Deep Space Nine: s07 e25/26 – What You Leave Behind


What you leave behind is loss

So. For the cast, the crew, the writers, the directors, the producers and the original audience, it took seven years to get here. For me, watching weekly, it took three and a little bit. And it all ended with a moment of personal poignance as the final shot was of a boy who became a man staring into space, having lost his father.

I’ve known from before I began watching Star Trek: Deep Space Nine that the series ended with Benjamin Sisko’s death, and that was how it was. I know that in reality he’s been translated into becoming one of the Prophets, that it is hinted that there is more for him to do and that, in the post-series novels Sisko does return, but Deep Space Nine always was the darkest, more realistic of the franchise, and to me Sisko is dead: he is gone beyond anywhere that his old friends, his comrades, his newly-pregnant wife or, most personally affecting for me, his son can ever see, hear, talk to or touch again. The end is finality.

And this is all about endings, endings and changes. The Dominion War ends, as it always must, in victory for the Alpha Quadrant. There’s the big attack, the great fleet, including the new Defiant, in which the military tide is turned when the Cardassian fleet rebels against the Dominion and switches sides in mid-battle. This comes about when Damar’s rebellion begins to become seriously disruptive: the Female Changeling demands reprisals against the whole population, which Weyoun 8 carries out, causing a great revulsion and reversion.

And Damar’s rebellion is nearly derailed when he, Kira and Garak are caught, and housekeeper Mila killed. They are to be summarily executed, but the Cardassians accompanying the Jem’Hadar soldiers revolt and kill the captors.

All is put into a raid on Dominion Headquarters. The compound is impenetrable, until a door is opened to eject and execute Legate Broca on the Female Changeling’s orders: this gives the raiders access, but for Damar the charge is fatal: in lead the raid to free his people, he becomes the first to be killed. Only three survivors reach the control room, Kira, Ekoor and Garak, who executes Weyoun with great relish: the last Weyoun, the second to be killed.

But though the War is won, it is not yet over. The Female Changeling is dying, and aware of the irony of dying as a solid, but she still fears a Federation invasion of the Gamma Quadrant and an attempt to wipe out her people, and so victory will be bought with such a cost of men and ships that the Alliance will not have the strength to fight again.

It is here that Odo intervenes. By linking with the Female Changeling, he is able to both pass on the cure to her, over Garak’s deep and wholly justified reservations, but also persuade her to share his trust of the Federation. Restored to health, she orders a stand down, signs the official surrender and submits herself to trial for war crimes.

It’s over.

And with the end of the War comes the changes that separate friends, allies and lovers. A phase is over, and with it the ties that bind are loosened and people once again discover that they have individual futures and not merely the collective one to which fate and destiny have bound them for so long.

Chief Miles O’Brien will no longer be dumped on as he has been so relentlessly. He and his family, a final appearance from Keiko, Molly and Kyrioshi, are to return to Earth, where he will become a Professor of Engineering at Starfleet Academy. It means the breaking of his great friendship with Doctor Julian Bashir, to the regret of both. But Julian and Lieutenant Ezri Dax have become lovers as well as being in love. Their’s is a future to be explored together: Julian will never return to the Alamo without Miles, but he has created a new, and identical scenario for he and Ezri at Thermopylae, as the beleagured Spartans.

Lieutenant Commander Worf also leaves Deep Space Nine, to become the Federation Ambassador to the Klingon Empire, under Chancellor Martok: a new age is dawning, an age that will see a restoration of honour.

Odo and Colonel Kira Nerys are to be separated, permanently. Though I never agreed with the making of this pair into lovers, though I never accepted how Kira forgave him his betrayal of Bajor, this too was full of emotion I couldn’t ignore. Odo must go to his people. He must bring them the cure, he must enter the Great Link, this time to stay, to convince the Founders that they have nothing to fear now from the solids. Kira will deliver him, and stay until the last moment, before returning alone, where she will become the new commander of Deep Space Nine.

Quark remains Quark. He’s the only one who understands Odo enough to intercept the Changeling’s attempt to depart without goodbyes, and is immensely satisfied when Odo walks off without conceding a goodbye. Things will not change all that much for the Ferenghi: Colonel Kira will remain his implacable opponent.

Which leaves the Sisko, the Emissary. As the Dominion War crashes to its conclusion, there is a second front, a secret front, taking slow steps to undo everything. Gul Dukat’s sight has been restored and he returns to the Kai’s palace. She has completed deciphering the Khosst Amojen (having exiled myself from Memory Alpha during The Final Chapter, to avoid spoilers, I’ve had to guess at spellings, incorrectly) and is now ready to release the Pah-Wraiths from the Fire-Caves. She needs his assistance.

What she needs Dukat for takes a long time to materialise, as the aspect of the story is dragged out until after the War has been won and well into the Peace. Dukat is the sacrifice, to honour the Pah-Wraiths, poisoned by wine and dying. But not for long.

On Deep Space Nine, Captain Benjamin Sisko heeds the call no-one else can hear, and leaves the party in Vic’s (as a finale to which, the abhorrent hologram lounge singer Vic Fontaine serenades a crew together for the last time with ‘The Way You Look Tonight’: it isn’t a patch on the Peter Skellern version but it’s heartfelt, and appropriate, and moving, and reconciles me to him). The Sisko knows what he must do, and he leaves his wife and unborn child to do it, not knowing the full extent of his destiny.

He arrives at the Fire-Caves seconds after the resurrection of Gul Dukat, restored to his Cardassian appearance. It is he, not Kai Winn Adami, who is to be the Pah-Wrauth’s Emissary, he who wields powers not granted to the Prophet’s Emissary, as it ever was: Evil vests power in its servants but Good’s servants triumph because of themselves.

Dukat glories in himself, in the destruction that is to follow, the burning of Bajor, of the Celestial Temple, of the entire Alpha Quadrant, but most of all he glories in his personal victory over Sisko, the private war they’ve conducted since the Emissary first arrived to take command of Dukat’s surrendered fiefdom, Terak Nor/Deep Space Nine. It is his weakness and his undoing. At the last, Winn redeems herself, screaming to Sisko that it is the book. She tries to hurl it into the flames, but Dukat draws it to him and burns Winn to death. In doing so, in relishing it so, he takes his attention from the helpless Sisko. Free to move, knowing that the book must burn, Sisko charges Dukat, hurling both of them, and the book, into the flames. Sisko locks a door to which there will never again be a key. The payment is his life.

And so it ended, with departures and sunderings. As well as those I’ve mentioned already, Garak goes home, his exile over, returning to Cardassia, although he has lost the Cardassia he longed to return to. His friendship with Bashir is over, despite the promises. Ensign Nog becomes Lieutenant Nog: like Kira, Bashir, Ezri and Quark, he remains, on course for the glorious Starfleet career he has grown into.

And Jake Sisko remains, looking into space where the Wormhole at last opens again. Looking where he believes that something exists that equates to his father. But not in my eyes. Sometimes, in war, people have to sacrifice. To know that, and to honour that, is not to forget the effect on those that love you, and have a long lifetime ahead without you. What you leave behind is loss.

And I leave behind Star Trek: Deep Space Nine. I shalln’t be returning.

Deep Space Nine: s07 e24 – The Dogs of War


Why couldn’t they have swapped costumes?

After the tight focus of last week, the penultimate episode of Deep Space Nine was instead a ragbag of set-up across multiple plot strands, involving practically every single recurring character you could name, but not Cirroc Lofton. Only Kai Wynn and Gul Dukat failed to show their faces.

This meant a strong Ferenghi presence, and I’m hoping that the substantial amount of time dedicated to wrapping up their story will mean only a token participation in the series finale, a week from now. It was down to the usual standards. Leeta and a barely clad dabo girl demand a reduction in how much of their tips they have to give to Quark, and he’s thinking abut it when Grand Negus Zek comes on the blower to announce, through appalling static, that he’s going to retire and is appointing Quark as his successor.

Immediately, Brunt turns up to fawn all over the new Negus, and to tell him of the massive changes Zek, under Ishka’s influence, has been pushing through to turn Ferenganar from the unrestricted pursuit of capitalism. Ferenganar’s been so humonised, Quark’s disgusted enough to turn down the post, except that he’s got it all wrong: Zek’s appointing Rom instead. Quark however intends to run his bar in the old fashion unrepentantly.

There, wasn’t that worthless watching? Except for what’s probably a final appearance from Chase Masterson.

What was nearly as awful was the clowning around between Julian Bashir and Ezri Dax, one minute solemnly assuring themselves that it’s better to retain their friendship than lose it over trying to pursue a silly romantic fantasy, the next snogging each other’s faces off in a turbolift. This strand kept Worf and O’Brien in it for a couple of cameos as a Greek Chorus, looking on.

Odo is fully recovered and Bashir drops a brick in telling him how Section 31 infected him. There is a piece of what I take to be foreshadowing, as Odo reacts in disgust to the Federation’s decision not to give the cure to the Dominion in the middle of all-out War against an enemy bent on ruthless conquest (sorry, Odo, you’re being bloody naive). Given that I was not able to escape learning in advance about Odo’s final part in this series, I take it that this is a major factor in his decision.

By far and away the most important strands related directly to the War. Demar’s rebellion is betrayed and destroyed, it’s only survivors being the Big Three of Demar, Kira and Garak. They go underground on Cardassia Prime, in a cellar, to avoid capture and execution whilst Weyoun announces Demar’s death. But the populace don’t believe it, and our trio play on this to turn Demar into Legend, to raise the people.

And a new, pliant Legate takes Service under the Dominion, for whom the Female Changeling is dictating retrenchment: fall back upon a shortened, stronger defensive line, based upon the Cardassian Empire, rebuild, emerge stronger.  The Federation, being naturally timid, will settle for containment.

But Sisko argues otherwise. He has a new Defiant class ship that he’s authorised to rename Defiant, and he foresees what the Dominion expect, and urges attack: break through the Dominion lines before they can settle. Cry Havoc! and let slip the Dogs of War.

Ad a final coda, in which a hostage to fortune, and to the Prophets’ warning: Kasidy Yates Sisko is pregnant. The Emissary is going to have a baby…

Deep Space Nine: s07 e12 – The Emperor’s New Cloak


Ezri Tigan. more! more!

Even though my initial reaction to this episode was the usual, “not another bloody Ferengi episode”, I decided I’d try to be as objective (read: fair) as possible about it. Then it turned out to be another Mirror universe story which was one too many trips to the well for me on top: the Mirror Universe is a neat idea but when it’s only being exploited to allow the actors to play against character and for no deeper reason, it’s a shallow concept.

Throw in my new bete noire, Vic Fontaine (albeit for one brief scene and in which he gets killed, not that that lifted my spirits too much), and the recipe was for a wasted forty-five minutes, the only benefit of which being that, with the end sequence getting ever nearer, this would have to be the last of them, yay!

But I’m going to be as fair as I can be, as there were a couple of things of interest to keep me going.

By now, the only cast/recurring characters left who haven’t been through the looking glass are new girl Ezri, and Brunt, FCA. Both were a simple opposite, Ezri a leather clad, spike-haired mercenary (rrrrrrrr!!!) and Brunt a genial nice guy. Brunt got killed off but Ezri bestrode the episode in a manner that had my shallow side gladly singing. Nicole deBoer apparently had a whale of a time and wanted to play this Ezri every week.

On the other hand, my usual appreciation of Nana Visitor in her shiny skintight costume as Intendant Kira was lacking, I think because I was enjoying Ezri so much. Or perhaps that was another case of too many trips to the same well. With one notable exception, when Intendant Kira kissed Ezri Tigan, there was nothing new to bring to the party, and the Intendent felt almost like a parody of herself.

The heavily implied lesbian subtext between this pair (reinforced in the close by a brief appearance from Chase Masterson, cleavage well to the for, spiriting Ezri off into half the audience’s fantasies) was a surprise, but immediately felt completely natural for the Intendent. Nana Visitor didn’t agree and disliked the idea.

The MacGuffin was Grand Negus Zek, seeking to open up new financial frontiers for the Ferengi and being held hostage by Regent Worf in return for a cloaking device, to be stolen by Quark and Rom. This was duly delivered but Rom, whilst installing it in the Regent’s ship, sabotages the whole kit’n’kaboodle so that as soon as it’s used it drains all power from the ship, forcing the Regent to surrender to the Rebels under Smiley O’Brien, implying a tying off of that story.

One quickly irritating aspect of the episode was Rom’s constant attempts to work out some kind of logic and rules behind the Alternate Universe being Alternate. That was apparently intentional, a sort of half-nod, half-raspberry to the fans who wanted the Mirror Universe to make Science Fictional sense as opposed to the big joke it was only ever meant to be.

But it was over and done. No more trips to either of those wells, even if the Intendent was allowed to get away to camp another day. I guess no-one had the heart to shoot her down.

Depending on whether the end sequence has nine or ten episodes (I have seen both quoted), that means there can only be four or five left that tell individual stories unrelated to the all-out Dominion War. I’m expecting at least one more Vic Fontaine because I’m ultimately a pessimist, but at least there’s no more Quark-centrics. I have outlasted them. Thank Heaven for small mercies.

Deep Space Nine: s07 e08 – The Siege of AR-558


At War

It didn’t augur well. The open kicked off with Rom in the holosuite lounge, auditioning for Vic Fontaine by badly singing ‘The Lady is a Tramp’. Grisly. Vic has very rapidly become second only to Quark for me as a character I cannot stand. It’s like a throwback to the Original Series’ rigid insistence upon mid-Fifties middle-America mores as being the Twenty-Fourth Century’s guiding principles. This fetishisation of that same decade’s lounge music, in the late Nineties, is inexplicable and completely improbable conservatism. Every moment Vic is there jerks us out of the future into the past.

But it’s an isolated moment, an attempt at lightness in an episode in which there will be no lightness whatsoever, only grime, blood, horror and death. I can see the intent, but I regard the execution as stupid and completely ineffectual.

Because ‘The Siege of AR-558′ was about war as it really is: not the fantasy of spaceships zooming unscientifically in space, SF phasers a-glowing and spectacular but impersonal explosions, but what it’s like on the ground, face-to-face, hand-to-hand, where the prospect and the fear of death are immediate and exponentially more scary.

After a brief reminder that the War brings in casualty lists, lists that Sisko, immured in the regularity of loss, no longer reads name by name, he leads a team via the Defiant to brings supplies to AR-558, a remote planer bearing a captured Dominion communications array, captured by the Federation five months ago. A unit of 150 men and women have held it unrelieved for five months, way beyond the regulation that no-one should be in combat for more than 90 days. There are now only 43 of them, and they’re in a bad way.

The ones we meet are Lt. Larkin (Annette Helde), now the officer in command, Engineer Kellin (Bill Mumy, once Will Robinson of The Original; Series’ contemporary, Lost in Space), Vargas (Raymond Cruz), who is closest to cracking and Reese (Patrick Kilpatrick), the hard-as-nails veteran who collects tetracell white capsules as souvenirs of the Jem’Hadar he’s killed personally.

Into this beams an Away Team led by Sisko and comprising only those cast members with the least combat experience (a contrivance from the writers that was,, in the circumstances, allowable), being Bashir, Ezri Dax, Nog and Quark. This latter was a massively artificial contrivance that stretched things more than somewhat.

Though the supplies are welcome, the visitors are not, really. They’re only visitors, they get to beam out. There’s an entirely natural undercurrent of resentment from the permanent defenders, or at least from the two combat guests, Vargas and Reese: Larkin is a determined and loyal officer, Kellin too much the naturally nice guy, who impresses himself upon Ezri without even trying.

But when the Defiant is attacked by two Jem’Hadar ships, Sisko refuses transportation and escape, ordering Worf to take evasive action, and committing his Away Team to the Siege.

It’s not a popular decision with Quark, who doesn’t want to be within a Solar System of there in the first place and, running a close second, doesn’t want his nephew within a Solar System of being there either. It’s embarrassing to Nog, who is still the complete Starfleet Ensign: loyal, brave, committed and still taken up with the romance of the role.

I should have seen it coming but I didn’t. With the tricorders blocked by jamming, Sisko sends out Nog, with Larkin and Reese, to use the Ferenghi ears to track down the whereabouts of the latest Jem’Hadar attack. They are fired on. Larkin is killed. Nog loses a leg.

Quark is especially bitter about this, as if Sisko has deliberately caused this, simply because Nog is not human. Although Quark is not as utterly annoying as he usually is, because he’s playing a totally serious role, I still found him unrealistic even at this point. It’s cultural: the Ferenghi are self-conditioned to deal, to bargain, to seek accommodations, not War, and it’s natural for Quark to see the Dominion War as completely avoidable, but once we’re at this point, with the attack imminent, it carries with it a large dose of burying ones head in the sand. watching it, I found this irritating. Thinking about it, it’s less unrealistic because Quark is taking refuge in familiar attitudes, deliberately avoiding recognition of the true situation, as an attempt at escape. Score me minus one for a misapprehension due to prejudice.

So the battle comes. At first it’s phaser fire. Then it’s hand-to-hand. Vargas dies, knifed in the back, nice guy Kellin dies, defending Ezri. Sisko goes down, loses consciousness, about to be shot at close range with a disruptor. Hard man Reese shakes him awake, and alive.

The siege has withstood the attack, though the command has been decimated. Ezri has helped Kellin crack the communications array. Relief troops arrive. The survivors are relieved, among which few only Reese appears to be unhurt, another example of the indiscriminancy of war, in which the biggest bastards survive, probably because they’re the biggest bastards. Even though he leaves behind the knife that he’s used to kill so many Jem’Hadar, you’re left wondering just how they’re going to switch him off when he gets back to ‘civilisation’.

This was an incredibly powerful episode, its use of Vic Fontaine notwithstanding. It’s basic set-up was patterned after the Battle of Guadalcanal, in the Second World War, and despite taking place in some of the most unnaturally stagey ‘caves’ the show has ever designed as a set, it took its reality from people’s experience of the Vietnam War, and in a way that managed not to insult either. There was yet another War reference in the arrival of the relief troops, all young and new, in pristine uniforms, harking at the relief of First World War trench veterans.

For me, this was head and shoulders the best episode of season 7 so far, precisely because it cut across the SF milieu of the show, in favour of a relentless, indeed for some people unnerving reality. Would that there be more like this in the eighteen episodes that are all that is left of this long, long run.

Deep Space Nine: s07 e07 – One More unto The Breach


A Warrior

A simple episode, and a highly predictable one, played only on notes that we have heard before and in the same combination, but not, for all that, a bad episode. But then I am, and always have been, a sucker for sacrifice, moved intensely by those who give up their lives to save others.

‘Once More unto The Breach’ brought back John Colicos as the Dahar master, Kor, a role he had first played 31 years earlier in the Original Series, and which he had re-created for DS9 in seasons 2 and 4. It was the actor’s last performance, and he was reliable to the end.

This was also an episode that centred upon Worf who has had little presence since Jardzia’s death. Kor approaches him, willing to beg, for a role in the War: he has lost all his influence, he is the last of his House, there seems to be no way for him to die as he wishes, as a Warrior. Straightway, we know what will follow: that Worf will bring him in to the raid proposed by General Martok, even as a lowly Third Officer, that Kor will be shamed by his age and frailty, and that at the last he will redeem himself, taking the place of Worf on a suicide mission that confounds the enemy and secures the escape of his battlemates, and a death that will take him to Sto-Vo-Kor.

If it’s predictable, then it was well performed, especially by J.G.Hertzler, nursing a thirty year grudge against Kor for blackballing him out of the Klingon military on class grounds. He is barely able to tolerate the old Klingon, even before his crew look at the hero with awe, and when Kor, in battle reveals his mental frailty and begins re-fighting an old action against the Federation, Martok is merciless in his scorn, but answered by Kor’s pained, yet quiet dignity, against which Martok cannot take the pleasure he has longed for in decades.

Though the scene where Kor, pretending to congratulate Worf on a glorious death to come, knocks him out with a hypnospray is just another example of old wine in a new bottle, it is carried out in a touching manner. Kor promises his unconscious friend that the first thing he will do upon arriving at Sto-Vo-Kor will be to seek out Jardzia and remind her that her husband is a noble warrior… and that he still loves no-one but her. His last words before he teleports to his stolen command are ‘Long Live The Empire’.

And then he’s gone. How he does it is unknown, passed into legend, like that of Davey Crockett, debated by Miles and Julian in the open, as a foreshadowing of this moment. Bloodwine is drunk by all, in toast to the Warrior, and the ritual song sung, save by Martok, who cannot let go of his anger so easily.

Back at the station, there’s a hint of a B story that really doesn’t deserve that name, when Quark overhears Ezri talking about Kor and wanting to spend another day with him, and thinking she means Worf. I’ve seen a spoiler that I’d really rather have not, not because I didn’t want the surprise blown, but because I really do not want to sit through three-quarters of a season of Quark mooning over Ezri, even if I’m reassured he doesn’t get off with her (whilst hinting that pretty near everybody else does, which bodes not well).

At least it leads to a decent opportunity for Nicole de Boer to cement her growing confidence by confirming she’s not interested in Worf (nor Quark, phew) and that she recognises just how generous a speech the Ferengi has just made, not to mention how embarrassing for him.

Like I said, though the story was older than Kor himself, its subject is one that has to be handled pretty badly for me not to feel it, so this week got a pass from me. And a fond smile.

Deep Space Nine: s07 e04 – Take Me Out to the Holosuite


Who da man?

After the heavily intense episodes of the past few weeks, it was obvious that we’d get a lightweight story for a change of pace. There’s usually one quite early in every season of DS9. And ‘Take me out to the Holosuite’, which was all about having a game of baseball, was as lightweight as they come, despite the attempt to back it up with a psychological angle. In fact, it was so lightweight, you practically had to tie an iron onto it to keep it from floating away. I was prepared to be rather bored, but in fact I thoroughly enjoyed it.

The set-up is that the Vulcan-manned Federation ship T’Kundra has docked at DS9 for two weeks of overhaul and upgrade. It’s commanded by Captain Solok who is a hate figure for Benjamin Sisko, and indeed he’s a right snotty superior pain-in-the-arse from the get-go, niggling all the time about not so much Vulcaan superiority as human inadequacy.

Solok’s done this since the pair were cadets and a drunk Sisko challenged him to a wrestling match and got whupped. For a supposedly emotionless Vulcan, Solok is a seriously vindictive shit, endlessly rubbing it in on Sisko, and now he’s brought a baseball holosuite game to challenge the Captain at his own personal sport. Sisko immediately orders the senior staff – which now appears to include Nog (?!) – to form a team and win.

That’s basically it, really. The team is swelled out by Rom, Leeta, Quark and Kasidy Yates. Rom is completely inept, which is a laugh because Max Grodenchik was a semi-professional baseball player and had to play left-handed to look authentically crap. Sisko throws him off the team, which causes the others to threaten a strike unless he’s reinstated. But there’s one of those little scenes that remind us, fourteen carat klutz that he may be, Rom is a truly good bloke: he only wants to be in the team on merit and he recognises he clearly hasn’t got any, so he won’t accept a false position.

Now, you’re all expecting that, on the day, the ‘Niners’ will pull off a victory all the more stunning for being so completely unexpected, and so did I. But this episode is more subtle than that. Basically, the DS9 team get thoroughly and deservedly whupped, 10-1, and Sisko gets thrown out for touching the umpire (Odo). But the episode shapes itself around that one, consolation run, which comes about through Sisko chucking Rom in as a pinch-hitter, his accidentally ‘hitting’ the perfect bunt and Nog stealing home, producing an ecstatic response from his team that carries over into Quark’s.

Solok doesn’t get it. He blames human emotionality (Ezri pipes up with ‘Did I forget to wear my spots today? He doesn’t even know what humans look like!’), suspects an artificial attempt to turn abject defeat into moral victory, but has to exit as everyone taunts him over his emotional investment in getting one over Sisko, but really they’re just celebrating having had fun, lots of fun, and that’s what makes this episode delightful, the copious amount of fun everyone’s clearly and genuinely having.

It still doesn’t turn me into a baseball enthusiast, cricket will always be a far more subtle, complex and involving game for me (and you couldn’t fake that onscreen as easily as DS9 does), but this was fun with its boots off, and I loved it.

Deep Space Nine: s07 e03 – Afterimage


Note the obvious symbolism

After the last couple of weeks, with their irritating predictability (not to mention my own, stress-related issues), it was nice to settle back with a much better, and more enjoyable, character-led episode, with the full-scale introduction of Ezri Dax to DS9.

Until last week, I’d never seen anything of Ezri, or Nicole de Boer. I’d heard of her, of course, and most of what little I’d heard wasn’t complimentary. She was described as a weak character, unimpressive, dull. More recently, I’ve also heard that Ezri – who is here as a Counsellor – has a lot of her supposed role usurped by the constant reappearances of Vic Fontaine in exactly that role, which doesn’t need any of my antipathy to Mr Fontaine to call that completely stupid.

So my pre-impressions were all negative and it’s therefore a pleasure to admit that I liked both this episode and the character, not to mention that, like Jake Sisko, I find her cute. de Boer is fresh-faced and perky in appearance, looking significantly younger than the rest of the cast, and she brings that into her performance. Despite having eight lifetimes behind her, as Sisko keeps reminding her, Ezri is still a kid, and that means nervousness – especially at being in a place and among people she knows so well without having met them, and feeling burdened by their expectations of ‘her’ – and eagerness.

The episode was designed to play around Ezri, present her up front as what she is, to be swallowed in one gulp. As this was the last season, time was at a premium and a gradual introduction would have wasted the character. So we see everyone react: Sisko’s almost casual assumption that nothing has changed, Quark’s mercenary belief that this is his second chance, Bashir’s reflexive flirting. And Worf’s pain.

This is the most complex relationship of all, and it’s because Ezri knows him so well that she’s insistent on returning to the USS Destiny: she won’t inflict on him the pain of a reminder of Jardzia.

This is well-handled. Worf initially is offensive, refusing to acknowledge her. Then he attacks Bashir and Quark, warning them to stay away from Ezri. Finally, O’Brien reminds him to think how Jardzia would have wanted him to treat Ezri, which leads to an awkward quasi-acceptance.

There is a sort-of-B story, about Garak suffering from increasingly debilitating claustrophobia-induced panic attacks, but this is integrated into the main story, because Sisko asks Ezri to counsel him. An early breakdown doesn’t, however, get to the root of things and merely results in a tirade from Garak, tearing the novice Ezri down. Now, instead of leaving DS9, she’s going to leave Starfleet, completely abdicate the responsibility of being host to the Dax symbiont.

A predictable beat – the episode is not without its predictability – but when Ezri manages, more by luck than good judgement but still, to get at the real root of Garak’s issue (that in aiding the Federation he is being a traitor to Cardassia, causing untold deaths), it validates her self-consfidence. She retracts her resignation, agrees to stay on DS9, gets promoted to Lieutenant, and even gets a stiff smile from Worf. Job done.

I like Ezri Dax. Now to see what role she can play in the march to the finale.

Deep Space Nine: s07 e01/02 – Image in the Sand/Shadows and Symbols


Enter Ezri

The cynic in me says that this was always going to be about getting Sisko back and, given that I’m feeling overtired and unwell at the moment, I’m not in the mood for being manipulated in the fashion laid down by the end of season 6. Nor am I in sympathy with the big reveal that was made over the course of this two-parter, which I knew to be coming but which seemed ultimately to be too cheap an explanation for why Sisko is the Emissary.

Fortunately for all concerned, there were three stories over the course of the introduction to the last season, an A and two B’s, both of substantial proportion, and giving a substantial part to everyone in the cast. This included newcomer Nicole de Boer, replacing Terry Farrell as Dax, Ezri Dax to be specific, in a pretty blatant move to be about as different a Dax as can be.

Three months have gone by and Sisko has gone nowhere. Kira, newly promoted to Colonel and celebrating by adopting a new and hideous hair-style, is still acting Commander of DS9, her latest headache being the Federation’s decision to grant the Romulans a military HQ on DS9, even though they’ve got no right to. Though Senator Cretak at first presents as pretty amenable for a Romulan, enlisting the Colonel to put in for a Romulan med-base on a deserted Bajoran moon, it’s just your pretty standard Romulan treachery since they immediately set-up 7,000 missile launchers about it, provoking a Cuban Missile Crisis knock-off when Kira decides to blockade the place.

Meanwhile, Worf is mourning Jardzia for rather longer than Klingons do, forcing Vic Fontaine to continually sing ‘All the Way’ (oh dear God) and smashing up the holosuite. Chief O’Brien nobly goes three bottles of bloodwine with him to learn that it’s because Jardzia didn’t die fighting, she won’t go to Sto’Vo’Kor. The only way to secure this is to win a glorious victory against overwhelming odds in her name. Bashir, O’Brien and Quark (oh dear God) go with him.

As for Sisko, he’s playing the piano and peeling potatoes (for three months?). Finally, the baseball rolls off the piano and when he stoops to pick it up he has a vision from the Prophets, of uncovering a face in the sand on Tyree, a desert planet. Mission on. By indirect means, Sisko discovers that the face is that of his mother, his real mother, Sarah, not the one he’s always thought of as his mother until now. Sarah was his Dad’s first wife, his real, true love, who ran off inexplicably as soon as Ben was born. She’s dead now.

Having fanatically hidden her existence from her son all this long, Joseph Sisko cracks and gives Ben a locket she left behind. A locket with an inscription in Old Bajoran (my, we’re just piling on the cliches here, aren’t we?). The inscription translates as Orb of the Emissary, a lost Orb, so hey ho and the three generations of Siskos head off to Tyree where it’s obviously buried, though not before a Pah-Wraith worshiping Bajoran cuts Sisko’s stomach open to no lasting effect.

And just as they’re closing the restaurant to head for the spaceport, there’s a knock on the door, and it’s a cute little, fresh-faced Starfleet Ensign, whose cute black hair-style conceals most of her Trill spots: enter Ezri Dax.

Thee new Dax is obviously going to be comic relief to begin with, though there’s a serious explanation for her goofy gabble. Ezri never wanted to be joined, but when the Dax symbiont took a turn for the worse, post-Jardzia, she was the only Trill in town so, fifteen minutes of pep-talk later and everything changes. Ezri’s confused as hell, and looking to her two-lifetimes friend Benjamin to help her get her completely new feet on the ground. Off to Tyree? Bring it on!

Meanwhile, back at the ranch, Worf’s mission is not going well, though ultimately it’s a winner, and whilst I’m tired and being sarcastic because of it, Worf’s dedication to his lost wife is genuinely moving, despite all of Quark’s efforts to fuck up the tone. And Colonel Kira’s trying to bluff Senator Cretak into backing down, only, Romulans being smart buggers, she knows that and doesn’t intend to.

So Sisko’s party tramps unmercifully across the desert in pursuit of the buried Orb, Sisko’s only idea of where it may be being that he’ll know when he finds it. Or when Ezri throws his baseball away (another twist we couldn’t see coming). Did did dig dig dig, and there it is.

And another twist that I was very much not in sympathy with, as Sisko suddenly turns back into the half-mad Fifties SF writer, Benny Russell, the creator of ‘Deep Space Nine’. Benny’s in what the times would call the looney bin, his doctor trying to cure him by getting him to stop writing these stories. He’s writing in pencil on the walls (that actually was every single synopsis of very episode so far, written out on the walls of his cell, with Dr Wykoff – Casey (Demar) Biggs – trying to get Benny to whitewash over them.

That this had a perfectly logical explanation, that the Pah-Wraith was trying to get Sisko to rebury and smash the Orb, didn’t occur to me, which shows what a state I’m currently in: it just seemed like an unnecessarily clever-clever throwback to a story I’d been very dubious about to begin with. But Sisko holds out and opens the Orb.

A presence streaks from it, crosses space, roars past DS9 and re-opens the Wormhole, expelling the Pah-Wraith from it. We’re back in business. For Sisko, there’s a vision, a vision of the Prophet that was his mother Sarah, or rather which occupied her to ensure Sisko was born, at what cost to Sarah, Joseph, Benjamin himself. He’s the Emissary because he’s half-Prophet. Oh, really. How cheap.

And the re-opening of the Wormhole inspires Kira to carry out her bluff and win, because the Federation makes the Romulans back down.

So everyone returns to DS9, happily,including the new Dax in Town, whose day will of course come next week, when I hope to feel much more receptive to the next episode, or maybe have that be a bit less – ok, a lot less – clumsy and blatant in some of its ideas. Sorry about this. At long last, we’re on the home straight. I am starting to want the finish line to arrive.

Deep Space Nine: s06 e25 – The Sound of her Voice


Foreshadowing

The penultimate episode of season 6 worked out in the end as not working for me. It was an A/B story episode, with the B story centred upon Quark, which was enough to mar any hope the episode had of impressing me. You’re all aware by now of my antipathy towards Ferenghi, but that twenty-one carat disaster of a story two episodes back has finished things: this was too soon and too Quark. I couldn’t care about it, I could barely keep my eyes on the screen when it was on.

Unfortunately, a lot of that seeped back into the A story, to the extent that I’m not sure how much of my ultimately cold response to it is the poisoning by the B story, and how much was down to that element’s failure in its own terms.

Half the station staff – Sisko, Worf, Bashir and O’Brien, plus Kasidy Yates – have completed a mission escort a freight convoy when the Defiant picks up a distress call from Captain Lisa Cusack, a Federation officer stranded on a hostile planet after a crash that destroyed her ship and all her crew. The Defiant sets off on a rescue mission that will take them six days to arrive. Unfortunately, Captain Cusack is on a planet with a high CO2 atmosphere and it will be touch and go whether they can arrive before she dies.

This late in the season, it seems an odd, irrelevant concept for an episode, but Captain Cusack turns out to be just a McGuffin. She’s a voice on a radio (guest star Debra Wilson was a voice actor and chosen on that basis), in need of someone to talk to whilst she waits. Sisko, Bashir and O’Brien take it in turns to engage her in conversation, which rapidly reveals that Captain Cusack is a device to get various cast members to talk about what’s bothering them, what effect the Dominion War is having on them.

It was all a bit too mechanical, too blatant for me to actually feel that much involvement in the cast’s issues, especially as most of them seemed to have been invented for the episode, without grounding over previous weeks that would make them look an organic development.

And ultimately the Defiant arrived in the nick of time only to find that Captain Cusack had been dead for three years and the radio conversations had been bouncing forward and backwards in time in a very convenient manner that sounded completely artificial and a cheap ending, even though the concept of conversations across time was the initial concept that grew into this script.

As for the B story, it starts when Quark realises that Odo can be distracted from his duties by his love for Kira so he edges the Constable towards an Anniversary date to celebrate their first month. This enables him to set up a profitable smuggling deal, free from interference. Jake Sisko breaks character to go along with observing every detail of the deal on condition he doesn’t tell anyone else anything. The scam is set to take place Saturday evening but Odo plans to celebrate Sunday evening instead. Odo despairs of yet another, this time ruinous failure and after all he did for Odo in finally pushing him into Kira’s arms. Odo overhears this and abruptly switches his date back to Saturday night. Quark celebrates beating Odo at last but Odo’s only done it because he did owe Quark one, but only one. There. I’m sure that to the right fan, that was delightful but I’ve had it way past here with Quark and that’s not going to change.

I’m afraid I found the finale a bit too mechanical as well. The Defiant crew hold an Irish Wake for Captain Cusack, speaking about how she has changed them. Jardzia Dax is present with Worf. O’Brien talks of staying close with friends “because someday we’re going to wake up and we’re going to find that someone is missing from this circle.” And the camera pans to Dax.

It’s not exactly subtle and it’s far from impressive. Had this episode been half a dozen weeks ago, that would have worked far better, as a reminder that this is a War and sometimes even important people get killed in wars, but it’s like putting up a neon sign here.

So, one that might have been much better, but in the end wasn’t. And, next week…

Deep Space Nine: s06 e23 – Profit and Lace


This was a Ferengi story, and you know how I feel about Ferengi stories. In this one, Grand Negus Zek and Ishka, aka Moogie, turn up at DS9 because Zek has been deposed for pushing to allow Ferengi females to wear clothes and make profit. The new, Acting Grand Negus, to be confirmed in three days time, is Brunt. Zek plans to fight back. This involves producing Ishka to a leading and influential FCA member to show that letting females become human beings will be profitable. Unfortunately, Quark causes Ishka to have a heart attack, so another financially brilliant female has to be found at short notice. Since there isn’t one available, Quark undergoes a sex-change operation and drags up.

If you thought this was bad up to that point, and it was, from that moment on it was a hideous embarrassment, offensive and cliched at every point, all the way into the ridiculous close. From abut halfway through, I just wanted to switch this episode off and not have to see the rest of it. I wish I had. The absolute nadir. Everyone involved in it should have been put against a wall and shot.