7-24. The Dogs of War.

Kira, Damar, and Garak watch helplessly as their rebellion dies.

THE PLOT

Kira has rejoined Damar and Garak in time for a rendezvous with resistance fighters on Cardassia Prime. But the meeting is a trap, and the three find themselves beaming down just in time to witness Cardassians being massacred by Jem'Hadar forces. They manage to escape notice, and hide with Mila (Julianna McCarthy), the one-time housekeeper of Garak's Obsidian Order mentor. But trapped on a hostile world, they are helpless to act as they witness broadcasts of the destruction of Damar's entire rebellion.

Back on Deep Space 9, Quark receives a transmission from Zek. The old man has finally decided to step down as Grand Nagus. The communication is filled with static, but one message comes through loud and clear. Zek has settled on his successor - Quark!


CHARACTERS

Capt. Sisko: Near the end of the episode, Kasidy informs him that she's pregnant. Avery Brooks is wonderful here, shifting through a series of emotions ranging from worry to joy to embarrassment at having forgotten his "injection." As he reassures Kasidy, we can almost see him mentally picturing his future family, much as he painstakingly planned out his future house in Penumbra. Though joy seems to win out with Ben in the scene, I suspect the Prophets' warning is about to hit him hard.

Col. Kira: Another strong performance by Nana Visitor, who conveys Kira's terror of being captured by Cardassians during the opening ambush. There's a note of panic in her voice as she insists they have to get away, which fits perfectly with her background - Kira has seen firsthand what it is to be a prisoner of the Cardassians. Even when they are in hiding, her main thought is to escape from Cardassia, with Garak having to talk reason to her.

Quark: "I won't preside over the demise of Ferengi civilisation, not me! The line has to be drawn here. This far and no further!" Quark stands up for traditional Ferengi values - greed and exploitation - using the same words Picard used to rail against the Borg in First Contact. An inside joke for Trek fans, but it works because it fits perfectly with Quark's character. He has defended Ferengi society throughout the series, from his insistence to Sisko that Ferengi are nothing like humans - "We're better!" - to his disgust at his mother's wearing clothes and running businesses. He's on the wrong side... But there's a certain cockeyed dignity to his final, anti-heroic stand against progress.

Damar: This dour man was always an unlikely choice as a folk hero, and even he seems disconcerted at the divide between who he actually is and the legend building up around his name. Ultimately, the thirst he sees in his own people is what drives him to take up the ill-fitting mantle of rebel leader... And speaking of stirring speeches, Damar's heroic end speech is all the better for the sense that he'd rather not be the one giving it. He would rather be helping the resistance instead of leading it (Being Dukat's second-in-command was almost certainly his happiest time)... But there's no one else, and so he has to act to save his society from its demise.

Odo: In only one scene - But it's a good one, as he expresses his outrage at the Federation's tolerance of Section 31's actions in creating the Changeling disease. He acidly observes that Starfleet publicly deplores such tactics, but is happy enough to reap the benefits. He does promise Sisko that he won't reveal the cure to the Founders of his own accord. Still, the scene - which doesn't connect to any of this episode's story strands - is fairly obviously setting up his role in the finale.

Brunt: The final appearance of Liquidator Brunt (I'm going out on a limb and guessing he won't be featured in the finale). He spends most of the episode shamelessly brown-nosing presumed future Nagus Quark. He doesn't even pretend to deny it: "It's never too early to suck up to the boss." He's also the one who clues Quark into the reforms that have taken place on Ferenginar, including "wage benefits for the poor, retirement benefits for the aged, health care," and - most shocking of all - "the T word... taxes!" Jeffrey Combs is a delight as always, and it's a rare pleasure to get to see him play both of his recurring roles in the same episode (though, regretfully, the series appears set to end without ever putting Weyoun and Brunt in the same scene at the same time).


THOUGHTS

The Dogs of War is Avery Brooks' final episode as director, and it's a consequential one. The "A" plot, following Kira and Garak as they nudge Damar into a new kind of resistance, is terrific. The script, by Rene Echevarria and Ronald D. Moore, carries all the strengths of both writers, with sharp characterizations fusing with good dialogue and meaningful plot turns. We see the trio move from shock, to despair, to finally fighting back, and everything the characters do arises naturally from who they are. Brooks' greatest strength as a director has always been his ability to work with actors, and he gets great work from all of the cast.

That last is true of the "B" plot as well - Heck, even Ishka and Zek aren't annoying (in part thanks to being used sparingly). As someone who has often criticized the Ferengi episodes, I will admit to finding some enjoyment. The script offers some genuinely funny moments and even allows Quark a perverse dignity in his defiant stand for unbridled greed. There's just one problem: It belongs in a different episode!

There is a decent attempt to draw a parallel between Damar and Quark, two men standing defiant against changes that they see destroying their respective societies. But even so, the Cardassia plot and the Ferengi plot don't truly fit in the same show. And with the Ferengi plot occupying most of the screen time in the middle, it throws off the sense of jeopardy that should pervade Kira and Damar's story. I've said this about other episodes in the final ten, but I strongly feel that these two stories should have been seprated out into their own episodes.

The addition of a "C" plot, apparently to clear the decks of the Bashir/Ezri romance subplot, further interferes with momentum. Also, by cutting between two main plots and one subplot, the episode can't help but feel a bit choppy.

Still, most of the individual parts are good, with the Cardassia plot particularly strong, and the episode ends leaving the pieces in place for the final conflict. This leaves it as an overall good episode - Even if it is a bit too "busy" to be as good as it should be.


Overall Rating: 7/10.

Previous Episode: Extreme Measures
Next Episode: What You Leave Behind

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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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7-8. 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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7-3. Afterimage.

Ezri has a difficult time adjusting to her new life.

THE PLOT

"I knew Jadzia. She was vital, alive. She owned herself. And you? You don’t even know who you are!"

Ezri is having a hard time adjusting to life on Deep Space 9. She has all of Jadzia's memories, so she knows all of Dax's old friends - but to them, she's a stranger. Except for Sisko (and, oddly, Quark), they are all uncomfortable around her. Worf goes so far as to actively avoid her, even leaving Quark's bar when he notices Ezri is there.

She plans to transfer back to the Destiny, her ship before she became joined. Sisko has other plans. He tells her that he will support her decision, but he clearly wants his old friend to remain and offers her a position as counselor on the station. "The station could use a good counselor," he observes.

His offer comes exactly when the station does need a counselor. Garak, who has been decoding intercepted Cardassian messages for Starfleet, suffers an anxiety attack caused by claustrophobia. Ezri agrees to talk to Garak, to try to help him so that he can continue his intelligence work. Garak pretends their talk helps - but shortly after, he enters an airlock and tries to open the outer door to get out of the enclosed station. When Ezri tries to help again, he denounces her "insipid psychobabble" and tells her that she's unworthy to carry the name "Dax" - leaving Ezri not just doubting staying on Deep Space 9, but doubting her very ability to continue as a Starfleet officer!


CHARACTERS

Capt. Sisko: He already went through the process of adjusting to a very different Dax with Jadzia, which I suspect is why he's so instantly accepting of Ezri. She's as different from her predecessor as Jadzia was from Curzon, but he knows that the friend he has so relied upon is there underneath the quirks. For all that he wants to be supportive, a good leader knows when someone needs handholding and when someone needs a hard kick. When Ezri responds to Garak's tongue-lashing by wallowing in her own insecurities, Sisko doesn't hesitate to deliver that kick, as harsh in his way as Garak: "Dax... had eight amazing lives. So what if the ninth was a waste? ...Dismissed!"

Ezri: A little scene that I particularly like sees her hovering in front of a replicator, uncertain what to order. The favorite foods of her past lives keep popping to the top of her head, to the point where she can't remember what she herself actually enjoys. It underscores the difficulty of her transition. Imagine not being able to remember whether you prefer coffee or tea, or pancakes or waffles, or whether you like your steak rare or medium well, or whether you're actually a vegetarian! She probably really does need a good counselor, or at least time in a low-stress environment - Luxuries the current war situation simply will not allow to the young woman carrying the Dax symbiote.

Worf: "You are not Jadzia... I do not know you, nor do I wish to know you!" Worf is not just brusque, but downright rude to Ezri, making it clear that he wants nothing to do with her. Then, after she has a friendly (if not unflirtatious) chat with Dr. Bashir, he responds like... Well, like a jealous husband, loudly declaring that Ezri is absolutely off-limits. His behavior is inexcusable... But in fairness, he is also facing a difficult situation. His role in the opening two-parter was all about securing a place for Jadzia in the Klingon afterlife, allowing him to begin the process of coming to terms with her death. Then he barely sets foot on the station before being confronted with a new Dax, carrying all of Jadzia's memories. His wife is dead, but she also still lives - So in a way, Ezri takes away by her very presence the significance of what he has just done for Jadzia's soul and memory. I hope it's a long time (if ever) before these two become comfortable around each other, because this is not something Worf should just get over in a handful of episodes.

Garak: The moment in which Garak turns his venomous scalpel against Ezri is the episode's highlight, his tearing down of her more than a little reminiscent of his tirade against Bashir in The Wire. Writer Rene Echevarria builds carefully to this moment. The first Garak/Ezri scene sees Ezri displaying all of her emotional fragility - Something that might earn sympathy from Jake or Bashir, but which can only garner contempt from someone like Garak. After his second attack, Ezri uses Quark's holosuite to simulate a wide-open space while promising to do all she can to help him. Garak initially responds with gratitude - But once he's had a chance to recover himself, the thought of being so weak as to require the aid of someone he regards as pathetic has to ignite all of his self-loathing, which he directs right back at Ezri. At the heart of it all is his fear that he has become a traitor to his own people, condemning the Cardassian Empire to annihilation by deciphering their codes for Starfleet. Which is a distinct possibility, because Garak's not wrong when he says that the Dominion won't let the Cardassians simply surrender.


THOUGHTS

After the introduction of Ezri in the opening two-parter, it was the right choice to devote the next episode to her finding her place on the station. The characters' reactions to her are designed to anticipate the audience's - Sisko and Quark accept her pretty much right away, as a small but distinct segment of viewers could be counted on to do. Most of the others show varying levels of resistance, though most seem inclined to at least give her a chance - Which would be the case with the majority of viewers. Meanwhile, the distinct subset of viewers who could be counted on to resist the change with righteous fury are represented by Worf, openly resentful as if Ezri's existance cheapens Jadzia's memory; and by Garak, who tells her that she isn't worthy to carry the name "Dax."

The goal is clearly to make it easier for the audience to accept her by putting her through an emotional hell as she overcomes the very type of resistance in the regulars that the viewers will have. I find it successful in this, but I already find Ezri quite likable. She doesn't have Jadzia's confidence and humor, and I could never picture her in command of anything - But she is likable, and her reaction to her situation feels emotionally believable so far.

Rene Echevarria is regularly top-notch at characterization, and it's no surprise that not just Ezri, but all of the characters feel right for who they are. Sisko and Quark accepting her immediately feels right, because Sisko's been through this once and because Quark is just the sort who will accept that this is his friend Dax even if it's not Jadzia - He isn't going to sentimentalize when his friend/unrequited crush is standing right in front of him, just in a different form. Kira's discomfort, particularly when standing at the very Bajoran shrine where Jadzia was shot, is well-realized, and I appreciate that we don't see everyone completely losing their discomfort by episode's end.

I retain some apprehension about introducing this new character this late in the series, but I'm happy that I find myself liking this nervous, neurotic young woman. I just hope that the writers are able to balance properly developing her against the needs of the many ongoing plot threads that need tied up over the next 23 episodes.


Overall Rating: 8/10.

Previous Episode; Shadows and Symbols
Next Episode: Take Me Out to the Holosuite

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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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6-23. Profit and Lace.

Quark as a Ferengi female. Some things you just can't unsee.

THE PLOT

Quark is surprised at the arrival to the station of his mother, Ishka (Cecily Adams) and the Grand Nagus, Zek (Wallace Shawn). He's even more surprised when they tell him Zek has been deposed. At Ishka's prodding, he decided to revoke the Ferengi ban on women wearing clothing, thus allowing them full access to Ferengi society. The response was panic throughout the Ferengi Alliance, which has turned for deliverance to Zek's rival, the loathsome Brunt (Jeffrey Combs).

Zek and Ishka have a plan. They will contact every member of the Ferengi Commerce Authority, counting on gratitude for past aid to make them throw their support behind Zek. There's only one flaw: Ferengi society isn't built around gratitude, and most of the dignitaries hang up as soon as Zek's name is mentioned.

One influential member does agree to come meet with them, however: Nilva (Henry Gibson), founder of Sluggo Cola. His voice and profit margin are such that his support alone will be enough to return Zek to the throne. They are certain that a meeting with Ishka will convince Nilva of the wisdom of letting females into society. But before Nilva can arrive, Ishka gets into an argument with Quark - which ends in a heart attack, leaving her alive but in no fit state to meet anyone.

Which leads them to Plan B: If they don't have a brilliant Ferengi female to meet with Nilva, they will make one... Out of Quark!


CHARACTERS

Capt. Sisko: Just one episode ago, we saw Sisko trying to enlist Zek's help against the Dominion, yet here he doesn't even appear to notice that both Zek and his rival have arrived on the station. One can imagine an alternative, smarter version of the episode in which Sisko makes the pragmatic choice to try to win the support of Brunt, the apparent new Nagus, forced to ally with this loathsome toad in his scheming against Quark and Zek - Sort of a comedy counterpoint to In the Pale Moonlight. As it stands, Sisko is limited to a single scene in which he does nothing of interest.

Quark: As with all Quark-centric episodes, Armin Shimerman's performance is the greatest asset. The moment in which he stands up to the gloating Brunt, kicking him out of his bar with the only effective repetition of the episode's "acting Nagus" gag, sees him genuinely heroic... Just before he disappears into his quarters to lie in the fetal position. He trades venomous barbs with his mother, whose feminism he blames for Zek's downfall and his likely impending ruin - but when she collapses under the weight of his anger, he is horrified (though equally eager to hide his own culpability).

Brunt: Jeffrey Combs is deliciously malignant as Brunt, and one of the few genuinely good things about Profit and Lace is that it returns Brunt to his former status as a proper adversary. Watching Brunt swan around with the Nagus' stick in hand, gloating to his enemies as he plots their future ruin, it's obvious that the worst possible man has been put in charge of Ferengi society.

Grand Nagus: At least Zek isn't quite as pathetic here as he was in Ferengi Love Songs. Ishka may be the centerpiece of the plot to restore his position, but he's an active part of the plotting and scheming, rather than just a muddle-brained figurehead. I could have lived without the scenes of him leering at Leeta and, later, at Quark-as-a-woman, and anything that ever worked about this character has long since drained away... But he's easier to take here than in his last appearance.


THOUGHTS

As can probably be seen by this point, I do not in any way agree that Profit and Lace is the "worst episode ever" of Deep Space 9. It's not good, and more gags miss than hit. But it does offer a couple good performances, particularly by Shimerman and Combs, and at least reps an improvement over the previous Zek/Ishka horror, Ferengi Love Songs.

If that doesn't sound like a ringing endorsement... Well, it isn't. But I've only liked a couple of episodes featuring Zek, and I haven't like any in which Ishka had more than a cameo. So when I say I found this episode to be reasonably watchable... Well, let's say that was enough in itself to exceed my expectations.

The show does open on a particularly bad note. The teaser sees Quark sexually harass a pretty young employee, threatening to fire her if she does not perform Oo-Moxx on him. The scene has nothing to do with the plot, its only payoff an extremely feeble joke at the very end. It's there only to make Quark unlikable enough so that we'll want to see him humiliated - And since this isn't Quark's normal behavior, it feels as wrong for the character as it is uncomfortable to watch.

That scene aside, the first half is passable. The scene in which Quark, Rom, and Nog try to get members of the Ferengi Commerce Authority to come to the station, only to have every contact insult them and hang up, is briskly-edited and quite amusing. Brunt is presented at his most obnoxious, putting us firmly on Zek's side by default, and each scene manages to stack the odds just a little bit higher against Quark & company.

The second half is genuinely awful. I'm not sure there was much comic mileage out of "Quark in a dress" to start with, and there's not one fresh or original moment. Between Zek hitting on Quark and Nilva chasing Quark around a table in a way that was tired in silent comedies, it becomes borderline embarrassing.

So, yes: I'm definitely giving Profit and Lace a below average rating. Still, given its extraordinarily poor reputation, I was pleasantly surprised to find it watchable. As an hour of Deep Space 9, it's mediocre at best - and "mediocre" is generous. But it isn't torture to watch, and it is very far from the series' worst.


Overall Rating: 3/10.

Previous Episode: Valiant
Next Episode: Time's Orphan

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6-20. His Way.

Odo seeks romantic advice from hologram Vic Fontaine (James Darren)

THE PLOT

Dr. Bashir has created a new hologram: Vic Fontaine (James Darren), modeled as a 1960's Las Vegas crooner. Vic is an unusual hologram, who actually knows he is a computer program on a 24th century space station. He has keen insight into human nature, recognizing without being told that Worf and Dax are married, that Chief O'Brien misses his wife, and that Odo has feelings for Kira.

When Kira visits Bajor to meet with First Minister Shakaar, her former lover, Odo fears she will rekindle that relationship. He accesses Vic's program, to solicit the entertainer's advice. Vic encourages him to pursue Kira, saying that since she already likes him and that he's "halfway there!" He tells Odo he needs to become more relaxed, and of his own accord creates a simulation of a Vegas act with Odo as the piano player, following that up with simulated dates to use as practice.

When Kira returns from Bajor, Vic takes one final liberty. He sets up a date between Odo and a "Kira hologram," holding back one small bit of information: That the Kira Odo is meeting is no hologram, but the real thing!


CHARACTERS

Capt. Sisko: After beginning his "lessons" with Vic, Odo catches himself singing while Sisko reviews a security report. odo stops as soon as Sisko brings it to his attention, but Sisko tells him not to, instead clicking his fingers and singing along with him. It's a perfect little moment that's just right for Sisko, but which wouldn't work at all with any of the other Trek captains.

Kira: When she returns from Bajor only to find Odo nervously avoiding her, she's clearly disappointed and confused - Which reminds me of her reaction to Odo's romance in A Simple Investigation, where she clearly wasn't happy about Odo being in a relationship. These cues make it more plausible when she is persuaded to go on a date with Odo. When both of them realize at the same time that Vic has lied to them about the nature of the date, Kira is angry - but refreshingly, her anger is directed only at Vic and not at all at Odo.

Odo: Another terrific performance by Rene Auberjonois, who perfectly captures the anxiety of a socially awkward man pushed into pursuing a woman. I particularly enjoyed the scene in which Vic pushes Odo into acting as the piano player during a performance of "Come Fly with Me." Odo starts out absolutely awkward, sitting at the piano and concentrating a little too hard on pretending to play it, clearly self-conscious even though there's nobody who isn't a hologram watching. As the song progresses, he starts to enjoy the music and the act and, by the end, he's showing off with the glee of a child make-believing himself to be a sports hero or rock star. Most of this is nonverbal, seen through his shifts in body language and facial expression as he sits at the piano, and it's marvelously well-done.

Quark: It's notable that, for all their constant bickering, Quark is the first one Odo turns to about his problems with Kira. For his part, while Quark enjoys needling the constable about his failure to pursue Kira, he does so with an undertone of sympathy. When Odo asks for a favor - to access the Vic program - Quark not only goes along, he thinks fast to stop Bashir from interrupting.

Vic Fontaine: The debut of Vic, the holographic crooner from Las Vegas' golden age. I'm not sure how I feel about him becoming a recurring character, but he works well in this episode. James Darren is just right for this sort of Frank Sinatra/Dean Martin hybrid, slick enough for us to believe him as a representation of a 1960's nightclub singer, sincere enough for us to believe that he genuinely wants to help Odo. Darren also has good comic timing and shows strong screen rapport with Rene Auberjonois, which goes a long way toward selling the episode. I wouldn't say I'm looking forward to more of Vic in future episodes - But I'm not dreading his reappearance, either, and that in itself is a pleasant surprise.


THOUGHTS

His Way is a likable little story, a bit of whimsy to light up the darkness that has dominated much of the season. A breezy romantic comedy punctuated by several well-performed musical interludes, it has much to recommend it: Rene Auberjonois and Nana Visitor are terrific, as always, as James Darren does a fine job of making Vic work as a character in his own right. The musical numbers add to the atmosphere, and even the regulars who are only peripherally featured feel "right." Objectively, this is a good episode.

It just isn't the kind of episode that particularly hooks me, which makes it a very difficult one to review. I wasn't bored while watching it. The story followed a very predictable pattern, but writers Ira Steven Behr and Hans Beimler know the characters so well that Kira and Odo never feel less than completely themselves, and director Allan Kroeker - who labeled this episode a personal favorite of his - does sterling work in every scene. It's enjoyable... It just isn't my particular cup of tea.

I do wonder whether putting Odo and Kira into a relationship is a good thing for the series. Yes, there have been indications that Kira enjoys at least knowing that Odo has feelings for her, and the two actors and their characters always play well opposite each other. I'm just uncertain that I will find this relationship a convincing one as the show moves forward. This episode also appears to be the final nail in any hopes I may have had that Odo's betrayal earlier this season will ever receive any followup, and that irritates me considerably.

But that's more a fault with the season's failure to address that plot turn than with this episode specifically. And as I said, by any objective measurement His Way is a good piece of television. Since my scores are representing my personal reactions, and not going for some objective measurement of merit, I refuse to give this a high score - But since it was well made and I didn't dislike it, I won't be giving a low one either.

If romantic/comedy/musical is the type of episode you enjoy, then you should add two full points to this score. But for me, this gets an unenthused but respectable:


Overall Rating: 6/10.

Previous Episode: In the Pale Moonlight
Next Episode: The Reckoning

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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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6-13. Far Beyond the Stars.

Science fiction writer Benny Russell's
new story causes controversy...

THE PLOT

"I don't know how much more I can take!"

So Benjamin Sisko says to his visiting father (Brock Peters) after receiving news about the loss of a friend's ship near the Cardassian border. He has lost a lot of friends recently. Despite retaking the station, he is teetering on the brink of despair.

Which is when he experiences a vision. He is no longer Benjamin Sisko, but instead Benny Russell, a science fiction writer working for a minor sci-fi magazine in New York, 1953. Benny is talented enough to write for Incredible Tales - but only so long as the reading public believes him to be "as white as they are," as editor Douglas Pabst (Rene Auberjonois) explains... It never entering Pabst's mind that some of the readers may be other than white.

A drawing of a space station catches Benny's eye, and he writes a submission featuring a 24th century captain named Benjamin Sisko. Everyone in the office agrees that the story is excellent. But Pabst announces they cannot publish it because Sisko is black. "Your hero's a Negro captain... People won't accept it. It's not believable!"

Benny continues to push the story, determined to find some way to make the magazine publish it. When Albert (Colm Meaney), a friend and fellow writer, recommends making the story the dream of someone in the present day, Benny believes he has found the answer. Pabst reluctantly agrees to publish, and Benny is overjoyed.

But as the street preacher (Brock Peters) warns: "Hope and despair walk arm in arm..."


CHARACTERS

Capt. Sisko/Benny: Sisko and Benny are very different people, and Avery Brooks' performance reflects this. As Sisko, Avery Brooks' eyes always meet whomever he is speaking to. Benny rarely directly meets the eyes of his co-workers, usually looking a little downward or at least away. Even when arguing with Pabst that there are successful black authors, Benny does so in a quiet tone, not allowing any inflection of anger into his voice. Benny knows "the rules" of his society and, save for when he loses his self-control, he is careful to follow them. For Sisko, those same "rules" simply don't exist. Avery Brooks' performance is such that the two characters never seem like the same person, and it is easy to forget that Benny and Sisko are played by the same actor.

Kasidy Yates/Cassie: Penny Johnson's brief appearance as Kasidy in the teaser reminds us that the relationship between Sisko and Kasidy is still ongoing, and re-establishes her independent nature. In the bulk of the episode, Cassie is also independent, having worked hard at a diner in a black neighborhood and pushed the owner to agree to sell it to her upon retirement. Cassie supports Benny in his writing, clearly wanting him to succeed at his passion, but she just as clearly would be happiest if he would quit his thankless job and go into the restaurant business with her.

Pabst: Rene Auberjonois' condescending editor is the closest thing this episode has to a villain. Pabst would never identify himself as a racist. He clearly feels guilty enough at rejecting Benny's story to offer him a novella and a chance at the cover as compensation - Provided, of course, that Benny abandons his Sisko character. At the same time, there's no sign that he's willing to champion the story to the owner. "I wish things were different, but they're not." This seems to be his catch-phrase when racial issues come up, and the way he recites it is pretty much by rote. When Benny replies that wishing never changed anything, Pabst clearly becomes uncomfortable and retreats from the conversation.

Herbert: Armin Shimerman is terrific as the most prominent of Benny's co-workers, a liberal Jewish intellectual who rails against Pabst's refusal to publish Benny's Sisko stories. When Herbert and Pabst clash, there's none of the good nature that underlies the Quark/Odo disputes. These two genuinely despise each other. As the argument grows more heated, Pabst puts Herbert in his place as well, intimating that Herbert is "a red" to coerce him to silence (blacks being far from the only people who can be persecuted in 1953). Herbert is on the right side of the argument, but he is too rigid a figure to be likable. When Benny accepts Albert's "dream" compromise to make the story publishable, Herbert moans that this "will gut the story." He refuses to see that a compromised story is better than nothing at all.


THOUGHTS

Far Beyond the Stars is a very different Deep Space 9 episode. That some fans dislike it is hardly surprising. If you removed the teaser and the epilogue, you would be hard-pressed to identify this as an episode of Star Trek at all.

I think it's an outstanding piece, and one that works surprisingly well within the context of the series. The themes of Benny's story resonate strongly with the themes of the Dominion War. Sisko was informed just a handful of episodes ago that it is statistically impossible for Starfleet to win the war against the Dominion. His own battle for the freedom of the Alpha Quadrant seems just as hopeless as Benny's fight to have his science fiction story about a black captain published. Sisko opens the episode in despair; Benny's story ends in much the same place.

Just as Sisko's apparently futile battle against the Dominion is worth fighting, so is Benny's futile battle to get his Sisko stories out there to a broad readership. The black neighborhood in which Benny resides is a different world from the white neighborhood occupied by his co-workers. From Benny's point of view, it's a very limited and hopeless world. The closest thing to a mainstream success is Willie (Michael Dorn), a baseball player who enjoys his celebrity in his hometown. When asked why he doesn't move to a more upscale neighborhood, Willie's response recalls Pabst's insistence that the world simply is as it exists, and that it's not his job to change it:

"(White people) can hardly get used to the idea of me playing alongside them. Living next to them? That's a whole other story. Besides, around here, when people look at me, it's 'cause they admire me. There, I'm just another colored boy who can hit a curve ball."

Jimmy (Cirroc Lofton), a small-time crook, scoffs at Benny's writing, asking why he would want to waste his time reading about "white people living on the moon." When Benny reveals that the hero of his new story is black, Jimmy becomes genuinely interested, saying that he just might be interested in reading that story - in having a black hero to root for in a world where his legal job options appear limited to "a delivery boy or a dishwasher." Cirroc Lofton is great in this scene, his quick facial and vocal changes making clear Jimmy's hunger for something more - but only showing that for a second before reverting to his "street hood" personality.

The tag raises the question of who is "real" within the fiction of this episode: Sisko or Benny. I tend to think the answer is both. The prologue shows that Sisko is once again experiencing visions like the ones from Rapture. If the Prophets/wormhole aliens transcend space and time, then it hardly defies belief that they could grant visions to two people separated by time and space - Sisko experiencing a slice of Benny's life, and Benny channeling a vision of Sisko into fiction even as he is aware that "Ben Sisko... That future, that space station, all those people... They exist!"

In the end, Far Beyond the Stars offers a strong period drama, well-scripted and wonderfully performed. Its thematic ties to the larger Deep Space 9 story make it feel relevant to the series... But honestly, I'd like this even if it was a complete digression. I know some will disagree, but I found this compelling viewing, worthy of full marks.


Overall Rating: 10/10.

Previous Episode: Who Mourns for Morn?
Next Episode: One Little Ship

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