7-22. Tacking into the Wind.

Kira's worries about Odo complicate a dangerous mission.

THE PLOT

Kira continues to assist Damar's Cardassian rebellion, but her efforts are complicated by the animosity and blatant disrespect of Gul Rusot (John Vickery). After Rusot provokes a fight that Kira wins, he swears he will take revenge - and he might get a chance sooner that later, thanks to a plan to infiltrate a Dominion repair facility to steal a ship equipped with the Breen energy weapon.

Tensions are also rising among the Klingons on Deep Space 9. It is very clear that Gowron is focusing not on winning the war, but on disgracing General Martok by sending him on missions doomed to defeat. Worf urges the general to challenge Gowron and take his place, but Martok insists that such a challenge during wartime would be dishonorable. When Gowron hatches a new suicide mission - one that could cripple what remains of the Klingons' strength - Worf feels compelled to take matters into his own hands!


CHARACTERS

Capt. Sisko: Sisko's brief appearance carries shades of In the Pale Moonlight, as he urges Worf to resolve the situation with Gowron, and to "do whatever it takes." He obviously isn't telling Worf to kill the man - But he knows too much about Klingon culture to think that a bloodless solution is likely.

Col. Kira: For the most part, she manages to restrain herself in the face of Rusot's disdain. Season One Kira would have come to blows with him before the end of the last episode, and would have had to have been pulled off him to keep from killing him. Here, she's pushed ot the breaking point by worries about Odo and the frustration of trying to help the Cardassians, and still only snaps when Rusot physically accosts her... And she stops the fight as soon as she's won a clear victory, and even then knows that what just happened was not in anyone's best interest.

Worf: "Worf, you are the most honorable and decent man I've ever met... If you're willing to tolerate men like Gowron, then what hope is there for the Empire?" Ezri confronts Worf directly with the corruption in Klingon society - a thread that's been woven into the fabric of Star Trek since TNG's Sins of the Father. It was then that Worf was first made into an outcast - in the very episode in which he first realized that the society of honorable warriors he had idealized was, in truth, hopelessly corrupt. This episode brings his encounters with that corruption to a logical endpoint, and cements him as a significant figure in the Klingon Empire whether he wants to be or not.

Damar: Rusot is his friend, and was among his first allies in this resistance; Kira is a former enemy, one he personally dislikes. It's no surprise that his instinct is to support Rusot. But he's no idiot, and he recognizes that Kira's strategies are the ones his rebellion will need to embrace to have any chance of victory. As Garak notes, his greatest weakness is his romanticism of Cardassia's past. He mourns a Cardassia that's "dead, and it won't be coming back," when the truth is that his idealized Cardassia was as much a fiction as Worf's idealized Klingon Empire.

Garak: As much a Cardassian patriot as Damar, in his own way. Remember that this was a man willing to annihilate the Founders along with several people he calls friends, all in response to the female changeling's statement that the Dominion would destroy Cardassia. When Kira berates herself for a loose comment to Damar, Garak tells her that if Damar is "the man we hope him to be, then (he was) more receptive to what you said, not less."

Gowron/Martok: Two stubborn men, each clinging to their nature even when it leads to their destruction. Gowron refuses to follow the sound strategy set forth by Sisko and Martok. Instead of focusing on the war, he focuses on his own personal battlefield: Politics, with Martok as a potential rival who must be shamed. Martok, in turn, won't challenge Gowron because Klingon tradition frowns on such challenges in times of war. Without Worf's intervention, Gowron's plan would have played out exactly as he intended... And likely doomed the entire Alpha Quadrant in the process. A perfect illustration of Ezri's words about the Empire's decay.


THOUGHTS

Ronald D. Moore, arguably Deep Space 9's best writer, is paired with Michael Vejar, one of the show's most reliable directors, for a dark installment involving challenges and betrayals. And Klingons, of course - Moore being the franchise specialist in Klingon episodes. Add in that this is pretty much all payoff for the plot complications that built up in the previous installment, and it's no surprise that Tacking into the Wind is an excellent episode.

The two main plot strands parallel each other in multiple ways. Both involve a regular trying to convince a patriotic leader to take a stand against a destructive influence from within. Both strands also involve characters (Worf and Damar) who have romanticized and idealized their cultures, turning a blind eye to the corruption that has always been there. The result is that, even though the two plots don't brush up against each other even once, it all feels of a piece. Both strands also come to a strong climax, with the overall arc moved forward as a result.

The Bashir/O'Brien story, involving finding a cure for Odo's illness, also gets some screen time, but it proves to the weakest thread. Nothing really happens in this subplot, which ends this episode exactly at the same place it begins: Odo is dying, Section 31 did it, and Bashir needs to get Section 31 to cure it. Sure, they have the beginnings of a plan... But it feels like that could have been dropped in with a line or two of dialogue at the start of the next episode.

Something I really wish had been done, as the episode's only real weakness is that it feels a touch overstuffed. It doesn't feel rushed, thanks to most of the setup having been taken care of in When It Rains... - But it does feel packed, and I think the two "A" plots would have benefited from the removal of the Bashir/O'Brien scenes in order to give the characters and events a bit of breathing room.

Still, if my primary complaint is that too much happened and that I wanted more of the two primary strands, that's not a bad complaint to have. There's no question but that Tacking into the Wind is not only a significant episode, but an extremely good one as well.


Overall Rating: 9/10.

Previous Episode: When It Rains...
Next Episode: Extreme Measures

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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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7-16. Inter Arma Enim Silent Leges

Sloan (William Sadler) wants Bashir to spy on the Romulans...

THE PLOT

The alliance with the Romulans has led to an invited Starfleet presence at a medical conference on Romulus, with Dr. Bashir scheduled to chair a discussion about ketracel-white and to give a lecture about the Dominion biological weapon known as The Quickening. For Bashir, the conference is an important step in turning the alliance into a genuine friendship between the two powers. For others, it is an opportunity of an altogether different kind.

The night before Bashir leaves the station, he is visited by Sloan (William Sadler), the agent from Section 31 who attempted to recruit him once before. Sloan wants him to observe Koval (John Fleck), chairman of the Tal Shiar, the Romulan intelligence gathering service. Koval opposed the alliance with the Federation, and his rise in influence is seen as a threat to the war effort. There is a rumor that he has Tuvan Syndrome, a neurological disease - And with Bashir's genetically-enhanced senses, Sloan believes he can diagnose Koval through observation.

Sisko and Admiral Ross (Barry Jenner) encourage Bashir to play along, in hopes of exposing Section 31. But as the plan progresses, it becomes clear that Sloan has another agenda: Once Bashir confirms the diagnosis, Sloan will use that information to arrange an entirely "accidental" assassination!


CHARACTERS

Capt. Sisko: Is unsurprised that Sloan made contact with Bashir, and even less surprised that he was able to evade station security. Though he's inclined to be cautious about sharing information with Sloan, he agrees with Admiral Ross that this is an opportunity to get inside the shadow organization.

Dr. Bashir: Instantly troubled when Koval expresses interest in the Quickening - not in curing it, but in replicating it. In that moment, he is briefly persuaded to Sloan's point of view, that Koval must not come to power. When the agent's plans turn toward assassination, however, he simply will not stand by for that.  This first prompts paranoia, as he fears he has no one he can trust.  which in turn pushes him to an action that has every potential to backfire spectacularly .

Garak: Only in one scene, but it's a good one. When he notes the opportunity the conference provides to gather intelligence about the Romulans, Bashir protests that they're allies. Garak all but laughs at his naivete. "I'm disappointed hearing you mouthing the usual platitudes of peace and friendship regarding an implacable foe like the Romulans. But, I live in hope that one day you'll come to see this universe for what it truly is, rather than what you'd wish it to be."

Sloan: His first appearance comes immediately after the scene with Garak, almost as if the cynical tailor/spy had summoned him into being. Sloan does share many traits with the Cardassian: He can't pass up an opportunity to gather intelligence; he sees the worst in everyone around him; and he wholeheartedly embraces assassination as a useful tool, as long as the end result is to Starfleet's benefit. So why is Garak a friend and Sloan a foe? Maybe because Garak's worst deeds are behind him (though he remains remorseless about them). Maybe it's because Garak is a lot more charming and fun to be around.  Either way, Sloan seems a reflection of Bashir's friend - The deeds he does now, Garak is fairly open about having done every bit as bad and worse in the past.


THOUGHTS

Sloan and Section 31 were introduced in last season's Inquisition, a very good episode that effectively tapped into a paranoid thriller vibe. That episode ended in a way that clearly demanded a follow-up, which we finally receive with Inter Arma Enim Silent Leges.

The idea of using the alliance with the Romulans to gather intelligence makes sense at this stage of the larger arc. Garak, Sloan, and Ross all clearly believe that this alliance will not long outlive the Dominion War - And they are almost certainly right, while optimistic and idealistic Bashir is almost certainly very wrong. I particularly enjoyed a scene that points out how the post-war balance of power will shift. With the Klingons and Cardassians devastated by two back-to-back conflicts, the Federation and the Romulans will be the dominant powers moving forward. Just as was true of the U. S. and Soviet Union in the waning days of World War II, we see the two superpowers angling for every post-war advantage they can get.

Ronald D. Moore's script moves quickly, with a couple of nicely unexpected turns along the way. The paranoid vibe of Inquisition returns as Bashir realizes that Sloan must have allies; cut off from the station, he has no one to trust and there's a distinct sense that he himself may be in danger.

There is just a little too much plot here for 45 minutes, leading to a rushed climax.  Still, the way the situation is resolved is effective - It reflects the messiness of the situation, as "big picture" thinking leads to decisions that are morally questionable and that may lead to worse outcomes down the road... Not exactly unprecedented in the history of modern intelligence.

The ending also leaves the door open for a return appearance by Section 31 - Something I hope will happen, although with only ten episodes to go that may be asking too much.


Overall Rating: 8/10.

Previous Episode: Badda-Bing, Badda-Bang
Next Episode: Penumbra

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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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7-7. 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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7-4. Take Me Out to the Holosuite.

A friendly game of baseball...

THE PLOT

Capt. Solok (Gregory Wagrowski), a Vulcan Sisko knew at the Academy, visits the station for repairs and takes the opportunity to revive an old rivalry with Sisko. He sniffs at the inefficiency of the human repair schedule, diminishes Sisko's accomplishment at being awarded the Christopher Pike Medal of Valor, and ends the meeting by challenging Sisko to a "contest of teamwork, courage, and sacrifice" - a game of baseball.

Sisko accepts even before presenting the challenge to his senior staff, all of whom agree to go along with playing this completely unfamiliar, antiquated game of which their captain is so fond. But as they train, it becomes clear that Sisko doesn't regard this merely as a game. There is something deeply personal in this contest, leaving the captain regarding his upcoming game with Solok with the same ferocity as the Dominion War itself!


CHARACTERS

Capt. Sisko: Becomes extremely short-tempered toward the very people trying to help him, and temporarily loses the support of his crew when he kicks (an admittedly hopeless) Rom off the team. In a private moment, he fills Kasidy in on the background between him and Solok: The Vulcan not only defeated him in a wrestling match, he then used that match for years after as a way to show Vulcan superiority over humans. Now he has picked baseball - a game that has deep personal meaning to Sisko - determined to rub Sisko's nose in it by using his own game against him.

Odo: Sisko convinces him to act as umpire, prevailing on his ability to enforce rules impartially. Odo agrees reluctantly, but then throws throws himself into the role. A charming moment has Kira observe him practicing calling people either safe or out, as well as rehearsing ejecting people from the game. He gets to use that last against none other than Sisko himself, when Sisko touches his chest while arguing a call. This cues the Third Act Crisis, as the team is left with a losing game and no leader. But it's a fun scene, not least because Sisko's behavior has demanded a comeuppance all episode long. It also sets up a very funny moment later on.

Kasidy Yates: She goes along with the game, seeing that it's important to Sisko. But as it becomes clear that it's a little too important, she pushes him to reveal the truth about his rivalry with Solok. He makes her promise not to tell the others, which she does with utter sincerity in her voice - And the episode then cuts immediately to her revealing all so that the others understand why their captain is acting like a maniac.

Rom: Volunteers for the team in order to connect with Nog, having spent far too little time with his son since the boy joined Starfleet. He is hopeless at baseball, unable to grasp any of the rules and unable to do anything with even the slightest competence, no matter how hard he tries. Sisko cuts him from the team with clear anger in his voice and face, leading to almost all of the others offering to quit if Rom isn't reinstated. Rom begs them not to do so, telling Nog and the others how badly he wants to see them play. Max Grodenchik is terrific, managing to be funny, sympathetic, and even dignified in his ineptitude, and Rom's subplot lends the episode a bit more emotional heft than Sisko's personal rivalry would otherwise have sustained.


THOUGHTS

In the middle of the Dominion War, our heroes - and the series - take an episode out to play a game of baseball on the holodeck. It's fair to say that Take Me Out to the Holosuite could have been truly dire.

Thankfully, character comedy has proved to be something Deep Space 9 does rather well. Take Me Out to the Holosuite doesn't climb the same heights as such past delights as The House of Quark or In the Cards, but it's still a charming little episode, with the characters well-captured, the regulars all giving committed performances, and the script providing enough small gems to keep a smile on my face through most of the run of the show.

Particular points to writer Ronald D. Moore and actor Gregory Wagrowski for making Solok so instantly punchable. The viewer wants to wipe away his ever-present smirk just as badly as Sisko does. Given that Sisko is far from on his best behavior for most of the episode, Solok being so hateable goes a long way toward making sure we're invested in the game's outcome.

While most of the episode tries for amiable comedy (and, more often than not, succeeds), it shifts gears effectively into drama for the scene in which Sisko recalls his past with Solok. The scene is critical to making us understand Sisko's motives. Avery Brooks sells the emotion... and then the cut from Kasidy promising to keep it secret to her spilling all to the team restores the comedy in time for the game.

The ending is also well-judged, allowing our characters a victory of a sort without straining credibility. The real win isn't the outcome of the game, it's Sisko remembering that the game is meant to be fun. The enjoyment he's able to take in the end of the game, and the unpredictability of the key point scored, remind him of all the reasons he loves the sport, allowing him a pleasure Solok - playing simply to spite Sisko - cannot appreciate. The final shot, of the baseball signed by every member of the team, ends it on a perfect note.


Overall Rating: 7/10.

\Previous Episode: Afterimage
Next Episode: Chrysalis

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6-25. The Sound of Her Voice.

A wake for a lost friend.

THE PLOT:

The Defiant is on its way home from a convoy escort mission when it intercepts a Starfleet distress call. Lisa Cusack (Debra Wilson), captain of the USS Olympia, is stranded on a planet whose atmosphere will not sustain her for long. When they make contact, they learn that she has barely enough supplies to keep her alive until they reach her. To monitor her condition, and to keep her from being alone as she waits, they agree to take turns talking with her over the intercom, in a series of conversations that become increasingly personal across the six-day journey.

Back on the station, Quark has a rare business opportunity, one that can only be completed if a wanted criminal can make his way onto the station undetected. Odo's vigilance would normally make this impossible. But, as Quark observes to an attentive Jake, Odo has been distracted since the start of his relationship with Kira. A nudge from Quark to celebrate their one-month anniversary is all that it takes to keep Odo clear long enough for the criminal exchange to take place.

Until Odo informs him that he plans to celebrate the anniversary of their first kiss - Which happened exactly one day after their first date. A delay of exactly one day... And with no way to reach his contact, that one day may leave Quark with a lengthy prison sentence!


CHARACTERS:

Capt. Sisko: Kasidy Yates is aboard the Defiant, having served as convoy liaison officer during the escort mission... Something which makes Sisko uncomfortable. Not because she did a bad job - He acknowledges to Lisa when it's his "turn" to speak with her that Kasidy did a fine job of it. He's just not comfortable with the intersection of his personal life and his duty. At the end, when Sisko talks to her, it's clear that she fears he's about to end their relationship, and is visibly relieved when he tells her that his behavior was all about his issues, something he promises to discuss with her privately later.

Dr. Bashir: Has changed a lot. The war, likely combined with some feelings of isolation now that it's known that he's genetically engineered, has transformed the gregarious young idealist into a taciturn, even dour, man focused solely on his work. He isn't even particularly interested in speaking with Lisa, focusing more on his reports than on what she is saying - Something she calls him on, reminding him that it isn't enough to care - Others have to see that he cares.

O'Brien: Has also become more isolated due to the war, something that in his case is entirely self-imposed. As a veteran of the war with the Cardassians, he knows only too well the emotional danger of getting close to people who might not be alive tomorrow. He admits to Lisa that he won't talk to his friends or family about his feelings, and he doesn't like the idea of talking to a ship's counselor... Which leaves him to stew, even as he pretends to still be the cheerful engineer he used to be.

Quark/Jake: The "B" plot revives the rivalry between Odo and Quark, something that's been little-seen since the Dominion War started. I love the joy Quark feels at "beating" Odo, which gives him more pleasure than the prospect of the actual payoff. That makes his devastation all the greater when Odo throws a wrench into his timing. Jake makes a great straight man to Quark, performing what are effectively the henchman duties that traditionally have belonged to Rom, resulting in some fun exchanges between two characters who have rarely interacted. Yet again, even this late in its run, Deep Space 9 combines characters in a new way and creates an enjoyable new dynamic.


THOUGHTS:

The Sound of Her Voice is basically a bottle show. It features the regulars, Kasidy, and one guest star who is present only as a voice over a communicator. Save for a brief sojourn to the venerable Star Trek cave set, it alternates between shipbound scenes and station-bound scenes, and features only standing sets. I strongly suspect it was made in part as a budget saver, squeezing a few pennies before the doubtless more expensive season finale.

In the hands of writer Ronald D. Moore and this most excellent of Trek ensembles, it is highly effective, if suffering from an entirely unnecessary indulgence in Technobabble near the end.

I'll deal with the Technobabble issue first, as it's the episode's biggest weakness. The basic ending is easy enough to see coming, and doesn't require a labored Technobabble explanation. This bit only works if we assume Sisko never checked records about the person he was diverting to rescue, and didn't exchange any messages with Starfleet about the situation during the almost week-long period it takes to arrive. It's a bizarre choice, one that undermines an otherwise very fine episode.

Fortunately, it is an otherwise very fine episode. The script is an ensemble character piece, with excellent scenes for Sisko, Bashir, and O'Brien (and some pretty darn good ones for Quark and Odo in the subplot). All the characters ring true, the actors are excellent as usual, and the material works. Alexander Siddig and Colm Meaney are particularly good in their scenes, and it's fitting that they get the best moments of the tag. Bashir's insistence on telling his friends how much he cares is a fine moment...

One which is immediately upstaged by O'Brien, saying the simple truth of the situation of the war and what he's decided it means to him (and handily foreshadowing the following episode at the same time):

"We've grown apart, the lot of us. We didn't mean for it to happen, but it did. The war changed us, pulled us apart... I want my friends in my life, because someday we're going to wake up and we're going to find that someone is missing from this circle. And on that day we're going to mourn, and we shouldn't have to mourn alone."


Overall Rating: 7/10. Would be an "8" without the Technobabble at the end.

Previous Episode: Time's Orphan
Next Episode: Tears of the Prophets

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6-22. Valiant.

Jake and Nog find themselves on a ship crewed entirely by cadets.

THE PLOT

Jake and Nog are heading to Feringinar on a runabout - Nog to officially represent Starfleet in asking for the Grand Nagus' aid with the war effort, Jake in hopes of getting an interview with the Nagus. Their journey is cut short, however, when they stumble right in the middle of a squadron of Jem'Hadar. Hopelessly outmatched, the two youths appear moments from death. Then the Valiant appears. A Defiant-class ship sent on a mission behind enemy lines, it effortlessly destroys the runabout's pursuers and beams Jake and Nog to safety.

To their surprise, the ship's crew is made up of cadets. Members of Red Squad, Starfleet Academy's elite cadet unit, they were on a training mission when they came under Dominion attack. The experienced Captain Ramirez was killed in the battle. Tim Watters (Paul Popowich), the senior cadet, assumed command, and has been continuing to fight ever since.

Watters insists on fulfilling a mission intended for Capt. Ramirez, to scan and analyze a new Dominion warship. The Valiant has been unable to complete the mission, because of the same engine problems that initially plagued the Defiant. Nog's familiarity with this problem allows him to get the engines up to speed - allowing them to catch up with and scan the warship without incident.

Then Watters decides to take his mission one step further. Instead of returning to Starfleet with the data, he decides they will exploit the weak spot they've identified and destroy the ship themselves - A plan that Jake feels is certain death...


CHARACTERS

Capt. Sisko: Present only at the very end, when the Defiant receives a Starfleet distress call from an escape pod behind enemy lines. Sisko listens to the caution that this may be a Dominion trap, and acknowledges the possibility - But he also knows it might not be a trap, and decides they have to answer the distress call. His quiet confidence is a stark contrast against Waters' vehemence. Sisko doesn't have to insist he's in command, because unlike Waters, it's very obvious that he truly is a captain.

Jake: While Nog is quickly accepted into this crew of elite cadets, particularly after he proves himself by solving the warp problem, Jake is very much an outsider. When he steps into the mess hall, conversations stop around him. His unease is mostly just a feeling, which could be put down to being the outsider of the group... Until Watters upbraids him for having a simple conversation with a young woman who misses her home. From this point on, Jake is convinced that something is very wrong on this ship. He attempts to convince others after Watters decides on his suicide mission, but he's like Cassandra - He can clearly see the disaster to come, but no one will listen to him.

Nog: Is uneasy when Watters admits that the orders he's following were meant for Capt. Ramirez. But Watters offers him everything he's always wanted: A purpose, a place to belong, a position of responsibility. Rank, without having to go through years of grunt work to get it. He's even made a member of Red Squad, the elite group of cadets he was so desperate to join back at the Academy. And he believes Watters' insistence that the Valiant can complete this mission and can make a real difference to the war. Which makes his disillusionment all the sharper when Watters fails so completely. Aron Eisenberg is superb throughout, keeping our sympathies with Nog even when he becomes a fanatical Red Squad devotee and turns on Jake.

Capt. Watters: I'll give Watters this much credit: After the ship's captain died, he held the crew together and kept Valiant in one piece on the wrong side of enemy lines. Sure, it was reckless of him to accept orders meant for Capt. Ramirez when he clearly should have headed for home (as Ramirez certainly intended him to do)... But he does manage to complete the mission; and if he'd stopped there, returning vital data to Starfleet, declaring him a "hero" would have been fully justified.

However, he's also young and inexperienced, and not up to the responsibility he's assumed. He takes stimulants to keep himself alert, which means he's constantly sleep-deprived. He is controlling to the point of confronting Jake over having a conversation with one of his crew members. Then he insists on attacking the Dominion warship - something Valiant has not been ordered to do, and which in fact jeopardizes the very information the ship was meant to collect and return to Starfleet! When Jake rightly points out that this plan is idiotic, Watters responds by chanting Red Squad propaganda as if he was back at the Academy, using the chant to block out any dissent or even thought. As Nog sums up: "He may have been a hero. He may even have been a great man. But in the end he was a bad captain."


THOUGHTS

I expected Valiant to be terrible. An episode about a starship under the command of a bunch of kids? It sounded like a nightmarish early TNG scenario.

But Michael Vejar's direction lends energy and urgency to what occurs on-screen. Writer Ronald D. Moore's script is carefully structured, with the cracks in the apparently tightly-run Valiant only gradually revealed over the first half of the episode. First comes Watters' admission that Starfleet's orders were actually meant for Ramirez, and that nobody back home realizes that this is a ship of cadets. Then Jake is reprimanded for having a conversation with a crew member. Finally, we see the captain's pill-popping... at which point, we recognize that this crew is on the verge of imploding.

Then Watters comes up with his plan: To charge in and exploit a single weakness that will miraculously cause the Dominion ship to blow up like a firework! It's basically the Death Star run. But it turns out that blowing up that one weak point doesn't actually make the entire enemy ship go "Boom!" Imagine Luke Skywalker going through that trench run and hitting the vent perfectly... Only to discover that all it accomplished was knocking out the Death Star's air conditioning.

To cut a long review short: Good writing and good directing transforms a premise that had every reason to be terrible into a surprisingly pretty good episode.


Overall Rating: 7/10.

Previous Episode: The Reckoning
Next Episode: Profit and Lace

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6-19. In the Pale Moonlight.

Sisko is haunted after sacrificing his
integrity for a chance at victory.

THE PLOT

The war is going badly. The Dominion are striking at the Federation through Romulan space, thanks to the non-aggression pact the Romulans signed, and this is proving to be crippling for Starfleet - as shown by the casualty reports posted every Friday, with every Friday bringing station staff new heartache as they read the names of more friends and loved ones who are now gone forever.

Sisko is certain that the Dominion will attack Romulus as soon as the Federation is dealt with. If he can prove this, then he has a good chance of breaking that nonaggression pact and possibly even bringing the Romulans into the war. He goes to Garak, who agrees to call in favors with his Cardassian contacts. But the Dominion is as watchful as it is ruthless, and every agent Garak communicates with quickly ends up dead.

That's when Garak proposes another solution. If they can't find evidence of a Dominion plot against the Romulans, then why not fabricate some? He comes up with a plan to create an entirely authentic-seeming forged data record, to present to Sen. Vreenak (Stephen McHattie), the Romulans' most outspoken supporter of the Dominion; if they can convince Vreenak, Garak reasons, then the entire Romulan Empire will fall in line.

As the plan unfolds, Sisko is forced again and again to compromise his integrity. If the ruse succeeds, he will secure a powerful ally for the Federation. But at what point does the cost become too great?


CHARACTERS

Capt. Sisko: Avery Brooks' stagier tendencies are on full display in the framing device that sees Sisko recording his thoughts on the events after the fact. But the emoting feels entirely in-character. As Sisko recalls the story for our benefit, he wrestles with himself to decide whether the things he did were justified. He crosses one small line after another: He agrees to fake evidence; he frees forger Grathon Tlar (Howard Shangraw) to achieve this; he covers up a crime Grathon commits on the station... On and on, keeping his eyes latched to the promise of an ultimate greater good at the end. As he records his log, Sisko seems to be weighing whether his choices were correct and he should move onto his next challenge, or whether he went too far and should resign his commission. By the end, he reaches a decision... and erases his entire personal log to make sure there is no trace of what may be considered a confession.

Quark: It's critical to Sisko's plans that there be no record of Grathon's presence on the station - So when the forger physically assaults Quark, he must stop the Ferengi from pressing charges. He asks Quark what it will take to make the situation go away, and the Ferengi's eyes light up at seeing the noble Starfleet captain reduced to offering a bribe. To his credit, Quark doesn't make Sisko squirm too badly. He secures a handful of largely reasonable concessions from the captain, then lets the matter go. But the very fact of this transaction is his true reward, as he tells Sisko when their business is concluded: "Thank you for restoring my faith in the 98th RUle of Acquisition: Every man has his price."

Weyoun/Damar: Seen only in the forged holo recording - Which, as Garak gleefully notes, is made convincing with the addition of (a bit of bickering and mutual loathing quote). Casey Biggs and Jeffrey Combs do a splendid job of playing convincing replicas of Damar and Weyoun - They aren't quite the real thing, but they're very close to it... Which, for this episode's purposes, is exactly right.

Garak: I commented back in my review of Empok Nor that Garak had been allowed to become too safe a character. This episode restores him to his proper status as someone who may be an ally, but one who is as ruthless as he is formidable. Garak is a little like a dark side Jiminy Cricket on Sisko's shoulder, prodding the captain to just one more compromise... And furthering a plan of his own all the while. The best part of the episode's treatment of Garak is that every single thing he says is absolutely correct, right down to his observation that Sisko came to him because he specifically needed someone like him, someone willing to do the dark and nasty things required to make the plan work. In a very real sense, Garak is the hero of the episode, arguably the hero of the entire Dominion War... Which doesn't make him any less frightening. Just like Sisko, he would do all of this again; unlike Sisko, he isn't particularly bothered by what he had to do to make this victory possible.


THOUGHTS

"I lied. I cheated. I bribed men to cover the crimes of other men. I am an accessory to murder. But the most damning thing of all? I think I can live with it. And if I had to do it all over again, I would."
-Benjamin Sisko, allowing the ends to justify the means.

Back in the Season Four finale, Broken Link, Garak was stopped and arrested while attempting to destroy the changelings' home world. Even then, it was more than clear to everyone that the war was inevitable, and potentially unwinnable. If one could step into the series now, not quite two years later, and ask the characters (even those who would have died on the planet) if they wished Garak had succeeded, I suspect most of them would say "Yes."

One of the reasons In the Pale Moonlight works so splendidly is that Sisko's desperation here has been building all season. Even after he won back the station and convinced the Prophets to keep Dominion reinforcements from coming through the wormhole, the outlook has remained bleak. In Statistical Probabilities, Bashir and his group of augments flat-out told anyone who would listen that it was a mathematical impossibility for Starfleet to win the war. In Far Beyond the Stars, the stream of bad news and casualty reports had Sisko on the brink of resigning. Starfleet has been losing the war ever since it began - So there's a ring of inevitability to the news that the Dominion has started taking control of key Federation planets.

This is what pushes Sisko to accept Garak's advice, and what keeps pushing him as he falls ever deeper into the rabbit hole of deceptions, crimes, and cover-ups. It's revealing to watch Sisko and Garak in this story. Sisko starts feeling the strain of lies almost immediately, and that strain grows throughout the episode. Garak simply takes it all in stride, moving from lie to pleasantly-worded threat to caustic observation with ease... And why not? For Sisko, this is all strange and terrible - something that has made the world of his station into a treacherous foreign land. For Garak, this is his natural habitat.

Sisko's ending speech, a bit of which is quoted above, is of course a stunner. But the entire episode is peppered with great scenes and wonderful lines, from Quark's enjoyment at Sisko's compromised integrity to the scene in which Sisko and Garak take turns threatening Grathon - Sisko hot, Garak cold, and both of them absolutely lethal.

The script is credited to Michael Taylor, who previously penned the excellent fourth season episode The Visitor. The broadcast version was heavily rewritten by Ronald D. Moore, who has penned more excellent Trek episodes than would be reasonable to list. And it's from a (radically different) story premise by Peter Allen Fields, who wrote such early gems as Duet, Necessary Evil, and Crossover. Given the pedigree, it was probably inevitable that this would be good. But it's more than just good - This is a serious candidate for the series' best episode, and an absolute cinch for any DS9 Top Five.

Indispensible viewing, by any measure.


Overall Rating: 10/10.

Previous Episode: Inquisition
Next Episode: His Way

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6-16. Change of Heart.

Dax is critically injured.

THE PLOT

Starfleet has received an emergency transmission from Lasaran (Todd Waring), a Cardassian double-agent who has been passing intelligence about the Dominion. Lasaran believes he is being watched and demands extraction. He offers an enticing prize for his rescue: Intelligence about every changeling remaining in the Alpha Quadrant!

Worf and Dax plan to meet Lasaran at a rendezvous point in a jungle near a Dominion base on the planet Soukara. Evading detection will mean landing their runabout, hiking roughly twenty kilometers to Lasaran's position, and then getting him back to the ship. All is on track - Until they are spotted by a Jem'Hadar patrol. They manage to kill their attackers, but Dax is critically injured, leaving Worf with a horrible choice: Save Jadzia, and lose Lasara and all of his intelligence; or complete his mission, and leave his wife to die!


CHARACTERS

Capt. Sisko: Tells Worf that the mission has to be more important than any one life, and bluntly spells out the consequences of failure to both the war and Worf's career. He declares that Worf and Dax will never be allowed to go on a mission alone again. But as a friend, and as a man who lost his own wife, he acknowledges that he understands why Worf would put Dax's welfare above the good of the mission.

Worf: Attempts to be more easygoing for Dax's benefit - a change that Dax finds somewhat disconcerting. When she is injured by the Jem'Hadar, Worf blames himself. He declares that he should have been more vigilant, instead of attempting to be someone he's not. He knows his duty as a Starfleet officer, and both he and Dax are fully prepared for him to leave her to complete the mission - but as soon as he leaves her side, he feels overwhelmed by the choice his duty demands.

Dax: Though it's more subtle, she is also making some adjustments for Worf's benefit. At the episode's start, they are chatting as they prepare for bed. When she notices that Worf is meditating, she stops talking and is respectfully silent until he finishes. She makes a brave effort to carry on once injured - and though the injury eventually becomes too much for her, she makes it farther than she really had any right to do (though one wonders why she didn't just go back to the shuttle - which was actually closer than the rendezvous point - once she was injured and wait there for Worf to complete the mission alone...).

Dr. Bashir/Quark: The episode's "B" plot sees Dr. Bashir pitted against Quark in a game of Tongo. When Bashir proves formidable enough to make Quark nervous, the Ferengi rattles him by bringing up Dax. He reminds the doctor about his once-dogged pursuit of her, empathizing with Bashir by revealing his own similar feelings: "You know what's really sad, what really keeps me awake at night? She's out of reach because we let her go... Deep down in our heart of hearts, we both know she's something unique, something we may never see again - a chance at true happiness- and we let her slip through our fingers. What if fifty years from now, we each look back and say, what a fool I was!" After Quark wins the game, he refuses to tell Bashir whether his words were true, or merely a tactic. It's a fantastic scene, one which takes an expendable and downright unwelcome subplot and pulls from it a genuinely great character moment.


THOUGHTS

Change of Heart is a solid episode that had the potential to be a great one. It has fine performances. Michael Dorn and Terry Farrell are terrific, both in their individual performances and in their interplay. Alexander Siddig and Armin Shimerman take what, up until Quark's big speech, is a typical Trek comedy subplot and make it into something fresh and interesting. And while Avery Brooks only shows up for one scene, his performance and Ronald D. Moore's script combine to make that scene feel important.

Once the rendezvous has been arranged, the main plot doesn't feature a character other than Worf and Dax until the final scene with Sisko. This allows Ronald D. Moore's script to focus on the relationship between the two characters, which has never felt truer or more believable than it does here. When Worf prepares to leave his wife, very probably to die, we can read the agony on both characters' faces, and we believe it when he turns back for her.

However, this focus comes at a price. With no other guest characters to shift the dynamics, we're left only with Worf and Dax and their journey across the Star Trek jungle set. Had the attack occurred, say, after they met with Lasaran, and had the rest of the episode featured all three of them, then there would have been some fresh interactions in the second half. Also, by making Lasaran a fuller character, this might have made Worf's trade of him for Dax something the audience felt more invested in. As it stands, we see Lasaran for exactly one scene, in which he comes across as two-dimensional and unlikable.

Still, the episode does its job. The Worf/Dax interactions are convincing and well-acted, and Worf's final choice and the promise of consequences for it make this feel like more than just a but a bit of expendable mid-season filler. It could have been more than it is... But it's still a solid episode.


Overall Rating: 6/10.

Previous Episode: Honor Among Thieves
Next Episode: Wrongs Darker Than Death or Night

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