7-19. Strange Bedfellows.

Dukat seduces Winn to the Dark Side...
which, for her, isn't exactly a long journey.

"I'll do anything you ask. You need only give the word. Have you nothing to say to me? Am I so offensive to your eyes that I don't exist for you anymore? There must be something I can do to prove to you that I'm still worthy of your love."
-Kai Winn, begging the Prophets to speak to her.


THE PLOT

Worf and Ezri are now prisoners of the Dominion. They are being held on Cardassia, where Weyoun and Damar promise them full due process of Cardassian law: A state trial, followed by execution.

Damar has problems all his own, however. The Breen have been warmly greeted by Weyoun, and the Vorta is taking special pleasure in diminishing his hated Cardassian ally. He makes Damar answer to Breen supervision, and at the same time refuses to send reinforcements to save Cardassians from a Klingon onslaught - leaving a large contingent of loyal Cardassians to their deaths.

Back on Deep Space 9, Sisko settles into married life with Kasidy, while Kai Winn continues her relationship with the disguised Dukat. Winn is eager to fulfill her role as the Prophets' chosen one... Until she receives another vision, one that reveals that she has been chosen not by the Prophets but by their mortal enemies, the pah-wraiths!


CHARACTERS

Capt. Sisko: Responds a little too well to Martok's description of marriage as a war. Right after talking with Martok, he pressures Kasidy to assist in some functions of the Emissary. When Kasidy refuses, Sisko observes, "And so the battle begins!"

Col. Kira: After Winn discovers that her visions are from the pah-wraiths, she responds by appealing to the most authentically religious person she knows: Kira. Despite her dislike of Winn, Kira doesn't hesitate when called to the Kai's quarters. When the older woman admits that she has "strayed from the path," Kira is delighted, showing genuine warmth toward her rival's admission that she wants to change. But when she suggests Winn step down as Kai, the results are entirely predictable, Winn insisting that she must cling to her position of power. The light vanishes from Kira's eyes and her face falls into a polite but hard mask as she excuses herself.

Worf/Ezri: There's a genuinely funny moment as Ezri, hung upside down from the ceiling, tells Worf that this is doing wonders for her back... Right before adding that she's about to be space-sick. Worf and Ezri hash out their personal conflicts from thoughout the season, with Worf admitting that his behavior toward her has been "dishonorable," and gets a nice moment of self-awareness when he acknowledges that he "uses that word far too often." They end the episode as friends, which should help to clear the decks for the final 7 episodes.

Damar/Weyoun: Damar's loyalty is toward Cardassia, not the Dominion - Which is something Weyoun either won't or can't understand. Gul Dukat had convinced Damar that the Dominion was a necessary evil for Cardassia to regain its status, and that Dukat would be able to control them once the war was over. Without Dukat, Damar's dislike for his "allies" has just been left to simmer - and every time Weyoun reprimands him for not being blindly loyal to the Founders, he pushes Damar ever closer to the boiling point.

Martok: Martok enjoys talking to Sisko about "the war at home," remembering his relationship with his wife in purely Klingon terms: "War has broken out, whether you know it or not. A long, grueling, intoxicating war... Over the course of our marriage I've won more than my fair share of the battles between us. But in the end, I know she will win the war." J. G. Hertzler remains a delight, and his one scene is a highlight of an episode that features many strong scenes.

Gul Dukat: Knows exactly which buttons to push with Winn - probably because she's so much like him. Like him, she thirsts for power and adoration, for the masses to recognize her greatness. At points, he pushes hard - And then lays back, meekly withdrawing at just the right moments for his words to fester in her brain. At one such point, we follow him out of her chamber and into the station corridors - and as soon as no one is around to see, he begins grinning broadly.

Kai Winn: The first time she saw the wormhole open, all the Bajorans around her spoke of how they could feel the love of the Prophets... But she felt nothing at all. She manipulated those around her so that she could become Kai, and she cherishes the power of being the Bajoran spiritual leader far more than she actually cherishes or feels anything truly spiritual. When Kira suggests that she give up that position, she balks, then retreats to the man who keeps telling her exactly what she wants to hear - Dukat.


THOUGHTS

Strange Bedfellows carries forward all the plot threads from the previous episode, this time with more dramatic results. By the episode's end, Winn is firmly with Dukat and the Cult of the Pah-wraiths, Ezri and Worf have escaped and are on their way back to the station, and Damar has entered a new phase in his hate/hate relationship with Weyoun and the Dominion.

The Dukat/Winn scenes remain the strongest. Winn's desperate monologue to the Orb, quoted at the top of the review, is particularly good. What might have come across as theatrical is genuinely emotional, Fletcher making us feel her desperation and sense of entitlement. Dukat's manipulations take on a harder edge, with him denouncing Winn's hesitation and telling her with scorn that if she stays loyal to the Prophets she will always live in Sisko's shadow. Characterization and dialogue are as sharp as the performances; and even though Winn's choice isn't in much doubt, it's a darkly fascinating joy to watch her fall to hubris, despair, and a few honeyed words.

Writer Ronald D. Moore delivers superb moments in all three strands. Damar, who has sometimes seemed frozen in place as the alcoholic who hates himself and his allies but never does anything about it, finally moves forward in a big way. The impetus? Not so much Weyoun's personal slights against him. He's no Winn; he never wanted his position of power and does not enjoy it. No, the deciding moment is Weyoun's strategic "sacrifice" of Cardassian troops. It's a misjudgment that Weyoun will never even recognize, because for him no sacrifice is of consequence when serving the Founders.

The Worf/Ezri strand is the least interesting, but still has good moments. It's reassuring that Worf and Ezri seem to finally put their past behind them and agree they can be friends, and their attempted escape is well-done, with Ezri recaptured because of her refusal to leave Worf. But the best moment comes when Damar and Weyoun are interrogating them. Weyoun makes a personal jibe against Ezri, and Worf responds in a manner that's absolutely in-character and yet utterly unexpected. Damar's reaction, by the way, is priceless.

Overall, Strange Bedfellows is a terrific hour of television, building on events that have come before and moving them forward in ways that are often compelling to watch. That it ends with most of the major players in a different place than at the beginning leaves us waiting to see what will happen next.


Overall Rating: 9/10.

Previous Episode: 'Til Death Do Us Part
Next Episode: The Changing Face of Evil

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7-18. 'Til Death Do Us Part.

Dukat, in disguise, manipulates Kai Winn.

THE PLOT

Kai Winn comes to the station to congratulate Sisko on his upcoming marriage... Even as Sisko struggles with the Prophets' message that marrying Kasidy will bring him "nothing but sorrow." Sisko admits to Winn that the Prophets have set a challenge in front of him, one he doesn't feel certain he is up to.

That's when the Kai experiences a vision of her own - A vision that seems to be from the Prophets, and that tells her exactly what she wants to hear: That Sisko has faltered, and that only she can save Bajor by following the instructions of a guide who will have "the wisdom of the land." That night, she receives a visitor - a man calling himself Anjohl Tennan, a self-described "man of the land." A visitor who is actually Gul Dukat, surgically altered to appear Bajoran.

Meanwhile, Worf and Ezri are now prisoners of the Breen, who are about to reveal themselves as major new players in the Dominion War...


CHARACTERS

Capt. Sisko: In earlier seasons, he would have just ignored the Prophets' warning and moved ahead with his marriage. But over the course of the series, he has become absolute in his belief in the Prophets. He also has to be very conscious that the last time he ignored their advice, it ended very badly. Even so, he's fighting with himself the entire length of the episode, his religious belief battling with every fiber of his personality.

Worf/Ezri: Now that he and Ezri have slept together, Worf assumes they will be a couple from this point on. But it's not that simple. Ezri's feelings for Worf are all bound up in carrying Jadzia's memories; but the look on her face when he announces that the two of them "will have many years together" announces loud and clear that she doesn't want a romantic relationship with him. When Worf discovers this truth, he reacts as if he's been betrayed - Which is not fair on his part, but is definitely in character.

Kasidy Yates: Though her role is small, Penny Johnson's performance remains outstanding. Look at the scene in which Sisko discusses his dilemma with her. As he moves back and forth between declaring how much he loves her and despairing that he cannot go against the Prophets, Kasidy's face shows the entire world disappearing out from under her. Her expression flashes from anger to nausea to despair, often without saying a word. It's a great performance, every bit as good as (maybe better than) Avery Brooks' also excellent work.

Gul Dukat: There's a terrific scene early in the episode, in which Dukat confronts Damar about his drinking and despair. "What happened to that brave officer I served with? The one who stood at my side while we fought the entire Klingon Empire with a single ship? ...Those days might be gone, but the man I served with isn't. He's still within you. Reach in and grab hold of him, Damar. Cardassia needs a leader!" There's no gain for Dukat in this, no angle that he's playing. He's simply responding to a friend and loyal former officer who is clearly in trouble, and instinctively finding the right words to reach him. Yet again, we see that the tragedy of Dukat is that while he may have ended up a villain, with just a few different choices at key moments, he might actually have been the great man he thirsts to be.

Kai Winn: None of which stops him from being a villain, and his manipulations of Winn are classic Dukat. With just a slight push from the pah-wraiths, he is able to play on her ego and her jealousy and resentment of Sisko. Becoming her confidante is effortless, because Winn is so eager to listen to his reflections of her own prejudices. To its credit, the episode does pause to remind us that she isn't a black-and-white villain either - One bit of her past Dukat uses is her own activities during the Occupation, when she bribed Cardassian guards to reroute Bajorans scheduled for execution to labor camps, where they would at least have a chance to survive.


THOUGHTS

'Til Death Do Us Part is largely a transitional episode, connecting Penumbra and the earlier parts of Season Seven to the big events yet to come. It's not at all bad on that basis: It's well-acted, with some excellent character material and fine individual scenes. But it's far from compelling, and feels a bit padded out.

There are three stands: Sisko's dilemma with Kasidy, Worf and Ezri's captivity by the Breen, and Dukat's manipulations of Winn. All three strands are more set up for future episodes than storylines in themselves, and all three feel like they take at least one more scene than is actually needed to reach the episode's end point... Which highlights this installment's biggest problem, that it feels like 30 minutes worth of material has been stretched to fill 45 minutes.

On the plus side, writers David Weddle and Bradley Thompson have a firm grasp on the characters. Everyone is well-written, with the Dukat/Winn material particularly strong. We see the bits of genuine good in both of these villains: Dukat's genuine concern for Damar, Winn's devout faith. And we see very clearly how Dukat manipulates Winn, feeding her pride even as he preys on her faith. This is a strand that seems destined to go to very interesting places, and I only hope that the handful of episodes that remain will allow it to be done justice.

Overall, this is an episode that plays better as a piece of DS9's final arc than it does on its own. Judged as an episode in its own right, it's good enough - But it's stretched too thin, leaving it less effective than some of its counterparts.


Overall Rating: 6/10.

Previous Episode: Penumbra
Next Episode: Strange Bedfellows

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7-17. Penumbra.

Sisko plans for retirement on Bajor.

THE PLOT

Sisko finally proposes to Kasidy Yates. He's hoping for a quiet wedding - and then, after the war, a retirement to Bajor. He's even designing a house for them.

But the war isn't cooperating with his dreams of a simple life. Worf's ship, the Koraga, has been destroyed by the Dominion near the Badlands, a region of space marked by plasma storms. Several escape pods have been recovered, but none with Worf on board. With Dominion ships approaching the area, Sisko is forced to call off the search, effectively giving him up for dead.

Ezri cannot live with that decision. She steals a runabout and makes for the Badlands, determined to find him and bring him home. She does find Worf alive, but the trip home is cut short by Jem'Hadar fighters. Worf and Ezri barely manage to beam to the safety of a planet before the runabout is destroyed - leaving them alive, but marooned with no way of contacting the station for rescue...


CHARACTERS

Capt. Sisko: Is embarking on two big life changes. He has purchased some land on Bajor to build a home, and is actively thinking of retiring after the war. He also proposes to Kasidy. One gets the sense that as soon as the war ends, he's ready to be done with Starfleet, wormholes, and all of it - If only the Prophets and Dominion could stop interfering. This doesn't stop him from being a leader willing to make tough decisions, however.  When it becomes clear that Worf is unlikely to be recovered, he calls off the search - Though he doesn't stop Ezri from taking a runabout to conduct a search of her own.

Ezri: After Sisko calls off the search for survivors, she uses her override codes to enter the quarters Jadzia shared with Worf. As she walks from one part of the room to another, audio clips of highlights of the Jadzia/Worf relationship are played, making us aware of the specific memories Ezri is re-living while stoking our own memories at the same time. This is important, because it makes the emotion behind Ezri's decision to go after Worf real to us - And puts us back in the mindset of that relationship for the episode's second half.

Worf: We've seen throughout the season that Worf is conflicted about having another Dax around, from his warnings to Bashir and Quark about pursuing Ezri to his concerns for her safety. That conflict comes to its head here. Ever the stoic, he barely thanks Ezri for rescuing him and is soon gruffly avoiding all conversation with her. He tries to bar any mention of Jadzia, only to later respond to her barbs about hunting by saying, "Jadzia would have understood."

Kasidy Yates: Largely just a support for Sisko in this episode, but I'm struck once again by how convincing the relationship between these two is. There is an entirely unforced chemistry between Avery Brooks and Penny Johnson, and by this point in the series there is never a moment at which I fail to believe in them as a couple. The question is less why Ben proposes to her in this episode, and more why it took him so long to do it.

Damar: His loathing for Weyoun matched only by his disgust at himself for acting as the Vorta's lackey. He continues to drown his sorrows in women and alcohol, and is all too eager to assist Dukat when he shows up asking for a favor. His loyalty to Dukat remains strong, and he keeps his former superior's presence a secret from Weyoun and arranges the requested favor with no questions asked, even when his disapproval of Dukat's faith in the pah-wraiths is clear.


THOUGHTS

Deep Space 9 begins its march to the series finale. The script is by Rene Echevarria, arguably the series' strongest character writer, so it's appropriate that the story is heavily character-based. The main plot, about Ezri's rescue of Worf and their attempts to return to the station, is a thin clothesline, with the real focus on the relationships between Sisko and Kasidy and Worf and Ezri - which plays to Echevarria's strengths.

There's real authenticity to the scenes of Sisko mulling over the exact layout of his house, and I love the little moment where he and Kasidy debate over whether the kitchen should be separated from the dining room or open. Sisko, the son of a chef, protests Kasidy's preference for an open kitchen, arguing that he doesn't want visitors wandering in to sample the food before it's ready.

Other good character bits abound. When Ezri rescues Worf from the escape pod, she prods him to find out which Klingon opera he was singing inside the pod. He readily admits to having done exactly that, adding that the acoustics were good. The Ezri/Worf interactions continue to ring true as Ezri keeps trying to draw him into conversation while he tries to avoid it. I'm not sure I fully buy into them sleeping together near the end of the episode - Though that's more because Nicole de Boer just doesn't fit with Michael Dorn the way Terry Farrell did, as story-wise it makes sense as a development building through their interactions and non-interactions throughout the season.

For all that this is a character-based episode, the script also is busy planting lots of plot seeds. The disease plaguing the Founders gets some more attention, and Weyoun's visit to the female changeling reveals that she is deteriorating rapidly. Meanwhile, the Breen are re-introduced, with their presence an oddity Worf and Ezri comment on; and Dukat continues to be a wild card, with a plan of his own that has yet to be defined but is certain to be very dangerous to all parties.

Penumbra moves at a brisk pace throughout, and manages the tricky job of being a good episode in its own right while also effectively kick-starting the series' final arc. A promising "beginning of the end," and a thoroughly enjoyable 45 minutes.


Overall Rating: 8/10.

Previous Episode: Inter Arma Enim Silent Leges
Next Episode: 'Til Death Do Us Part

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7-13. Field of Fire.

Ezri is tempted by her past host, Joran (Leigh J. McCloskey).

THE PLOT

The crew is shocked when Lt. Hector Ilario (Art Chudabala) is murdered immediately after a late night celebration of his combat conduct. Ezri is hit particularly hard; after walking the inebriated young lieutenant to his quarters, she was apparently the last person to see him alive. There is no significant physical evidence, despite the murder having been committed at close range with a projectile weapon. It's a sad, random act of violence, one Odo is not optimistic about solving.

Then another victim turns up: a woman with no apparent ties to Ilario, but who was killed in the exact same way - potentially the work of someone killing at random. Sisko assigns Ezri to assist Odo, hoping that her psychology training will help narrow the suspect pool. But to catch this type of killer, innocent young Ezri will have to somehow be able to think like him. Impossible... If not for the fact that one of Dax's past hosts was Joran (Leigh J. McCloskey), himself a cold-blooded murderer.

Faced with the prospect of more murders, Ezri takes desperate action. She performs the right of Emergence, separating Joran's personality from her other predecessors. Now she can interact with him, letting him guide her to see through a killer's eyes. But Joran's perspective is more than a little seductive, and the further Ezri goes with this line of investigation, the more she finds herself drawn into Joran's darkness...


CHARACTERS

Capt. Sisko: Is quick to assign Ezri to assist Odo, on logical grounds: Her background makes her more suited to anticipating a psychologically-motivated killer than anyone else among the command crew. But when it becomes clear that Ezri is being affected by the investigation, he offers (threatens?) to take her off the case, and she has to argue to keep the assignment.

Ezri: When she first thinks about Joran, her impulse is to do what her predecessors did: Bury him as deep in her consciousness as possible and do all she can to forget he even exists. But her sense of duty is too strong to allow these murders continue without doing all she can. When a second victim turns up, she calls on Joran to try to understand the kind of killer who is incomprehensible to most of us. Ezri's interactions with him are like those of a pupil with a teacher, and she finds herself easily tempted by the darkness he represents. A key scene comes as he urges her to look through a duplicate of the murder weapon. As she uses the sight on the rifle to peer through the station corridors, then into private quarters, she grows excited. She drops the gun like a biting snake when Joran urges her to pull the trigger - But it's indicated that his urging excites her almost as much as it appalls her. Nicole de Boer is very good here, and Ezri feels more fully realized in this episode than she has since Afterimage.

O'Brien: He and Bashir both feel guilty for not allowing Ilario to join them in their holosuite program, perhaps feeling that if they'd only said yes the young lieutenant might not have died. O'Brien puts his guilt to particularly good use. When the bullet is matched to a TR-116 rifle, O'Brien replicates the weapon, then modifies it so that after firing, the bullet is transported directly in front of its victim - Thus explaining both the close range and the lack of powder burns or other physical evidence. It proves a major breakthrough for Ezri in learning to see through the killer's eyes, while also putting established Trek technology cleverly in service to the mystery plot.

Worf: Startles Ezri when, late at night, she senses someone is following her. That someone turns out to be Worf. He admits he was trying to protect her, though he insists this isn't any special worry over her - "You are a fellow officer. I would have the same concern for Chief O'Brien or Dr. Bashir." Ezri isn't any more fooled than we are, and is genuinely touched at his concern. He also unintentionally pushes her into utilizing Joran when he states his confidence that she will do whatever is necessary to catch the killer: "You are Dax. It is your way."

Joran: I think the great success of this episode's Joran is that he isn't just a killer. He's genuinely wounded at being suppressed by the various Dax hosts, and basks in Ezri's acknowledgement of him. He's effectively Sherlock Holmes and Professor Moriarty combined, interpreting the clues while tempting Ezri with darkness. In the end, she only identifies the killer thanks to his guidance, but he's no benign influence: When she intercepts a fleeing suspect midway through the episode, he urges her to kill the man - and she almost does it! Guest star Leigh J. McCloskey doesn't hesitate to push the line between "spirited performance" and "ham," but it works well for this kind of part, and his charisma makes it believable that Ezri would find his darkness so enticing.


THOUGHTS

Writer Robert Hewitt Wolfe was one of DS9's stalwarts during the series' first five years, writing or co-writing episodes such as The Wire, The Collaborator, and Call to Arms. His return is a welcome one, and it is no surprise at all that Field of Fire is a good episode, boasting strong character work and some excellent dialogue.

Story structure and pacing are strengths. The teaser introduces us to Ilario, giving us just enough of the young lieutenant to make him likable to both Ezri and us, then cutting to the next morning to reveal his death. Enough is done before the murder to make it convincing that Ezri is emotionally invested, but it's so economically achieved that there is no chance to become bored. Then, as Ezri wrestled with the possibility of using Joran, the murder plot is kept on track with O'Brien's unveiling of the murderer's weapon and method - Which puts all the pieces on the board by the time Ezri summons Joran to assist her.

The Ezri/Joran interactions are extremely well-done, and their dark mentor/innocent pupil relationship is what fuels the episode. Nicole De Boer is particularly good here, and it's to the credit of both script and actress that she never feels like a stand-in for Terry Farrell (which hasn't been true in certain other episodes). It's also to the episode's credit that even though this is the second Ezri-centric murder mystery in three episodes, I was never bothered by that. If I thought about it at all, it was only to reflect on how much better this was than Prodigal Daughter.

Uncovering the killer's identity does come a little too quickly and easily, which is one thing that keeps this from being a truly first class episode. But it's still a good one, and thoroughly entertaining from start to finish.

Overall Rating: 7/10.

Previous Episode: The Emperor's New Cloak
Next Episode: Chimera

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7-12. The Emperor's New Cloak.

Ezri, from the Mirror Universe.

THE PLOT

Quark receives an unexpected visitor to his quarters: Ezri. But it's not the Ezri he knows, but instead one from the mirror universe. She's come with a ransom: Grand Nagus Zek has been taken prisoner by the Cardassian-Klingon Alliance. The price of his freedom is a cloaking device. If it's not delivered soon, Regent Worf will execute the Ferengi leader.

Quark and Rom are able to steal the cloaking device from a Klingon Bird of Prey with little difficulty. But once in the Mirror Universe, they are immediately captured by the Terran rebels, who are almost as bloodthirsty as the Regent. Even if they manage to escape with the cloak, they have yet another problem: The near-certainty that the Regent will simply take the cloak and then kill them all!


CHARACTERS

Capt. Sisko: Only in the episode for a throwaway appearance, but even that shows how strong a working relationship he and Martok have developed.

Kira, The Intendant: Sadly, this episode continues in line with the character's previous appearance, confirming that the once compelling Intendant has become little more than a tight costume and a set of mannerisms. This reaches a low ebb when she is allowed to escape with not only her life, but also her freedom. Why? "Because I owe her that much." Or because the writers have become too fond of their pet monster to bring her story to the firm close she deserves.

Quark: Though he still wants to believe that Ezri is or will become interested in him, he is too good an observer of human nature to deny that she's responding when Bashir flirts with her. We see once again that he is very devoted to Ferengi traditions, from his praying/bribing of the Ferengi deities to his determination to rescue Zek. He admits to Mirror Ezri that he doesn't actually believe there will be any reward or even appreciation for his actions - He puts himself in harm's way for the Nagus simply because Zek is the Nagus.

Ezri: Mirror Ezri is a mercenary,guided by no cause other than her next payment. She is puzzled when Quark explains his loyalty to Zek... Right up until the Intendant kills a friend of hers, at which point she discovers that she also feels a sense of loyalty to those she's connected with. The friendship that develops between this Ezri and Quark is one of the episode's more enjoyable aspects, and I wish more time was spent with the two of them and less time spent with the Intendant, the Regent, and Garak.

Garak: Speaking of whom... It's a sad day when Garak is the worst thing in an episode. The Mirror Garak of Crossover was vicious but still smart - Probably pretty close to what "our" Garak was, back in his Obsidian Order days. Here, Mirror Garak is just a bloodthirsty idiot. When Quark uses the real Garak as a model to mock him with, he's not just playing for time - He's right! The real Garak would run circles around this episode's Mirror Garak without even exerting any mental energy (Regent Worf is just as bad, and too uninteresting to waste a paragraph on - Suffice to say, Mirror Worf is an imbecile. Period.)

Zek: I'm guessing/hoping this is Zek's final appearance, and the character remains largely grating. It's a shame - Wallace Shawn was well-cast in the role, and in his early appearances Zek was reasonably engaging. But the Zek of episodes like Rules of Acquisition and Prophet Motive was genuinely shrewd, using Quark as an expendable tool. Ever since Ferengi Love Songs, he has been reduced to a lecherous/senile old man parody. Here, we see him escaping to the Mirror Universe to enjoy illicit oo-mox, which he begs Quark and Rom not to reveal to their mother because it would "break her heart." Which we're apparently supposed to find funny. Maybe this is the Mirror Zek, and the real Zek disappeared around Season Three?


THOUGHTS

Too much of the above reads like I hated The Emperor's New Cloak, which really isn't true. I do find it a little disconcerting that the DS9 Mirror Universe arc, so compelling in Crossover, Through the Looking Glass, and Shattered Mirror, ends up being wrapped up in a Ferengi comedy. But against my expectations, I mostly enjoyed this despite its shortcomings.

I was entertained by Mirror Ezri, particularly by the scenes between her and Quark. I also found myself laughing, often against my better judgment, at several of the gags. The Regent trying on a new gauntlet, then calling over an underling to test it by punching him in the face, was particularly funny. Other choice bits include: Mirror Brunt being genuinely honest, honorable, and kind; Rom's satisfaction at announcing his successful sabotage; and (for all my irritation at the portrayal of Garak) Quark's jibes at Garak about how much more formidable his Prime Universe counterpart is.

It's just a shame that all of the villains are portrayed as idiots. The Regent is a gullible moron, who never even considers the possibility of treachery from the Ferengi. The Intendant has flattened into a two-dimensional set of mannerisms, purring seductively at everyone and killing a supporting character at one point just to remind us that she's evil. And Garak is so pathetically-characterized, the other two almost look good by comparison. These villains, once genuinely strong foils for Sisko and Kira, no longer even seem worthy of Quark and Rom!

But I have to admit that I still had fun watching. The episode is a guilty pleasure, but I wasn't bored by it. And I have to admit, the silliness makes a contrast from the Dominion plot, which with the end of the series now so close should be kicking into high gear again soon.


Overall Rating: 6/10.

Previous Episode: Prodigal Daughter
Next Episode: Field of Fire

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7-11. Prodigal Daughter.

Ezri's unhappy homecoming.

THE PLOT

Chief O'Brien has disappeared on New Sidney after traveling there to track down the widow of Orion Syndicate operative Liam Bilby. Since New Sidney is not a Federation planet, it's difficult for Sisko to intervene... But Ezri's mother (Leigh Taylor-Young) owns one of the largest mines in that system. She readily agrees to help locate O'Brien - But only if Ezri returns home for a visit.

Ezri agrees, but reluctantly. Her mother is a domineering figure, who has forced her sons, Janel (Mikael Salazar) and Norvo (Kevin Rahm) to devote their lives to the family business at the expense of their own ambitions. After Ezri left to join Starfleet, she never looked back, and her relations with her family are strained at best.

Ezri's mother keeps her word. Not long after Ezri returns, O'Brien is rescued from a pair of Orion Syndicate thugs by the local police. But when he reveals that Bilby's widow was found murdered, and then discovers that Ezri's family is being pressured by the Syndicate as well, it becomes clear that there is a lot more at stake than family drama...


CHARACTERS

Capt. Sisko: Is undertandably angry when he learns that O'Brien went to a non-Federation world to play detective after indicating that he was simply visiting his father. I wouldn't want to be in either O'Brien or Bashir's shoes for the next little while - As O'Brien observes, Sisko "has a boot with (his) name on it."  Still, he immediately focuses on the problem, demanding all information on the chief's activities, then going to Ezri for help in recovering his wayward crewman.

Ezri: This episode exists to fill in her backstory... Which would be a lot more useful in making us connect to her if her backstory wasn't the stuff of soap operas. The family drama never has the blistering feel of real, decades-long resentments being re-opened. It's just cliched melodrama, dressed up with some sci-fi trappings. Nicole de Boer does her best with the material, and she manages some very good acting when Ezri realizes what actually happened to the dead woman... But I can't help but observe how much more real her disgust at gagh in the teaser feels than any of the family situation in the main story.  It's all very artificial, and the emotion it should carry feels artificial as well.

O'Brien: One indication that is a troubled episode is that it's Ezri-centric, even though O'Brien is the one driving the plot. The main plot only kicks into gear when O'Brien is recovered (about halfway through), and then it's O'Brien who steers the investigation. He is the one who has a brief confrontation with an Orion Syndicate representative, and he is the one who discovers the link between the Syndicate and Ezri's family.  The problem is that while I fully believe O'Brien continuing to feel an obligation to Bilby's family, this story should be an O'Brien episode - and it suffers for being forced to be part of an Ezri plot.

Dr. Bashir: The teaser shows him preoccupied with worry over Chief O'Brien, leaving him barely engaging in any conversation with his friends. When O'Brien doesn't return on the scheduled transport, he immediately goes to Sisko.  He doubtless knows he's going to get chewed out, and he takes thatin stride - He even draws more of the captain's wrath on himself by pointing out that O'Brien did not actually lie to Sisko.


THOUGHTS

Prodigal Daughter has a terrific teaser. The opening neatly introduces the O'Brien plot by showing Bashir's preoccupation, but tips focus to Ezri through her dismay at being informed that some gagh Jadzia had ordered has arrived. Ezri shudders as she recalls not just the taste of the Klingon delicacy, but the way it feels when swallowing it. Once again, she is shown as different from her predecessor - Jadzia jumped into such experiences wholeheartedly, while Ezri reacts... the way most people would, really. The scene scores because it's funny, and because Ezri is absolutely relatable in this moment.

This is followed by a few quick scenes that economically set up all of the conflicts of the episode: The activities of the Orion Syndicate; O'Brien's determination to find his late friend's missing widow; and Ezri's return home to secure her mother's assistance. It all works, and within ten minutes the entire story is set up and ready to take off running.

Then Ezri returns home and the rest of the episode falls completely flat.

A quick glance at Memory Alpha reveals that Prodigal Daughter was written in a hurry, and that its development was further hobbled by a refusal to even imply that Starfleet could be influenced by criminals such as the Orion Syndicate. As was true of Star Trek: Insurrection, the demands of keeping Starfleet clear of any direct wrongdoing cripple the drama, forcing writers Bradley Thompson and David Weddle to make their already small-scale story even smaller.

I've already mentioned that the episode suffers from being forced to be an Ezri plot when the story clearly wants to be an O'Brien one.  This is at least partly responsible for some of the awkward pacing, with the scenes between Ezri and her family feeling too often like filler, while the Syndicate story is rushed.  We're also told over and over again how terrible Ezri's mother is... And while she is domineering, she never comes across as being the monster the script insists she is.

The episode's worst sin is that there's nothing remotely interesting about it. The mystery is thin, the murderer very easy to guess. Meanwhile, Ezri's family dynamics were cliches in 1930s melodramas, which results in an Ezri episode whose main revelation is that there's nothing very interesting to know about her!  Very likely, that's why Ira Steven Behr apologized to Nicole de Boer after the episode wrapped

I will credit some decent performances, particularly from Nicole de Boer and Colm Meaney, and this is acceptable late-night insomnia viewing.  But it's the most expendable DS9 episode since Profit and Lace, and is far below this series' usually very high standards.

Overall Rating: 4/10.

Previous Episode: It's Only a Paper Moon
Next Episode: The Emperor's New Cloak

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7-10. It's Only a Paper Moon.

Nog takes refuge in Vic's holographic world -
and, like a true Ferengi, fixes his bookkeeping.

THE PLOT

Nog has completed his therapy after losing a leg at AR-558, and has returned to Deep Space 9. He has a new leg, which his medical records show should be working perfectly. He insists the leg hurts constantly, and tells Ezri that after spending two months talking to counselors, he does not want to talk further.

He does spend time listening and re-listening to Vic Fontaine (James Darren)'s rendition of I'll Be Seeing You, the song Bashir played just before the final battle. That leads him to the holosuite of Vic's Las Vegas lounge. After talking with Vic for a while, Nog decides to use Starfleet regulations to perform his therapy at Vic's, moving himself fully into Vic's apartment.

Nog actually makes progress within this holographic world, his Ferengi upbringing allowing him to feel useful by sorting out Vic's books and helping Vic run his business. But as Nog becomes more and more a part of this holographic world, Ezri and his family become concerned about his willingness to return to reality.


CHARACTERS

Capt. Sisko: Is eager to welcome Nog back to the station, and is concerned when Nog shuts himself away in his quarters. He complains to Ezri that watching and waiting is "not (his) first choice," but defers to her judgment.

Ezri: When Nog tells her that he's sick of talking to counselors, she doesn't push him - She even admits to Sisko that after all the psychiatric care he's been subjected to, she doesn't blame him for being done with it. She tells Sisko that they should step back and let Nog guide the course of his own treatment, and initially supports the Ferengi's choice of Vic's holo-program. When she sees that Vic has come to rely on Nog as much as the reverse, she uses reverse psychology to make Vic recognize that the Ferengi needs to return to the real world in order to live a full life.

Nog: Aron Eisenberg received praise from veterans for his convincing portrayal, and he is superb in this episode. The early scenes show Nog completely withdrawn, barely showing emotion, but with a haunted expression in his eyes and voice. When he lashes out at Jake in one scene, we first see his discomfort, then emotional pain when Jake's girlfriend refers to him as a hero. He becomes happy in Vic's holographic world, but when he's forced to return to reality he's in tears as the fear comes flooding back to him. Eisenberg plays every note perfectly, with the early withdrawal and anger fully earning the tears at the episode's end.

Vic Fontaine: His ability to read people, a consistent trait from his very first scene last season, is enough for him to see that Nog needs a break from reality. One of his first acts is to give Nog a new cane - one that's more stylish, but also lighter weight, forcing him to put less weight on the cane to enjoy his gift. Vic almost certainly starts fussing about his bookkeeping as a way to draw Nog into feeling useful... But with the program running 24 hours a day, Vic finds himself enjoying getting to live a complete life. Between that and his genuine fondness for Nog, he needs a nudge from Ezri to let Nog go - Though once he gets that nudge, he barely hesitates before shutting down his program to force Nog out into the real world.


THOUGHTS

"The kid's had too much reality lately, if you ask me. He's lost a leg, he's watched good friends die... We shouldn't push it, he needs time to heal."

DS9 deals with PTSD, and does a pretty good job of it. Compare It's Only a Paper Moon with Voyager's Extreme Risk, in which B'Elanna went through emotional turmoil. B'Elanna's issues hadn't even been hinted at in any previous episodes, and were cured by little more than a single conversation with Chakotay. By contrast, Nog's emotional turmoil rises naturally out of the events of The Siege of AR-558, and are examined over the course of the full episode.

Writer Ronald D. Moore lends layers to Nog's pain. He obsessively listens and re-listens to I'll Be Seeing You. He tells Vic, the song "helped me once when I was unhappy." His guilt over Larkin's death is never explicitly stated, but we see Nog flashing back to it. This, and his reaction when Jake's new girlfriend calls him a "hero" show that he still feels responsibility. Finally, there's his fear, which he frankly confesses to Vic:

"I saw a lot of combat. I saw a lot of people get hurt. I saw a lot of people die - But I didn't think anything was going to happen to me! And then suddenly, Doctor Bashir is telling me he has to cut my leg off. I couldn't believe it, I still can't believe it. If I can get shot, if I can lose my leg, anything could happen to me!"

All these different emotions, and the moments in which Nog lashes out with anger at those around him, make his pain tangible. Mix in superb performances by Aron Eisenberg and James Darren, whose Vic has in a very short time become a part of this show's fabric. If you had told me that a Star Trek show would introduce a singing hologram as a recurring character, I'd have branded it a worse idea than Wesley Crusher on the face of it.  It's a mark of just how good DS9 has consistently been at making its recurring characters live and breathe that Vic not only works and not only belongs, it's become an active pleasure to see him.

It should be noted this episode revolves around Nog and Vic, and I never once thought while watching about this being a show about two guest stars. That in itself is a triumph - Not only that my second-favorite episode so far this season (just a hair behind The Siege of AR-558) is about two guest stars, but that those guest stars feel as fully a part of the show as the main cast does.


Overall Rating: 10/10.

Previous Episode: Covenant
Next Episode: Prodigal Daughter

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7-8. The Siege of AR-558.

Sisko prepares for a vicious assault.

"Let me tell you something about humans, nephew. They're a wonderful, friendly people as long as their bellies are full and their holosuites are working. But take away their creature comforts; deprive them of food, sleep, sonic showers; put their lives in jeopardy over extended periods of time - And those same friendly, intelligent, wonderful people will become as nasty and violent as the most bloodthirsty Klingon."
-Quark once again displays his pinpoint accuracy about human nature.


THE PLOT

The Defiant makes a supply run to AR-558, a planet in the Chin'toka system, which was taken back from the Dominion during Sisko's offensive. AR-558 is home to a communications array, which could be used to intercept enemy communications if they can figure out its workings. That makes this a front-line battleground, constantly under attack by Jem'Hadar under orders to take the array back.

Sisko arrives to a severely depleted force, with less than a third of the original troops still alive. The ones remaining are haunted, angry, and on-edge, left on the front line months past their original rotation date. It's clear they are ready to crumble - And when an unknown number of Jem'Hadar land on the planet, Sisko decides to stay to lead the attackers. His only order is to hold - at any cost!


CHARACTERS

Capt. Sisko: Clearly recognizes that this unit has been at the front too long, but does not offer any false comfort or reassurance. He's very blunt in telling the acting CO, Lt. Larkin (Annette Helde), that Starfleet's forces are stretched thin and that proper relief may be a while coming. But when the inevitable attack comes, Sisko barely hesitates in announcing his intent to stay. After Nog is injured, Quark bitterly recriminates Sisko for not caring about sending him into harm's way, earning an angry response: "I care about Nog and every soldier under my command. Understood? Every single one!" Quark (wisely) backs off.

Quark: Sent on a fact-finding mission by the Grand Nagus, he provides the perspective of an anti-war outsider. His genuine feelings for his nephew are revealed not by any words, but by his repeated attempts to shield Nog from the battle. When Nog is injured, Quark lashes out at Sisko for sending him into a dangerous situation. He then stays with Nog through the rest of the episode - And finally picks up a weapon and fires on the enemy to protect his injured nephew. Armin Shimerman is superb throughout, and the shift in Quark's attitude - shown through his actions and demeanor, which is much more effective than some "moral of the story" speech - creates one of this episode's multiple compelling through-lines.

Ezri: Bonds with engineer Kellin (Bill Mumy), whom she assists thanks to being able to draw on the engineering expertise of former hosts Tobin and Jadzia. She worries about how she'll fare in battle. She remembers combat from the memories of Jadzia and Curzon, but has never directly experienced it. After she and Kellin are able to uncloak some hidden Dominion mines, she expresses doubts about the morality of turning these weapons against the Dominion, something Sisko brushes aside by pointing out that the fewer Jem'Hadar reach their base alive, the more likely they are to survive.

Nog: Is clearly embarrassed at Quark's presence, all but visibly cringing at his uncle's every act or utterance. He reacts with scorn to Quark's warnings against getting too close to the battle-hardened troops. He's impressed by Reese (Patrick Kilpatrick), who has created a necklace of Ketracel-white tubes taken from dead Jem'Hadar, and generally wants to be accepted by the soldiers. He is almost eager to volunteer for a dangerous scouting mission, and the veterans acknowledge that he "did all right" when he is returned badly injured, but having gathered vital information. He insists to Sisko that he'll be fine, but his face and tone of voice indicate otherwise - Something that I'm very certain will be followed up in later episodes.


THOUGHTS

The Siege of AR-558 is possibly the darkest Star Trek episode I've seen. The tone is grim, with even Quark's scenes providing not comedy relief, but rather dramatic tension in his unwelcome shielding of his nephew and his clashes with Sisko. It's dark in visual terms, as well, with dim lighting on a planet that appears to live in perpetual night, and the battle scenes are illuminated mainly by the firing of the weapons as the Jem'Hadar attack.

This is the series' big battle episode, and has on more than one occasion been compared to Saving Private Ryan. For all of that, a relatively small percentage of the episode is combat. Most of the running time sees the characters waiting for an attack they know is coming. The battle is inevitable, and many of the soldiers will die even if they win the fight. Nog's dangerous scouting mission gathers intelligence about the Jem'Hadar numbers. Ezri and Kellin make it possible to lay a trap to winnow down the enemy numbers. But the fight is coming, and nothing is going to stop it.

A particularly strong dramatic beat comes just before the final battle. The soldiers are waiting, under whatever cover they can find, guns trained where the enemy has to approach. Kellin flicks the sight of his gun repeatedly open and closed, open and closed, creating a metronome-like tap that could be measuring the seconds or the beats of the soldiers' hearts. This is allowed to linger a moment, before Sisko finally gives the man a look.

The performances are superb all-around, with guest actors such as Mumy, KIlpatrick, Helde, and Raymond Cruz making tangible the psychological situation for the soldiers. Ira Steven Behr and Hans Beimler deliver yet another outstanding script, with some memorable dialogue for every character, all of whom behave in ways that are entirely convincing. Finally, mention must be made of Paul Baillargeon's outstanding score, which sustains the atmosphere of the episode superbly.

Remarkably effective on all levels, The Siege of AR-558 ranks among Deep Space 9's finest hours. Fantastic television - Far from just for science fiction fans, I would rank this as a "must see" for anyone who enjoys well-crafted, emotionally effective drama.


Overall Rating: 10/10.

Previous Episode: Once More Unto the Breach
Next Episode: Covenant

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7-7. Once More Unto the Breach.

Kor (John Colicos) yearns for a return to his glory days.

"Savor the fruit of life, my young friends. It has a sweet taste when it is fresh from the vine. But don't live too long. The taste turns bitter after a time."
-Kor, Dahar Master, teaches his final, bitter lesson.


THE PLOT

Kor (John Colicos) returns to Deep Space 9, seeking Worf's help. He has made too many enemies throughout his long life. Despite his status as a Dahar Master, he is unable to receive a battle command during the current war. He pleads with Worf to find him a place in Martok's fleet. "Help me fight again, Worf. Help me end my life as I've lived it: As a warrior."

Martok becomes enraged at the mention of Kor's name, but allows Worf to assign him as Third Officer on his ship. When Worf presses to know why he hates Kor so much, Martok reveals that long ago, when he was working to become trained as an officer, Kor struck his name from consideration because of his bloodlines. Though Martok would later rise through his own merit, he has never been able to forgive the slight, not least because his father died before he was able to prove himself.

Martok's current mission is a bold one: A strike across enemy lines, to quickly hit a Jem'Hadar breeding facility and then race back to Federation territory, doubtless with the enemy in pursuit. They find their target easily and decloak to begin the attack. But when a hit on Martok's ship leaves both him and Worf temporarily incapacitated, Kor assumes command - Barking orders that make it clear that he cannot distinguish this battle from battles long past!


CHARACTERS

Capt. Sisko: Appreciates the audacity of Martok's plan, which he likens to a cavalry charge. Is so enthusiastic that he offers to join the raid, but settles for waiting at the rendezvous point to turn back any Jem'Hadar pursuit.

Worf: Even after all he's been through, Worf cannot always reconcile the Klingon ideals that he grew up yearning for against the nastier realities of an often corrupt Empire. He labels Kor's long-ago dismissal of the young Martok as "unworthy," barely listening to Kor's protestations about the importance of bloodlines to the Empire. He remains protective of Kor, but never at the expense of his loyalty to Martok or the mission - and when Kor's weakness shows itself, he does not hesitate to remove the old man from active duty.

Ezri: Clearly enjoys seeing Kor again. Even so, she complains to Kira that she keeps having the same conversation with people who knew Dax's previous hosts: incredulity that she could be Dax, then insistence on finding (likely nonexistent) physical similarities between her and previous hosts. She talks about how vividly she remembers being with Kor on a Klingon ship in the past - which Quark, in true sitcom fashion, misinterprets as her talking about wanting to get back together with Worf.

Martok: The episode's central character conflict doesn't center on any of the regulars, but rather on Kor and Martok. Over the past two seasons, J. G. Hertzler's Martok has become part of the series' fabric, and it's a credit to how well DS9 has integrated its recurring cast into its overall tapestry that focusing on an episode on his resentment of a guest character doesn't feel jarring at all. An early scene in which he tells Worf exactly why he despises Kor so much makes the Kor/Martok conflict meaningful. Martok gets his revenge in the second half, his old adversary laid as low as a Klingon warrior likely could be... But he gains no joy from Kor's misery, and his entire attitude shifts from that point on.

Kor: Shades of King Lear, as Kor's bravado in the first half cracks, revealing diminished capacity as he confuses present and past. John Colicos is suitably larger than life as he boasts about his past and basks in the young crew's admiration of him. But his best acting comes in the second half, when a shattered Kor sits and endures the scorn of those same warriors, now mocking him for his age and weakness. What happens next can be seen coming from as far away as the teaser - But to the episode's credit, Kor's final stand works, in large part because Colicos makes us invested in the character.


THOUGHTS

"The only real question is whether you believe in the legend of Davy Crockett or not. If you do, then there should be no doubt in your mind that he died the death of a hero. If you do not believe in the legend, then he was just a man and it does not matter how he died."
-Worf, unwittingly foreshadowing Kor's final mission.

Once More Unto the Breach is utterly predictable in its plot, with no surprises in the way its story unfolds. Kor's disintegration during the first battle is clearly telegraphed, as is his triumph at the end. That Kor will earn Martok's sympathy and, ultimately, his respect is something most viewers will guess before the teaser ends. In story terms, this is pedestrian stuff.

But writer Ronald D. Moore, the default Klingon scribe of both TNG and DS9, has a way of breathing life into this warrior race. Kor, Martok, Worf, and the elderly Darok (Neil Vipond)... They are all fully realized characters, and their interactions resonate. The scene in which Martok and his crew sneer at Kor's mental weakness is the episode's best, Kor reduced to an object of ridicule by the very crew that had previously worshipped him. Director Allan Kroeker keeps the focus of the scene on Kor's face, which is stone-like, betraying no emotion as he endures this verbal onslaught. When he finally does speak, he does so with equal stoicism, weariness in his voice but no real emotion, which makes the effect of his words all the stronger.

The follow-up scene is also good, as a subdued Worf and Martok contemplate how they might appeal to the Klingon Chancellor to grant Kor an honorary position to lend some dignity to his dying days. Kor's acceptance of the insults, and his reply that rang too true, has drained away Martok's antagonism; he recognizes that this could be him in 100 years' time, if he lives that long. It's almost a shame when the action plot returns, with the too-predictable finish, as the character material up to then is so much more compelling than any of the actual combat scenes.

In the end, this is a touch too predictable to rank among this excellent series' greats - But the performances, sharp characterization, and excellent dialogue ensure that it's still quite a good one, and a suitable sendoff for Star Trek's original Klingon.


Overall Rating: 7/10.

Previous Episode: Treachery, Faith and the Great River
Next Episode: The Siege of AR-558

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7-5. Chrysalis.

Dr. Bashir tries to cure Sarina's catalepsy.

THE PLOT

The genetically engineered mental patients Dr. Bashir worked with last year return to the station. Bashir believes he has found a way to cure Sarina (Faith C. Salie)'s catalepsy, to allow her to engage with the world around her. She initially shows no change after the surgery, leaving Bashir feeling that he failed her - but then she is found wandering around the Promenade, where she announces she is looking at "everything!"

Sarina is grateful to Bashir, and happy to be able to interact with the people on the station. But as he gets to know her, Bashir finds himself drawn to her: a woman whose genetically-engineered intelligence is not only equal to, but probably greater than, his own. He initiates a relationship, pushing her to more and more activities before she's had time to adjust to her new life.

And then watches in horror as she starts to withdraw all over again...


CHARACTERS

Capt. Sisko: The group of patients arrive on the station by having Patrick (Michael Keenan) impersonate a Starfleet admiral. A serious offense, but recognizing that the childlike Patrick has no understanding of why, Sisko agrees to have the charges dropped. Not without first reminding Bashir of the trouble this group previously created, however, and not without eliciting a promise that such behavior will not happen again.

Dr. Bashir: The episode highlights his loneliness. His friends and colleagues are all either married or in relationships (and this is the only Trek series in which the bulk of the regulars are in committed relationships), which leaves him a bit of an "odd man out," with his genetic engineering making him even more of an outsider. Meanwhile, Sarina is the ultimate outsider - someone who has never been able to engage with the world around her before now. It never occurs to him that he might be too quickly pushing her into something she's not ready for, and he only recognizes his folly at the episode's end.

O'Brien: The most emotionally accessible of the regulars, he recognizes his friend's mistakes all too well. He attempts to talk to him about how fast he's moving with a girl who was his patient (something Bashir handwaves away by saying he had her assigned to a different doctor). But when it's clear that Bashir just isn't able right now to hear the truth, O'Brien stops himself from further comment, wishes him a simple and sincere "good luck," and waits for the inevitable fallout.

Ezri: Isn't she meant to be the station's counselor? I would expect Sarina, a woman who has spent most of her life completely cut off from other people only to suddenly be connected in a big way, to need to talk to a counselor - Heck, to be required to! Nicole de Boer does do well with the scene in which Ezri supplies all the reasons why Bashir should feel free to beat himself up... But that's the only moment she has in the episode that doesn't feel like it could as easily have been written for Jadzia, and that feels like a dropped ball in an episode where a counselor would actually seem to be called for.

Hot Genetically Engineered Space Babe of the Week: A nice touch of both script and performance is that when Sarina first begins to speak, she does so haltingly, with a sound in her voice approaching that of a deaf person speaking words she can't hear. That fades as she becomes accustomed to speech. It's strongly indicated that Sarina only agrees to a relationship with Bashir out of gratitude, and as Bashir turns it into a very serious relationship very quickly, she becomes overwhelmed.


THOUGHTS

Deep Space 9's take on Daniel Keys' classic Flowers for Algernon, Chrysalis offers several worthy moments. The performances are good across the board. Much of the dialogue is sharp and even funny. Patrick impersonates an admiral with startling success by simply responding to all inquiries by barking, "That's a stupid question!" Jack (Tim Ransom) and Patrick fret about the death of the universe in billions of years time, treating that deadline as an immediate emergency - something that reinforces the difference of their perspective from most people's in a way that doesn't just make them the butt of "Look at the Crazies!" jokes. The scene in which the patients celebrate Sarina's successful surgery with an improvised a cappella performance is gloriously well-done.

Unfortunately, all of these good moments are packed into the first half of the episode. Once Bashir declares he is in love with Sarina, the episode becomes flat and tepid. There's nothing terribly effective in waiting for Bashir's ill-advised romance to fall apart, and it's clear that such has to happen - So for the rest of the episode, we are simply left waiting for the inevitable.

Perhaps if some of the story had been told from Sarina's point of view, some genuine emotion could have been wrung from her dilemma. She naturally wants to show her gratitude to the doctor who gave her back her life; at the same time, she doesn't want to commit her entire life to him before she's even had a chance to start living it. That might have created some effective drama, if that had become the focus. But with the viewpoint purely Bashir's, and the dilemma being his desperation to fit and belong with someone, the results become just a bit too predictable and a bit too tedious.

And that's the problem with Chrysalis in a single word. It isn't bad in any particular way. It's just... tedious. An episode to "get through" on the way to better things.


Overall Rating: 4/10.

Previous Episode: Take Me Out to the Holosuite
Next Episode: Treachery, Faith, and the Great River

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