Not with 24th century Klingon culture, but this is supposed to be an ancient custom.
My DS9 Rewatch Odyssey
- Thread starter ananta
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Not with 24th century Klingon culture, but this is supposed to be an ancient custom.
“THE ASSIGNMENT”
“Possession?! ...You’re SURE it’s not just a cold?”
Given DS9’s extraordinary creative flourishing from the late third season onward, it’s disappointing the writers decided to go back to as hackneyed and altogether basic an old staple as alien possession. It’s something Trek has done multiple times and while the results can often be entertaining, it rarely makes for classic television. As with most things creative, however, it ultimately lives or dies on the execution—and, fortunately, while “The Assignment” doesn’t quite transcend the limitations of its premise, it does feature some excellent directing and solid performances, which make for a surprisingly compelling hour.
Whereas Keiko once had to suffer the trauma of being held hostage by alien-possessed Miles in TNG’s “Power Play”, this time the shoe is on the other foot. Rosalind Chao is clearly relishing the meatiest material she has ever been given on the show. While Keiko has been sidelined the past couple of seasons and ended up as less of a character than a function (O’Brien’s missus), Chao demonstrates that she is capable of far more than the writers would ordinarily give her. She delivers a dark, disturbing, menacing performance and largely resists the temptation to resort to moustache-twirling melodrama.
Something that helps rescue the episode from utter genericism is the fact it ties in with the show’s existing lore and introduces the Pah-wraiths, who would feature heavily in the show’s remaining seasons, for good or ill. While a concept loathed by many, I rather liked the Biblical-style mythology of false Prophets being cast out of the Celestial Temple and scheming their return. Sadly, it’s not something that was ultimately handled well, and down the line it will descend into highly cartoonish fare. Fortunately, we’re spared the ridiculous “glowing red eyes” schtick this time and instead it’s clear that, in this instance, the Pah-wraith hasn’t simply taken over Keiko’s body, but has merged with her mind, gaining access to all her memory and knowledge. This feels a lot subtler and more insidious than would later be depicted.
I still think it’s rather funny the way the episode starts off. Ordinarily, if a character gets possessed we SEE it happen, whereas here the episode kicks off with Keiko already possessed and mentioning it to Miles in a hilariously matter of fact way as she nibbles on chocolates. The nonchalance almost seems something you’d expect on a parody like Lower Decks—“oh, yeah, it was a lovely trip. I went there, and I did that—oh, and, by the way, I got possessed.” Whereas some people might come back from a trip with a bad cold, Keiko comes back with a case of alien possession. It works, though, and it’s kind of funny seeing O’Brien go from horny (thinking Keiko is initiating some kind of role play kink) to horrified as the Pah-wraith briefly stops her heart to demonstrate it means business. (Its later act of force, throwing her body off a Promenade balcony, is particularly horrific to watch.)
At heart, this is our annual “torture O’Brien” episode and Colm Meaney is his typically wonderful self, really selling Miles’ horror, anguish and desperation. Allan Kroeker makes his directorial debut here and immediately establishes himself as one of the greatest directors the show will ever have. He directs with a fantastic visual flair, keeps the pace tight, the atmosphere tense, and he truly milks all the little details for all their worth. For example, O’Brien’s awkwardness at having to sleep in the same bed as the possessed Keiko, and his horrible unease when she video calls him at work and “accidentally” hurts Molly while combing her hair. By weaving so many neat little touches like that, the episode successfully keeps ramping up the tension, and we really empathise with Miles’ despair and isolation. You really feel this monster continually bearing down on him as it keeps him compliant and on track, forcing him to betray his commanding officer and endanger his station—and, ultimately, intending to use him as an instrument of genocide. I mean, what a nightmarish position to be in.
This episode uses Rom surprisingly well, which is perhaps the first time he’s really been used independently of Quark or Nog. Max Grodenchik is charming throughout. While he can be a little clueless when it comes to certain things, this demonstrates that he’s actually not only a talented engineer but also an incisive thinker, for it’s Rom that determines what the Pah-wraith’s actual motive.
After such an excellent build-up, the conclusion is inevitably anticlimactic, because it’s obvious all along how it’s going to end, and there’s nothing in the way of surprise whatsoever. If there is one surprise it’s that we never see O’Brien become a holy figure to the Bajorans for saving their beloved Prophets! Wouldn’t that actually make him a bigger deal than even the Emissary? Sure, Sisko met them, big deal—O’Brien actually saved their asses, big style! Sometimes, I guess, it’s a thankless job being a Chief. Rating: 7
“Possession?! ...You’re SURE it’s not just a cold?”
Given DS9’s extraordinary creative flourishing from the late third season onward, it’s disappointing the writers decided to go back to as hackneyed and altogether basic an old staple as alien possession. It’s something Trek has done multiple times and while the results can often be entertaining, it rarely makes for classic television. As with most things creative, however, it ultimately lives or dies on the execution—and, fortunately, while “The Assignment” doesn’t quite transcend the limitations of its premise, it does feature some excellent directing and solid performances, which make for a surprisingly compelling hour.
Whereas Keiko once had to suffer the trauma of being held hostage by alien-possessed Miles in TNG’s “Power Play”, this time the shoe is on the other foot. Rosalind Chao is clearly relishing the meatiest material she has ever been given on the show. While Keiko has been sidelined the past couple of seasons and ended up as less of a character than a function (O’Brien’s missus), Chao demonstrates that she is capable of far more than the writers would ordinarily give her. She delivers a dark, disturbing, menacing performance and largely resists the temptation to resort to moustache-twirling melodrama.
Something that helps rescue the episode from utter genericism is the fact it ties in with the show’s existing lore and introduces the Pah-wraiths, who would feature heavily in the show’s remaining seasons, for good or ill. While a concept loathed by many, I rather liked the Biblical-style mythology of false Prophets being cast out of the Celestial Temple and scheming their return. Sadly, it’s not something that was ultimately handled well, and down the line it will descend into highly cartoonish fare. Fortunately, we’re spared the ridiculous “glowing red eyes” schtick this time and instead it’s clear that, in this instance, the Pah-wraith hasn’t simply taken over Keiko’s body, but has merged with her mind, gaining access to all her memory and knowledge. This feels a lot subtler and more insidious than would later be depicted.
I still think it’s rather funny the way the episode starts off. Ordinarily, if a character gets possessed we SEE it happen, whereas here the episode kicks off with Keiko already possessed and mentioning it to Miles in a hilariously matter of fact way as she nibbles on chocolates. The nonchalance almost seems something you’d expect on a parody like Lower Decks—“oh, yeah, it was a lovely trip. I went there, and I did that—oh, and, by the way, I got possessed.” Whereas some people might come back from a trip with a bad cold, Keiko comes back with a case of alien possession. It works, though, and it’s kind of funny seeing O’Brien go from horny (thinking Keiko is initiating some kind of role play kink) to horrified as the Pah-wraith briefly stops her heart to demonstrate it means business. (Its later act of force, throwing her body off a Promenade balcony, is particularly horrific to watch.)
At heart, this is our annual “torture O’Brien” episode and Colm Meaney is his typically wonderful self, really selling Miles’ horror, anguish and desperation. Allan Kroeker makes his directorial debut here and immediately establishes himself as one of the greatest directors the show will ever have. He directs with a fantastic visual flair, keeps the pace tight, the atmosphere tense, and he truly milks all the little details for all their worth. For example, O’Brien’s awkwardness at having to sleep in the same bed as the possessed Keiko, and his horrible unease when she video calls him at work and “accidentally” hurts Molly while combing her hair. By weaving so many neat little touches like that, the episode successfully keeps ramping up the tension, and we really empathise with Miles’ despair and isolation. You really feel this monster continually bearing down on him as it keeps him compliant and on track, forcing him to betray his commanding officer and endanger his station—and, ultimately, intending to use him as an instrument of genocide. I mean, what a nightmarish position to be in.
This episode uses Rom surprisingly well, which is perhaps the first time he’s really been used independently of Quark or Nog. Max Grodenchik is charming throughout. While he can be a little clueless when it comes to certain things, this demonstrates that he’s actually not only a talented engineer but also an incisive thinker, for it’s Rom that determines what the Pah-wraith’s actual motive.
After such an excellent build-up, the conclusion is inevitably anticlimactic, because it’s obvious all along how it’s going to end, and there’s nothing in the way of surprise whatsoever. If there is one surprise it’s that we never see O’Brien become a holy figure to the Bajorans for saving their beloved Prophets! Wouldn’t that actually make him a bigger deal than even the Emissary? Sure, Sisko met them, big deal—O’Brien actually saved their asses, big style! Sometimes, I guess, it’s a thankless job being a Chief. Rating: 7
Totally agree, this demonic possession thing was already done in “Power Play” and “Whispers”....3 times and all with the O’Briens. He is one unlucky Irishman-! Yet Colm Meaney really admired this episode. Chao does get more interesting facets to explore. Rom really grew on me here.
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Awesome review.
Not sure I really have anything to add... even my footnote of this being Kroeker's first time directing for the franchise, you've already mentioned.
Chao was definitely ramping up the creepy factor, and I loved it. In some ways, this is a worse time for O'Brien than it was for Keiko when he was possessed because this time it is entirely on a personal level. To paraphrase a song, if it weren't for bad luck, Miles would have no luck at all.
The story is simple, but this is a hallmark of DS9... a simple, straightforward plot that excels because of the actors, dialogue, and directing.
7 is a fair rating.
Not sure I really have anything to add... even my footnote of this being Kroeker's first time directing for the franchise, you've already mentioned.
Chao was definitely ramping up the creepy factor, and I loved it. In some ways, this is a worse time for O'Brien than it was for Keiko when he was possessed because this time it is entirely on a personal level. To paraphrase a song, if it weren't for bad luck, Miles would have no luck at all.
The story is simple, but this is a hallmark of DS9... a simple, straightforward plot that excels because of the actors, dialogue, and directing.
7 is a fair rating.
@ananta: Great review! It's funny because I am not a big fan of the prophets nor their counterpart the Pah Wraiths but one case of possession does not an exorcist make... 
I really like this one, for once they did everything right as you said, no red eyes (and I am not talking about Quark's hooch), no spooky voice (never forget the spooky voice). I think the way "Keiko" announces it to Miles is the most effective and chilling one.
One thing that's funny is that Kosst Amojan, I mean it keeps coming back!! How many times do you have to kill these things to actually kill them!!!
Rom is great and quite a comic relief. That's the way Rom should be all the time.
I wish they had made more like it, not about the same subject mind you but, you know, with things done correctly and not overdone or overplayed as is often the case and each character played true to their nature so to speak.
I really like this one, for once they did everything right as you said, no red eyes (and I am not talking about Quark's hooch), no spooky voice (never forget the spooky voice). I think the way "Keiko" announces it to Miles is the most effective and chilling one.
One thing that's funny is that Kosst Amojan, I mean it keeps coming back!! How many times do you have to kill these things to actually kill them!!!
Rom is great and quite a comic relief. That's the way Rom should be all the time.
I wish they had made more like it, not about the same subject mind you but, you know, with things done correctly and not overdone or overplayed as is often the case and each character played true to their nature so to speak.
I always loved the Prophets and the Pah Wraiths. One of the biggest facets of DS9 that appealed to me over other series, aside from TOS.
I (re)watched "The Assignment" recently, and have been waiting for your review as I was curious about what you'd think. Your review (as all of them are) is enlightening, funny, and just brilliant, really 
I never think about the direction of the episodes (probably as I know so little about what's involved), so it's good to read your thoughts on what the directors do as I get a little insight into the process. There's always something that I didn't think of, too - in the case of this ep, it's your final point about O'Brien saving the Prophets. Although, thinking about it, if the Prophets exist outside linear time, they would know all about the attempt to destroy them and that O'Brien (and Rom) are their saviour(s). As for why the Pah Wraith appeared to be working on the assumption that its plan would work, I guess it had spent too long outside the Celestial Temple and now exists (and thinks) in linear time?
I'd give this epsiode an 8 (maybe a 9 - although it is one of my favourites, so I'm a bit biased) as it makes what could have been a run-of-the-mill possession far more personal (as @Farscape One mentioned), tense, and harrowing. The only reason I can't give it a 10 is O'Brien's terribly stilted, awkward and joyless "party" (Miles is excused from being/acting happy, of course) - it was as dull as those you'd find on the Enterprise-D!
I never think about the direction of the episodes (probably as I know so little about what's involved), so it's good to read your thoughts on what the directors do as I get a little insight into the process. There's always something that I didn't think of, too - in the case of this ep, it's your final point about O'Brien saving the Prophets. Although, thinking about it, if the Prophets exist outside linear time, they would know all about the attempt to destroy them and that O'Brien (and Rom) are their saviour(s). As for why the Pah Wraith appeared to be working on the assumption that its plan would work, I guess it had spent too long outside the Celestial Temple and now exists (and thinks) in linear time?
I'd give this epsiode an 8 (maybe a 9 - although it is one of my favourites, so I'm a bit biased) as it makes what could have been a run-of-the-mill possession far more personal (as @Farscape One mentioned), tense, and harrowing. The only reason I can't give it a 10 is O'Brien's terribly stilted, awkward and joyless "party" (Miles is excused from being/acting happy, of course) - it was as dull as those you'd find on the Enterprise-D!
Another great review!
I love how this episode develops Rom...that he sees the forest while O'Brien's lost among the trees, and turns the episode on its head when he reveals what Keiko's grand plan is. And yet Rom is still willing to go to jail for Miles because he believes in him.
I assume nobody really talked about this whole situation after the fact, perhaps because they weren't keen on anyone learning that there was a technological way to kill the Prophets.
I love how this episode develops Rom...that he sees the forest while O'Brien's lost among the trees, and turns the episode on its head when he reveals what Keiko's grand plan is. And yet Rom is still willing to go to jail for Miles because he believes in him.
I assume nobody really talked about this whole situation after the fact, perhaps because they weren't keen on anyone learning that there was a technological way to kill the Prophets.
Maybe that's one of the reasons he's such an admired figure later into the future...
I never understood how a species that doesn't understand linear time could have a civil war. Did they always know it happened/is happening/will happen? Did they choose sides or just fulfil their roles?
Yes, Rom turned out to be someone who places loyalty above all, even his own interest. This is quite surprising for a Ferengi since they've been shown as people who are selfish and deceitful. Look at what Brunt said to Quark in "Body Parts"
Cyfa wrote: As for why the Pah Wraith appeared to be working on the assumption that its plan would work, I guess it had spent too long outside the Celestial Temple and now exists (and thinks) in linear time?
That is puzzling - why does the Pah'Wraith act as if the Prophets wouldn't have foreknowledge of the attempt to kill them with the chroniton beam.
That is puzzling - why does the Pah'Wraith act as if the Prophets wouldn't have foreknowledge of the attempt to kill them with the chroniton beam.
I think you'd be hard-pressed (as anyone would) to find coherence in this whole business about the prophets and the pah wraiths, it keeps changing and contradicting itself. Like why would the pah wraiths need all the mumbo jumbo of the final episodes to get out of the fire caves if they could just do so by entering someone's body? Just ask Dukat or Kai Winn to send people in there!!! I am sure they'd be glad to do it.
“TRIALS AND TRIBBLE-ATIONS”
“He’s so hot....I wonder if he has a son?”
I always love when I get to this episode during a rewatch. DS9 and TOS are absolutely my two favourite Star Trek series and this heartfelt and utterly ingenious tribute/mash-up is nothing short of a masterpiece and certainly ranks among the show’s top five episodes. Everything about it just works.
Something I noticed in TNG’s fairly rare references to TOS (and also in Voyager’s relatively crappy anniversary episode, “Flashback”) was how the writers often adopted a condescending tone toward it, as though there was almost an element of shame about the franchise’s origin. Indeed, I kind of gather from reading between the lines that Rick Berman didn’t even like TOS, and this does rather show in some of the Nineties-era output. Fortunately, that certainly is not the case here. Ron Moore, in particular, grew up a rabid Trekker and is responsible, along with Rene Echevarria (and the rest of the writing team) for creating what is nothing short of a love letter to the iconic original series.
I simply cannot overpraise the technical accomplishments of this episode. The ability to insert DS9 characters in the footage of the original show, allowing them to actually share the screen with Kirk, Spock and co, is cutting edge for the time, breathtaking and largely seamless in execution. The vibrant uniforms and the loving recreation of the minimalist, very Sixties’ sets are perfect; and, when I first saw this episode, the sight of the original Enterprise appearing on the screen, beautifully rendered in CGI, along with the Alexander Courage fanfare was an unforgettable lump-in-throat moment . Production-wise, the only thing I find somewhat lacking is Dennis McCarthy’s score, which, although proficient, is a little too straight-laced when it really should have called back to the rousing and melodic scores of the TOS era. I guess we can blame Rick Berman for that missed opportunity, but that’s a whole other topic, and one I don’t want to get into. They let loose for the previous season’s “Our Man Bashir”, so I don’t know why they couldn’t have given us a more TOS-appropriate score for this.
Of course, it would all be for naught if the writing wasn’t up to par. Thankfully, this is an utter triumph of scripting. The premise is simple yet inspired, and the fact that Charlie Brill (Klingon agent Arne Darvin) serendipitously happened to be at the next table as the writers discussed the episode while dining out one lunchtime underscores that. The fates truly did align to create what is one of my all-time favourite pieces of television.
There are almost two many wonderful moments and touches to even mention: from the framing device involving the agents from the Department of Temporal Investigations (Dulmer and Lucsly—anagrams of Mulder and Scully) to the generally wonderful and hilarious banter between the crew. Bashir and O’Brien are particularly funny together, the high points being their interrogation by Kirk following the brawl and the turbolift scene which I imagine may have inspired a Futurama plot involving Fry and his grandmother (leading to one of favourite lines of all time: “Oh look, a lesson in not changing history from Mr I’m-my-own-Grandpa!”).
Jadzia is wonderful throughout as she revels in nostalgia, much as the viewers are, and if there’s a oversight in the episode it’s that lady’s man Kirk doesn’t look twice when he catches sight of this stunningly beautiful woman on his bridge. There are so many little details throughout the episode that sparkle, including Worf’s relating of “the great Tribble hunt” and his hilariously evasive response when asked about the appearance of the Klingons on K-7. The episode’s tongue is firmly in cheek, and that’s precisely the way it needed to be. I love that it captures and matches the tone of the original episode “The Trouble With Tribbles” and adds to it without diminishing anything that happened in that episode. Indeed, rewatching the original episode with foreknowledge of this sequel adds to the enjoyment immensely and I almost feel it was designed to be added to later.
This is definitely one of the greatest sequels in the history of television: two episodes spanning nearly thirty years seamlessly knitted together courtesy of remarkable technology and an even more remarkable script. This is one of those rare episodes I consider transcendently perfect and I always up feeling warm and fuzzy every time I watch it. Standing ovation. Rating: 10
“He’s so hot....I wonder if he has a son?”
I always love when I get to this episode during a rewatch. DS9 and TOS are absolutely my two favourite Star Trek series and this heartfelt and utterly ingenious tribute/mash-up is nothing short of a masterpiece and certainly ranks among the show’s top five episodes. Everything about it just works.
Something I noticed in TNG’s fairly rare references to TOS (and also in Voyager’s relatively crappy anniversary episode, “Flashback”) was how the writers often adopted a condescending tone toward it, as though there was almost an element of shame about the franchise’s origin. Indeed, I kind of gather from reading between the lines that Rick Berman didn’t even like TOS, and this does rather show in some of the Nineties-era output. Fortunately, that certainly is not the case here. Ron Moore, in particular, grew up a rabid Trekker and is responsible, along with Rene Echevarria (and the rest of the writing team) for creating what is nothing short of a love letter to the iconic original series.
I simply cannot overpraise the technical accomplishments of this episode. The ability to insert DS9 characters in the footage of the original show, allowing them to actually share the screen with Kirk, Spock and co, is cutting edge for the time, breathtaking and largely seamless in execution. The vibrant uniforms and the loving recreation of the minimalist, very Sixties’ sets are perfect; and, when I first saw this episode, the sight of the original Enterprise appearing on the screen, beautifully rendered in CGI, along with the Alexander Courage fanfare was an unforgettable lump-in-throat moment . Production-wise, the only thing I find somewhat lacking is Dennis McCarthy’s score, which, although proficient, is a little too straight-laced when it really should have called back to the rousing and melodic scores of the TOS era. I guess we can blame Rick Berman for that missed opportunity, but that’s a whole other topic, and one I don’t want to get into. They let loose for the previous season’s “Our Man Bashir”, so I don’t know why they couldn’t have given us a more TOS-appropriate score for this.
Of course, it would all be for naught if the writing wasn’t up to par. Thankfully, this is an utter triumph of scripting. The premise is simple yet inspired, and the fact that Charlie Brill (Klingon agent Arne Darvin) serendipitously happened to be at the next table as the writers discussed the episode while dining out one lunchtime underscores that. The fates truly did align to create what is one of my all-time favourite pieces of television.
There are almost two many wonderful moments and touches to even mention: from the framing device involving the agents from the Department of Temporal Investigations (Dulmer and Lucsly—anagrams of Mulder and Scully) to the generally wonderful and hilarious banter between the crew. Bashir and O’Brien are particularly funny together, the high points being their interrogation by Kirk following the brawl and the turbolift scene which I imagine may have inspired a Futurama plot involving Fry and his grandmother (leading to one of favourite lines of all time: “Oh look, a lesson in not changing history from Mr I’m-my-own-Grandpa!”).
Jadzia is wonderful throughout as she revels in nostalgia, much as the viewers are, and if there’s a oversight in the episode it’s that lady’s man Kirk doesn’t look twice when he catches sight of this stunningly beautiful woman on his bridge. There are so many little details throughout the episode that sparkle, including Worf’s relating of “the great Tribble hunt” and his hilariously evasive response when asked about the appearance of the Klingons on K-7. The episode’s tongue is firmly in cheek, and that’s precisely the way it needed to be. I love that it captures and matches the tone of the original episode “The Trouble With Tribbles” and adds to it without diminishing anything that happened in that episode. Indeed, rewatching the original episode with foreknowledge of this sequel adds to the enjoyment immensely and I almost feel it was designed to be added to later.
This is definitely one of the greatest sequels in the history of television: two episodes spanning nearly thirty years seamlessly knitted together courtesy of remarkable technology and an even more remarkable script. This is one of those rare episodes I consider transcendently perfect and I always up feeling warm and fuzzy every time I watch it. Standing ovation. Rating: 10
You covered this so well -! what an amazing, delightful episode to celebrate the 30th anniversary of the original Trek. And I like how you’re so tuned in to the music. Somehow I don’t pay enough attention to the soundtracks.
About comparing DS9 and TOS - Ira Behr said he wanted them to be considered as similar in approach-- “I don’t really think that TNG was ever meant to be fun, I just thought it was meant to be serious and ‘important’ on a certain level. I didn’t hear a lot of things about Voyager being fun. So we tried to be fun.”
Just perfect, as you said.
About comparing DS9 and TOS - Ira Behr said he wanted them to be considered as similar in approach-- “I don’t really think that TNG was ever meant to be fun, I just thought it was meant to be serious and ‘important’ on a certain level. I didn’t hear a lot of things about Voyager being fun. So we tried to be fun.”
Just perfect, as you said.
I think we have another one that deserves an 11. Or a 12. Or a...how high does this thing go, anyway?
One slight nitpick: I believe Futurama hit the grandfather paradox before this episode aired...though of course, the whole concept had been invented well before either.
Otherwise, what is there to say? I was amazed by the episode when it first aired, both by the tech and how good an episode they managed to make in general, and that hasn't faded for me since. Several episodes in the franchise have been floated as "love letters" and such in the past, but this is perhaps the one that most overtly and proudly wears its heart on its sleeve.
One slight nitpick: I believe Futurama hit the grandfather paradox before this episode aired...though of course, the whole concept had been invented well before either.
Otherwise, what is there to say? I was amazed by the episode when it first aired, both by the tech and how good an episode they managed to make in general, and that hasn't faded for me since. Several episodes in the franchise have been floated as "love letters" and such in the past, but this is perhaps the one that most overtly and proudly wears its heart on its sleeve.
The prophets are not established to be either omniscient or omnipresent, so their is no reason to believe that living outside linear times gives them absolute knowledge.
@ananta: Superlative review! I too love these episodes this one and the TOS one and I make it a point of watching them back to back, which I do about twice a year which is more often than I do the other episodes of the franchise.
One funny detail is that the man that Julian and Miles mistake for Kirk is actually his stunt double or so I've been told.
Is Julian Bashir his own grandfather? The mystery remains...
One funny detail is that the man that Julian and Miles mistake for Kirk is actually his stunt double or so I've been told.
Is Julian Bashir his own grandfather? The mystery remains...
True, according to Memory Alpha, the man O’Brien thought was Kirk was Paul Baxley, a regular stunt double for Shatner.
And, David Gerrold, who wrote TOS “Trouble with tribbles,” appears in 2 scenes-- as an Enterprise crewman, and later, in the corridor petting a tribble - one of the original tribbles.
So many clever details packed in - really a labor of love.
And, David Gerrold, who wrote TOS “Trouble with tribbles,” appears in 2 scenes-- as an Enterprise crewman, and later, in the corridor petting a tribble - one of the original tribbles.
So many clever details packed in - really a labor of love.
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Excellent review!
Nailed it, all the way. Not only your review, but the episode itself.
I'm not sure it's possible to be in a bad mood after watching this episode. As Sisko says, "Too much fun."
Only thing I can really add is this... for a series that was maligned as 'not really STAR TREK' and treated rather poorly compared to the other spinoffs, DS9 is not only the closest in spirit to TOS compared to the others but it is also the only spinoff to not be patronizing of its parent show. DS9 does true honor to its heritage.
I'm going to have to rate this episode a little differently than all others, simply because of the anniversary nature of it.
As an episode, it's a 10 without question. As a STAR TREK episode... an 11!
Nailed it, all the way. Not only your review, but the episode itself.
I'm not sure it's possible to be in a bad mood after watching this episode. As Sisko says, "Too much fun."
Only thing I can really add is this... for a series that was maligned as 'not really STAR TREK' and treated rather poorly compared to the other spinoffs, DS9 is not only the closest in spirit to TOS compared to the others but it is also the only spinoff to not be patronizing of its parent show. DS9 does true honor to its heritage.
I'm going to have to rate this episode a little differently than all others, simply because of the anniversary nature of it.
As an episode, it's a 10 without question. As a STAR TREK episode... an 11!
