliation and demise of countless Bajorans.

As Odo probes even further into the contradictions in the Cardassian's statements, nothing ever seeming to click, he must deal with Gul Dukat (a welcome sight after having been so conspicuously absent since the pilot) and eventually the truth is discovered, and it's a genuine, no-holds-barred revelation: the man in question is indeed the file clerk Marritza, willingly altered in appearance to appear as Dar'heel instead, and he has played Kira's anguish the entire time to bring out the wrath of the Bajorans, for he had intended to martyr himself in an effort to force his people to openly acknowledge the terrors he had for so long been made to ignore. In the end, Marritza is made to confess the reality of his existence, and he genuinely believes it is for the worse that Kira and Odo unraveled the weave of lies he presented. As Kira escorts him off the station, a scornful Bajoran we've seen intermittently throughout the episode but whom we'd been led to believe would be a bit player rushes forth and swiftly ends Marritza's life; a tragic finale that brings Kira to the strong conclusive statement that for a target to be Cardassian is by no means enough cause for murder.

The turnabouts in plot are handled with incredibly smooth professionalism by writer Peter Allan Fields, and director James L. Conway rarely misses a beat in bringing this dark piece to life. The truly crowning achievements of the episode are all on the parts of the actors, however; Nana Visitor has never before in the season seemed so vibrant, so full of emotion, and guest star Harris Yulin's performance as the questionable Cardassian Marritza is as close to perfect as one could possibly ask for. Their banter not once misses its mark and both actors deliver every line in their exchanges with unparalleled accuracy. As tensions build between the characters, the viewer is helplessly subjected to the raw animosity presented. I'd provide a favorite quote as a showcase to that end if I thought I could select just the one.

The intended metaphor of the Cardassian occupation and its likeness to Japanese and German imperialism during World War II comes across thoroughly, and it's no wonder while I did my fact-checking research on Memory Alpha in the process of writing this review that I found the episode to be a favorite of several cast and crew. Armin Shimerman's explanation that he 'loves these kinds of scripts because they deal with social issues using the context of space to place them in' perfectly mirrors my thoughts, and so I'll leave it at that.

"Duet" is an episode that is deserving of the endless praise it receives from so very many fans of its franchise. Tried as I did to find something objective to say about it, if for no other reason than to perhaps truly add something to the seventeen-year-old discussion concerning its contents, I was completely unsuccessful. It will go down in my books as well as one of the best offerings in the entire run. Highly recommended.

Rating: 10/10

 

[DS9Continuing]

I'm left wondering if the Ferengi are the super-resilient creatures of the galaxy.

Well, yes, in "Babel," Quark said, "Never underestimate the Ferengi immune system." A strong immune system would make sense given what we know of the environment Ferengi evolved in - wet, muddy, filled with bugs and germs and infections.

(Although, it does contradict the ear infection Rom contracts in "The Bar Association" from too much self-oomox. Yay, a wank joke in Star Trek!)

But that doesn't actually apply in this case anyway, because Quark wasn't in Ops when the Klingon beamed in and thus infected everyone else there with the telepathic virus. So he wouldn't have been infected anyway. Odo, on the other hand, was in Ops, and the virus tried to grab him but had nothing to grab onto, and his system rejected it. Hence the head-splitting-in-half incident.

 

[Quinton O'Connor]

Thank you. I tend to miss the deeper plot details upon first viewing (or close enough to it, anyway) episodes of shows, as I focus most on the characterization. I'll be sure to edit that portion of the review before it's posted to my website.

 

[Nightdiamond]

Jeff O'Connor:

"Duet" is an episode that is deserving of the endless praise it receives from so very many fans of its franchise. Tried as I did to find something objective to say about it, if for no other reason than to perhaps truly add something to the seventeen-year-old discussion concerning its contents, I was completely unsuccessful. It will go down in my books as well as one of the best offerings in the entire run. Highly recommended.

I agree.

When this episode first came on, I didn't pay much attention to it. I was surprised considering this is one of the earlier episodes of the series.

I think this was when DS9 was breaking off from the TNG mold and style.

True, this episode affects you, just on the words and dialog alone. There's no fireworks, action or space battles.

But at the end, if you get caught up in the episode, its very moving....