DVD, DS9 S3 (Facets)
It gave the actors a chance to play someone completely different, and it gave viewers the chance to find out new things about Jadzia: she isn't always the confident, calm and all-round sorted person we see on the outside. Personally I found myself a little underwhelmed with some of the acting of the hosts this time. Nana Visitor excelled as Lela, the first host of Dax, portraying an old woman, squinting and hunched, her clipped, but friendly tones wise and reassuringly old. Seeing Leeta from the perspective of just this season I would agree that her appearance is rather unexpected and shoehorned in. It is a surprising deficiency that in all the recurring characters developed up to the third season there are so few females. Kasidy had only been in one story, and Kai Winn was the last person Dax would turn to for assistance ("You want to use my body for some sacrilegious ritual? Blasphemy!"), so Leeta was hurriedly drafted, not even having been given a name on screen in her previous episode. It's still good to see more of her from the perspective of hindsight.
O'Brien as Tobin was okay, but both he and Bashir (as Torias) didn't have meaningful scenes in which Jadzia learns something from or about them, yet there wasn't enough lightness to provide enough fun either so their depictions seem a little shallow and the accents and mannerisms are only so-so. Quark was very good as the female Audrid - we get to see Quark speak in a gentle, motherly way about children and nurturing! For me Joran, hosted by Sisko, is the standout performance, even above Odo/Curzon. Brooks plays the subtle menace, the damaging psyche that attacks mentally even when it can't physically, also providing one of the great shocks when the forcefield is off and Jadzia has to beat up Sisko with those Klingon martial arts we're always hearing about! The episode could well have been about Joran were it not for the fact that 'Equilibrium' had already made a sterling effort in that direction.
Meeting Curzon, like Jennifer Sisko, was one of those people you never expected to be presented with. It isn't quite Curzon, these are after all, only memories, there's no necromancy going on to resurrect dead people and it's all within the traditional confines of Trek, with it's sci-fi, but not quite unexplainable situations. What could be more sci-fi than the episode starting with someone asking her friends to borrow their bodies for a while! Dax lays to rest her own internal doubts as to her worthiness for joining, and it's a shame there wasn't much more to be done on her internal problems after this - she'd dealt with Joran, and now Curzon, the other hosts were all pretty decent and ordinary. Dax has often been one of the lesser used characters in these first three seasons possibly because she's difficult to explore simply. Her emphasis would move toward action in future.
Another character with an assured future was Nog, who gets to wear the uniform for the first time, though it's only one made to order for Rom by Garak. His entry into Starfleet Academy is inspiring because of who and what he was. The question of what happens if you shut down a holoprogram while sitting down is answered (you fall down), Nog's training program reminds me of Tom Paris teaching Kes in 'Voyager', and Rom shows the same fierce protection over his son as he did towards keeping the family together in 'Family Business'.
The memories seemed to have the power to take over the host. When Quark wants to speak, Audrid notifies Dax and then lets him talk. When Joran is in Sisko he takes over until Dax knocks some sense into him, and Curzon claims that Odo is as happy with the joining as he, and that they both don't wish to separate. How much input Odo had in the decision is unclear, though he apologises to Dax at the end so he must have some guilt over it. Curzon was an overwhelming personality, but Odo is so concerned with justice that it seems a stretch to accept he wanted to stay like that ('stretch' brings up another point - why didn't Curzon try out his new-found powers more?). It led to a lovely closing scene in which Dax and Odo share common ground now that she retains the memory of Curzon's shapeshifting.
****
Monday, 20 December 2010
Data's Day
DVD, TNG S4 (Data's Day)
The day to day running of the ship is not something we usually see - daily duties may not make for the most exciting stories, but once in a while a peak into shipboard life away from the battles, missions and spatial conundrums can be revealing and a delight as the constructed reality is brought further to life. Who better to take us through such things than Data, a simple, well-meaning outsider, trying to comprehend and anticipate other people's ways. His commentary on the experiences he goes through are enlightening to his view of the world, and his perfect mimicry of Dr. Crusher's dancing shows what feats he's physically capable of. But the episode is more than a slow-burner as the trials of wedding preparation, the confusion between Keiko and O'Brien and the haughty ambassador-turned-spy, T'Pel, all create diversions from Data's regular activities.
It's frustrating to see the Enterprise bested by the Romulans like that, but staying to engage with five Warbirds wouldn't have been a prudent move - even Picard retreats when it's necessary, which is a valuable lesson in itself. The enjoyment comes in the flourishing of O'Brien as a fully-formed character, and the introduction of his bride Keiko Ishikawa. It would have been better if she'd been seen before, as her appearance into shipboard life is very sudden, though Data has known her a long time. It must be remembered that the O'Brien's were recurring characters, not members of the main cast, easy to forget after their move to 'DS9'.
My favourite section is the dancing, in which Data proves very capable, although it is a mystery why he didn't simply download dancing routines into his program - he must have wanted social connection more than just details, and it did give him a chance to interact with the Doc in a different setting. I'd never seen the last third of the episode, so it was a little disappointing that it didn't quite live up to the rest, as Data's observations take a back seat to the unfolding Romulan plot. It might have been better not to have over-egged the pudding with that storyline.
It's really nice to hear Data's doing it all for Commander Maddox who wanted to disassemble him back in Season 2, and they have become correspondents. The idea was recycled at least once, when Dr. Phlox performed a similar experiment on 'Enterprise' which says the idea is one worth copying (not that everything 'Enterprise' copied was worth it!). Another link between the series' is mention of Andorians and that their weddings consist of four people, unless... but Data doesn't finish his sentence so we aren't treated to in-depth details of Andorian marriage rituals. The Romulan menace has woven through the series since the Season 1 finale, and though their appearance has been sporadic it's the closest thing to an ongoing arc the series has played with, along with the Borg and the Klingons.
***
The day to day running of the ship is not something we usually see - daily duties may not make for the most exciting stories, but once in a while a peak into shipboard life away from the battles, missions and spatial conundrums can be revealing and a delight as the constructed reality is brought further to life. Who better to take us through such things than Data, a simple, well-meaning outsider, trying to comprehend and anticipate other people's ways. His commentary on the experiences he goes through are enlightening to his view of the world, and his perfect mimicry of Dr. Crusher's dancing shows what feats he's physically capable of. But the episode is more than a slow-burner as the trials of wedding preparation, the confusion between Keiko and O'Brien and the haughty ambassador-turned-spy, T'Pel, all create diversions from Data's regular activities.
It's frustrating to see the Enterprise bested by the Romulans like that, but staying to engage with five Warbirds wouldn't have been a prudent move - even Picard retreats when it's necessary, which is a valuable lesson in itself. The enjoyment comes in the flourishing of O'Brien as a fully-formed character, and the introduction of his bride Keiko Ishikawa. It would have been better if she'd been seen before, as her appearance into shipboard life is very sudden, though Data has known her a long time. It must be remembered that the O'Brien's were recurring characters, not members of the main cast, easy to forget after their move to 'DS9'.
My favourite section is the dancing, in which Data proves very capable, although it is a mystery why he didn't simply download dancing routines into his program - he must have wanted social connection more than just details, and it did give him a chance to interact with the Doc in a different setting. I'd never seen the last third of the episode, so it was a little disappointing that it didn't quite live up to the rest, as Data's observations take a back seat to the unfolding Romulan plot. It might have been better not to have over-egged the pudding with that storyline.
It's really nice to hear Data's doing it all for Commander Maddox who wanted to disassemble him back in Season 2, and they have become correspondents. The idea was recycled at least once, when Dr. Phlox performed a similar experiment on 'Enterprise' which says the idea is one worth copying (not that everything 'Enterprise' copied was worth it!). Another link between the series' is mention of Andorians and that their weddings consist of four people, unless... but Data doesn't finish his sentence so we aren't treated to in-depth details of Andorian marriage rituals. The Romulan menace has woven through the series since the Season 1 finale, and though their appearance has been sporadic it's the closest thing to an ongoing arc the series has played with, along with the Borg and the Klingons.
***
Maternal Instinct
DVD, Stargate SG-1 S3 (Maternal Instinct)
Whenever Master Bretak arrives he brings gravity with him, but he also brings lots of Jafar words and a long line of plot developments, which, in this episode, get reeled off at the start, not in a confusing way, but in a way which you have to pay attention to keep up with. This time Apophis has attacked Chulak to destroy everyone - followers and rebels alike, now that he's got access to Sokar's army. Somehow this develops into a chance for Daniel to fufil his promise to Sharray, and see that her son, the Harseses is safe. It just sort of happens in an offhand way - so anyway, there's this place where Jafar don't go and which they don't talk about. Okay, so let's go there then, the child's sure to be there. Then it all goes a bit Buddhist, with 'Mother Nature' a real alien entity called Desala, probably because 'The Matrix' had inspired a bit of that kind of stuff at the time.
Daniel thinks he can now do Yoda stuff, but eventually realises it was Desala's way of communicating and the child is safe with her, so ends the quest. I did wonder how they were going to have a baby in the series, and one that would unlock the secrets of the Goa'uld. Jack's disbelief and wry observations, or lack of finesse, cause the usual chuckles, and it's nice to see Daniel getting all excited about an ancient culture again - we haven't seen that side of him for a while. The episode reminded me of the one with Ernest and his walls of wisdom, along with 'The Nox'. I don't know why, after such experiences with super-aliens like the Nox, they don't all expect the Goa'uld to be wiped out easily, but instead prepare for pitched battle. It was good to see Bretak, as ever the visuals were sumptuous, there were a few laughs, but in the end I felt it was all a bit hollow. The only development is that they now know the Harseses is safe, and it ends with Daniel going back for his shoes. A practical underlining - you can have your head in the clouds of wonder, but don't forget the needs of reality.
**
Whenever Master Bretak arrives he brings gravity with him, but he also brings lots of Jafar words and a long line of plot developments, which, in this episode, get reeled off at the start, not in a confusing way, but in a way which you have to pay attention to keep up with. This time Apophis has attacked Chulak to destroy everyone - followers and rebels alike, now that he's got access to Sokar's army. Somehow this develops into a chance for Daniel to fufil his promise to Sharray, and see that her son, the Harseses is safe. It just sort of happens in an offhand way - so anyway, there's this place where Jafar don't go and which they don't talk about. Okay, so let's go there then, the child's sure to be there. Then it all goes a bit Buddhist, with 'Mother Nature' a real alien entity called Desala, probably because 'The Matrix' had inspired a bit of that kind of stuff at the time.
Daniel thinks he can now do Yoda stuff, but eventually realises it was Desala's way of communicating and the child is safe with her, so ends the quest. I did wonder how they were going to have a baby in the series, and one that would unlock the secrets of the Goa'uld. Jack's disbelief and wry observations, or lack of finesse, cause the usual chuckles, and it's nice to see Daniel getting all excited about an ancient culture again - we haven't seen that side of him for a while. The episode reminded me of the one with Ernest and his walls of wisdom, along with 'The Nox'. I don't know why, after such experiences with super-aliens like the Nox, they don't all expect the Goa'uld to be wiped out easily, but instead prepare for pitched battle. It was good to see Bretak, as ever the visuals were sumptuous, there were a few laughs, but in the end I felt it was all a bit hollow. The only development is that they now know the Harseses is safe, and it ends with Daniel going back for his shoes. A practical underlining - you can have your head in the clouds of wonder, but don't forget the needs of reality.
**
The Loss
DVD, TNG S4 (The Loss)
I thought perhaps this episode might only be noteworthy for one of the (and probably the), earliest references to the Breen - apparently they, like Ferengi, are difficult to read empathically. Or for the 2D race of beings. Things go a bit technical, Deanna's throwing tantrums, but it's scientifically interesting for the fact that Roddenberry didn't want his characters in conflict. For once Deanna's ratty to everyone, shouting and screaming (about as much as she's ever likely to), and throwing her toys out of the Counsellor's office. At first I had no sympathy for Deanna at all, for exactly the reason Riker confronts her with later: she always had an advantage and now she's on a level footing with everyone else. But somewhere in the middle I suddenly found that actually I was sorry for her, and did feel her pain (maybe I was becoming Betazoid?). Guinan's simple, but unexpected words did wonders, as usual saying the unexpected, but Picard didn't even get a chance to tell his story!
We learn some things about the structure of the personnel on board, such as there aren't any other counsellors, when I assumed Troi had a team. She's also close to insubordination to various people, but they kindly let it pass. Also, news doesn't seem to travel around very quickly. Her patient didn't know that she'd lost her powers or about her resigning, while Guinan did, and Deanna was still worrying over people being like flat holo-projections in the midst of a crisis in which the ship is drawn inexorably towards a destructive force. She was about to become a 2D entity herself, yet she's still moping about her powers? I can only put it down to no one letting her know what danger the ship was in. Then again most people were probably keeping away from her! Her own plight was sure to lead to the inspiration which would release the ship, and her powers were sure to return, but even though it ends too easily I was happy with the resolution and the chance to see Deanna on the back foot. There's even a lovely musical outro as the ship majestically glides on its way, and I don't care that it was only there to make up time. Look out for Picard's wife from 'Star Trek: Generations' as Ensign Brooks, whom Troi is counselling.
***
I thought perhaps this episode might only be noteworthy for one of the (and probably the), earliest references to the Breen - apparently they, like Ferengi, are difficult to read empathically. Or for the 2D race of beings. Things go a bit technical, Deanna's throwing tantrums, but it's scientifically interesting for the fact that Roddenberry didn't want his characters in conflict. For once Deanna's ratty to everyone, shouting and screaming (about as much as she's ever likely to), and throwing her toys out of the Counsellor's office. At first I had no sympathy for Deanna at all, for exactly the reason Riker confronts her with later: she always had an advantage and now she's on a level footing with everyone else. But somewhere in the middle I suddenly found that actually I was sorry for her, and did feel her pain (maybe I was becoming Betazoid?). Guinan's simple, but unexpected words did wonders, as usual saying the unexpected, but Picard didn't even get a chance to tell his story!
We learn some things about the structure of the personnel on board, such as there aren't any other counsellors, when I assumed Troi had a team. She's also close to insubordination to various people, but they kindly let it pass. Also, news doesn't seem to travel around very quickly. Her patient didn't know that she'd lost her powers or about her resigning, while Guinan did, and Deanna was still worrying over people being like flat holo-projections in the midst of a crisis in which the ship is drawn inexorably towards a destructive force. She was about to become a 2D entity herself, yet she's still moping about her powers? I can only put it down to no one letting her know what danger the ship was in. Then again most people were probably keeping away from her! Her own plight was sure to lead to the inspiration which would release the ship, and her powers were sure to return, but even though it ends too easily I was happy with the resolution and the chance to see Deanna on the back foot. There's even a lovely musical outro as the ship majestically glides on its way, and I don't care that it was only there to make up time. Look out for Picard's wife from 'Star Trek: Generations' as Ensign Brooks, whom Troi is counselling.
***
Shakaar
DVD, DS9 S3 (Shakaar)
For once one of Quark's schemes goes right for him. It's only a charming little B-story, but it's worth pointing out. Usually he's jumped on by Starfleet or Odo, but this time, with the Chief 'in the zone', everyone's excited about his darts prowess. Until Quark messes up his own opportunity, and does so at the worst possible moment, too, in front of a Vulcan, the worst race to be shown up in front of. Vulcans are rarely seen on 'DS9', but they usually arrive in time to rub someone's nose in it! The real story is an excuse for a runaround on Bajor, Kai Winn's chance to grab even more power, and Kira to realise life is actually better now than when she was in the resistance, just in case she was developing romantic notions of that time. Not that she would, but sneaking around in the hills certainly cooled her ardour for the life.
We get to meet the man who formed the resistance cell Kira belonged to, and a couple of her close friends, though they can't be that close as she's hardly seen them in recent years. Shakaar wouldn't come into the series as much as he should have done - the friendly giant and his friends Furel and Lupaza were all great characters that could have really done with more exploration. A taste of William Lucking's ability comes in the story he tells of losing his arm. He's a stranger to us, but we instantly warm to him, the mark of a strong actor. Other members of the cell are mentioned, including Mobara (later to appear in 'The Darkness and The Light'). The lighting is so good in the planet scenes I'd forgotten some of the ones outside Shakaar's house were filmed on an indoor set! Visiting a farm on Bajor completes the set of visits to the main character's homeworlds this season, and recalled Season 1's 'Progress', another time Kira was put in the difficult position of having to convince someone to do what the authorities wanted. Winn should have realised that Kira's sympathies with these farmers would turn her to their way of thinking, but all she sees is Kira as a servant who happens to have a connection to Shakaar making the Major useful to her. Speaking as sweetly and as convincingly as she can, she gets Kira to do what she wants despite getting off a few barbs throughout the episode.
Winn has rarely looked more dangerous, seizing power, thinking it's all a test by the Prophets (and who's to say it wasn't - Bareil once said Winn's position as Kai would lead further than even she knew). Is there any likelihood that she induced the First Minister's heart attack somehow? There's no hint of suspicion from Sisko or Kira when discussing it, but when you think back to her plot to kill of Bareil to make sure she became Kai it fits the pattern and makes you think... Worse still, all the other times Winn has come through and won, getting what she wanted, and afterwards has proved relatively gracious, but this time things don't go her way, she's thwarted. Not only that, but Sisko refuses to help her (the Prime Directive proves useful for once!), and Kira, ever her arch-enemy is the one to deliver the news, leading to some payback for all the wrong Winn's done her. So Winn ain't gonna be happy. She looked like she was shaking with rage at the end there, and that isn't good for anyone.
Whether Kira found the honest, wholesome Shakaar appealing at this time is hard to say for certain, but her blowing out of the candle for Bareil is very symbolic, but so subtle that we wouldn't know what it really meant until later. If she wasn't in Winn's bad books she most certainly is now, and all semblance of potential for friendly relations are nixed. Winn was happy to bring Bajor to civil war as long as she crushed all opposition to her rule, but the people weren't quite ready for that kind of tyranny. Honourable mention should go to Super Bajoran - one of the soldiers chasing the Shakaar group flings himself from a hilltop to land on a gravelly hillside. Whether he was showing off or not he was clearly having fun. With Bajor being a peaceful planet the military must not get out much...
****
For once one of Quark's schemes goes right for him. It's only a charming little B-story, but it's worth pointing out. Usually he's jumped on by Starfleet or Odo, but this time, with the Chief 'in the zone', everyone's excited about his darts prowess. Until Quark messes up his own opportunity, and does so at the worst possible moment, too, in front of a Vulcan, the worst race to be shown up in front of. Vulcans are rarely seen on 'DS9', but they usually arrive in time to rub someone's nose in it! The real story is an excuse for a runaround on Bajor, Kai Winn's chance to grab even more power, and Kira to realise life is actually better now than when she was in the resistance, just in case she was developing romantic notions of that time. Not that she would, but sneaking around in the hills certainly cooled her ardour for the life.
We get to meet the man who formed the resistance cell Kira belonged to, and a couple of her close friends, though they can't be that close as she's hardly seen them in recent years. Shakaar wouldn't come into the series as much as he should have done - the friendly giant and his friends Furel and Lupaza were all great characters that could have really done with more exploration. A taste of William Lucking's ability comes in the story he tells of losing his arm. He's a stranger to us, but we instantly warm to him, the mark of a strong actor. Other members of the cell are mentioned, including Mobara (later to appear in 'The Darkness and The Light'). The lighting is so good in the planet scenes I'd forgotten some of the ones outside Shakaar's house were filmed on an indoor set! Visiting a farm on Bajor completes the set of visits to the main character's homeworlds this season, and recalled Season 1's 'Progress', another time Kira was put in the difficult position of having to convince someone to do what the authorities wanted. Winn should have realised that Kira's sympathies with these farmers would turn her to their way of thinking, but all she sees is Kira as a servant who happens to have a connection to Shakaar making the Major useful to her. Speaking as sweetly and as convincingly as she can, she gets Kira to do what she wants despite getting off a few barbs throughout the episode.
Winn has rarely looked more dangerous, seizing power, thinking it's all a test by the Prophets (and who's to say it wasn't - Bareil once said Winn's position as Kai would lead further than even she knew). Is there any likelihood that she induced the First Minister's heart attack somehow? There's no hint of suspicion from Sisko or Kira when discussing it, but when you think back to her plot to kill of Bareil to make sure she became Kai it fits the pattern and makes you think... Worse still, all the other times Winn has come through and won, getting what she wanted, and afterwards has proved relatively gracious, but this time things don't go her way, she's thwarted. Not only that, but Sisko refuses to help her (the Prime Directive proves useful for once!), and Kira, ever her arch-enemy is the one to deliver the news, leading to some payback for all the wrong Winn's done her. So Winn ain't gonna be happy. She looked like she was shaking with rage at the end there, and that isn't good for anyone.
Whether Kira found the honest, wholesome Shakaar appealing at this time is hard to say for certain, but her blowing out of the candle for Bareil is very symbolic, but so subtle that we wouldn't know what it really meant until later. If she wasn't in Winn's bad books she most certainly is now, and all semblance of potential for friendly relations are nixed. Winn was happy to bring Bajor to civil war as long as she crushed all opposition to her rule, but the people weren't quite ready for that kind of tyranny. Honourable mention should go to Super Bajoran - one of the soldiers chasing the Shakaar group flings himself from a hilltop to land on a gravelly hillside. Whether he was showing off or not he was clearly having fun. With Bajor being a peaceful planet the military must not get out much...
****
Monday, 13 December 2010
Lexmas
DVD, Smallville S5 (Lexmas)
I can't decide if I like this or not. Maybe I can talk myself round one way or the other. A Christmas episode was completely unexpected and something I could never have foreseen - the series just isn't that type of show, it doesn't do 'special' themed episodes like that. Not that that's a bad thing, but it was a bit jarring at first, and I have to say that as far as the twinkling lights and sparkling glows went I found them rather garish, a strange admission to make watching it in the run up to Christmas time! Lex' fall into a coma wasn't the sort of thing to impress, but a standard writer's device for carrying off an 'It's A Wonderful Life' or 'A Christmas Carol' style of story (both of which are referenced, Clark says Lex has a wonderful life, and Lex mentions Ebeneezer Scrooge). Again, it doesn't matter that it's not inventive because of the way it shows an alternate future, one we know will never happen, in which Lex finds love and happiness by turning his back on money and power, only for it to blow up in his face and become the lynchpin in his turn to the dark side.
I don't get what the intentions were with this story, beyond having some fun with the 'what if?' scenario. Is it telling us that Lex has no prospect for a happy life whatever he does? Is he destined to self-destruct whatever happens? It's a bleak message wrapped up in a big, red ribbon, which is the hardest thing to swallow in the story. It isn't hard to accept that Lex has realised what he wants and slowly is letting his grip on real life slip away as he moves towards the evil figure he should become, but it is hard to accept that he would dream of his Mother telling him that this was the only way he could go - short-lived happiness was all he could get in exchange for riches and status. Or is it all just something conjured up in his mind, and he's so bent towards his own wants that he came up with this scenario to convince himself he should stop at nothing to protect himself in life? Or did it all mean nothing and it was just a dream he's decided to take seriously?
The sad thing is that the need to control everything, even for good intentions such as the protection of loved ones, is what real people aspire to, and what can make people evil in real life. Yet they, and Lex, aren't seeming to see the truth of living - no matter how much money, how much control, you can never control everything. It's surely better to be happy in obscurity than trying to take hold of 'destiny' or the environment around you to the detriment of all else. Put it down to the madness Lex experienced in Season 3. He never went back to the totally friendly, true guy he had been and his own dark childhood has twisted him almost completely.
The other side of the story, the 'real world' as you might call it, features some fun little moments, such as Clark saving an old man from jumping off a building, and for the fact that Clark actually becomes Father Christmas for a bit, dashing round to deliver presents. I wonder if he left a trail of smashed in locks in his wake?! I wasn't quite so keen on the old guy turning out to really be Father Christmas, and, maybe this was a comment on the 'magic' of Christmas, but I found at times I almost wasn't sure if we were in Lex' head or in reality, so surreal was the episode, and so bright and twinkly were both settings! It pushes the envelope out even further, to suggest FC really was there, and that was one thing I thought might be explained away - he had special powers from meteorite-laced Vodka, or whatever. The other bit was why the girl shot Lex. He'd already handed the keys over to her boyfriend, and she actually seemed taken aback when he pulled a gun. I was sure there was going to be some explanation, some clever reason why she had been the one to shoot him instead of her boyfriend, beyond the immediate surprise of where the shot came from.
Dr. Scanlan is back again in the SMC, and I think the name Dr. Litvack had been mentioned in other stories, or seen. I still don't buy Lex' obsession with Lana, which came out of nowhere, even if he says he always loved her, and Mr. Kent's running for office seems more and more like it was only created to get rid of him, even though Jonathan being interested in political office is about as far from the character as you can go. No wonder John Schneider wanted out. Most of what I've written has been negative, mainly because those are the easier things to notice and remember, but I think I did edge towards thinking favourably overall - seeing Lex struggle with a baby seat, or driving some cramped old car, wearing jeans, was so far from his usual slick image adding moments of joyful oddness to the story.
Whether it would have been better to make the episode from the point of view of the coma as reality until we find out otherwise may not have worked as well, since we'd know it wasn't real and he was going to wake up at some point, and also would have negated the option for Clark Claus to show up. He'd better watch out - already Chloe's using emotional blackmail to take advantage of his skills! So I can't give any points for originality, or even style, but whether it's the Christmas spirit coming through or the smaller elements that popped up here and there, I'm going to be generous and officially mark it as a good episode. Up until the totally unhappy ending.
***
I can't decide if I like this or not. Maybe I can talk myself round one way or the other. A Christmas episode was completely unexpected and something I could never have foreseen - the series just isn't that type of show, it doesn't do 'special' themed episodes like that. Not that that's a bad thing, but it was a bit jarring at first, and I have to say that as far as the twinkling lights and sparkling glows went I found them rather garish, a strange admission to make watching it in the run up to Christmas time! Lex' fall into a coma wasn't the sort of thing to impress, but a standard writer's device for carrying off an 'It's A Wonderful Life' or 'A Christmas Carol' style of story (both of which are referenced, Clark says Lex has a wonderful life, and Lex mentions Ebeneezer Scrooge). Again, it doesn't matter that it's not inventive because of the way it shows an alternate future, one we know will never happen, in which Lex finds love and happiness by turning his back on money and power, only for it to blow up in his face and become the lynchpin in his turn to the dark side.
I don't get what the intentions were with this story, beyond having some fun with the 'what if?' scenario. Is it telling us that Lex has no prospect for a happy life whatever he does? Is he destined to self-destruct whatever happens? It's a bleak message wrapped up in a big, red ribbon, which is the hardest thing to swallow in the story. It isn't hard to accept that Lex has realised what he wants and slowly is letting his grip on real life slip away as he moves towards the evil figure he should become, but it is hard to accept that he would dream of his Mother telling him that this was the only way he could go - short-lived happiness was all he could get in exchange for riches and status. Or is it all just something conjured up in his mind, and he's so bent towards his own wants that he came up with this scenario to convince himself he should stop at nothing to protect himself in life? Or did it all mean nothing and it was just a dream he's decided to take seriously?
The sad thing is that the need to control everything, even for good intentions such as the protection of loved ones, is what real people aspire to, and what can make people evil in real life. Yet they, and Lex, aren't seeming to see the truth of living - no matter how much money, how much control, you can never control everything. It's surely better to be happy in obscurity than trying to take hold of 'destiny' or the environment around you to the detriment of all else. Put it down to the madness Lex experienced in Season 3. He never went back to the totally friendly, true guy he had been and his own dark childhood has twisted him almost completely.
The other side of the story, the 'real world' as you might call it, features some fun little moments, such as Clark saving an old man from jumping off a building, and for the fact that Clark actually becomes Father Christmas for a bit, dashing round to deliver presents. I wonder if he left a trail of smashed in locks in his wake?! I wasn't quite so keen on the old guy turning out to really be Father Christmas, and, maybe this was a comment on the 'magic' of Christmas, but I found at times I almost wasn't sure if we were in Lex' head or in reality, so surreal was the episode, and so bright and twinkly were both settings! It pushes the envelope out even further, to suggest FC really was there, and that was one thing I thought might be explained away - he had special powers from meteorite-laced Vodka, or whatever. The other bit was why the girl shot Lex. He'd already handed the keys over to her boyfriend, and she actually seemed taken aback when he pulled a gun. I was sure there was going to be some explanation, some clever reason why she had been the one to shoot him instead of her boyfriend, beyond the immediate surprise of where the shot came from.
Dr. Scanlan is back again in the SMC, and I think the name Dr. Litvack had been mentioned in other stories, or seen. I still don't buy Lex' obsession with Lana, which came out of nowhere, even if he says he always loved her, and Mr. Kent's running for office seems more and more like it was only created to get rid of him, even though Jonathan being interested in political office is about as far from the character as you can go. No wonder John Schneider wanted out. Most of what I've written has been negative, mainly because those are the easier things to notice and remember, but I think I did edge towards thinking favourably overall - seeing Lex struggle with a baby seat, or driving some cramped old car, wearing jeans, was so far from his usual slick image adding moments of joyful oddness to the story.
Whether it would have been better to make the episode from the point of view of the coma as reality until we find out otherwise may not have worked as well, since we'd know it wasn't real and he was going to wake up at some point, and also would have negated the option for Clark Claus to show up. He'd better watch out - already Chloe's using emotional blackmail to take advantage of his skills! So I can't give any points for originality, or even style, but whether it's the Christmas spirit coming through or the smaller elements that popped up here and there, I'm going to be generous and officially mark it as a good episode. Up until the totally unhappy ending.
***
Final Mission
DVD, TNG S4 (Final Mission)
Having the episodes on DVD, the slip-in-and-out format, where you can watch all the stories in order at your own convenience, has been an affordable way to get in touch with the 'Star Trek' series' like never before. It's given me the chance to reappraise the episodes, stories and characters, particularly ones that I didn't much like on original viewing. One of those who reversed my opinions was Kes on 'Voyager', the other was Wesley Crusher. I never much cared for him, with his experiments and his bland behaviour and his lack of development, but becoming reacquainted with the 'TNG' characters on a regular basis has shown the young man in a new light.
His reputation as the child genius that's always saving the ship is undeserved - such an occurrence rarely happened. The development I thought was missing has woven itself subtly through the first four seasons, from barely being acknowledged by Picard, through to gradual acceptance, earning his position on the ship and eventually following the footsteps of his deceased Father, with Captain Picard becoming almost a mentor. What I took for blandness I see as restraint, uprightness and a hard-working temperament learning to live with his own high expectations, yet being presented with the special brand of the Traveller to mark him out as exceptional. He also represents youth, 'at the beginning of the adventure' as Picard puts it, the Captain's envy of such a time in his life that will never come again is more powerful and affecting even than Wesley's admission that all he ever wanted to do was make Picard proud of him.
He had a strong episode to finish with, and one that showcased his growing up, taking charge, to an extent, from the rumpled Captain Dirgo, a no-good type who deserved his fate through ignorance. Wes' courage is shown strongly in the way he tries to defeat the sentry technology even after seeing the gruesome fate of Dirgo. Nick Tate doesn't do a bad job, but the character wasn't as compelling as his other role, mob member Bilby in 'DS9' episode 'Honour Among Thieves'. He's played as a lowly, scruffy drifter who doesn't take authority well and only looks out for himself. Having recently got into the old Amiga game 'Frontier - Elite II' I can vouch firsthand for the difficulty of landing a shuttle from space manually. The music in this sequence was very 'Star Wars' and it made for a good scene, even if the jiggling motion of the set didn't fit the rotating, floaty inertia of the model's trajectory. The visuals throughout are attractively bathed in golden light and although the shuttle crash is a downer there's a sense of a proper adventure with the three of them tramping off into the barren surround. They should have moved in a straight line from the arrow, I would point out, instead of veering off to the right, but perhaps they made up for the veer later! I also felt the neatly chiselled steps in the cave were a little too convenient, though for the most part the set looked good, and differed well from the familiar cave set.
The Enterprise is coincidentally called away at the crucial moment (like that 'TOS' one which I can't remember the name of right now), and I always thought the Malon in 'Voyager' were quite an original concept. Here we see the Enterprise having to deal with a radioactive waste scow, so maybe it drifted out of a wormhole in the Delta Quadrant? The aliens on the planet (they're always a peaceful, non-violent people without any form of weapon or defence - so not too intelligent either, or did they not consider the need for a contingency plan in case large objects collided with their planet?) actually looked like they'd already been contaminated with extreme radiation poisoning, or is that a racist slur?
The episode could have been stronger or more heartfelt or given Wes a bigger send-off, but for a messy, dirty alternative to the sparkling halls and ambassadorial dinners more familiar to Picard, it worked a treat. It's always sad when a character leaves a series, even though in 'Star Trek' there are always possibilities, as a famous pointy-eared legend once said. The adventures of young Crusher would be occasionally dipped into, but never mapped out properly which is a great shame. The series lost something when Tasha, then Beverly, then Wesley left, but at the same time the series was tightened up and I think Season Four is the next stretch of an upward curve, with a great start. Strangely, watching through the series again, Wesley will indeed be missed.
***
Having the episodes on DVD, the slip-in-and-out format, where you can watch all the stories in order at your own convenience, has been an affordable way to get in touch with the 'Star Trek' series' like never before. It's given me the chance to reappraise the episodes, stories and characters, particularly ones that I didn't much like on original viewing. One of those who reversed my opinions was Kes on 'Voyager', the other was Wesley Crusher. I never much cared for him, with his experiments and his bland behaviour and his lack of development, but becoming reacquainted with the 'TNG' characters on a regular basis has shown the young man in a new light.
His reputation as the child genius that's always saving the ship is undeserved - such an occurrence rarely happened. The development I thought was missing has woven itself subtly through the first four seasons, from barely being acknowledged by Picard, through to gradual acceptance, earning his position on the ship and eventually following the footsteps of his deceased Father, with Captain Picard becoming almost a mentor. What I took for blandness I see as restraint, uprightness and a hard-working temperament learning to live with his own high expectations, yet being presented with the special brand of the Traveller to mark him out as exceptional. He also represents youth, 'at the beginning of the adventure' as Picard puts it, the Captain's envy of such a time in his life that will never come again is more powerful and affecting even than Wesley's admission that all he ever wanted to do was make Picard proud of him.
He had a strong episode to finish with, and one that showcased his growing up, taking charge, to an extent, from the rumpled Captain Dirgo, a no-good type who deserved his fate through ignorance. Wes' courage is shown strongly in the way he tries to defeat the sentry technology even after seeing the gruesome fate of Dirgo. Nick Tate doesn't do a bad job, but the character wasn't as compelling as his other role, mob member Bilby in 'DS9' episode 'Honour Among Thieves'. He's played as a lowly, scruffy drifter who doesn't take authority well and only looks out for himself. Having recently got into the old Amiga game 'Frontier - Elite II' I can vouch firsthand for the difficulty of landing a shuttle from space manually. The music in this sequence was very 'Star Wars' and it made for a good scene, even if the jiggling motion of the set didn't fit the rotating, floaty inertia of the model's trajectory. The visuals throughout are attractively bathed in golden light and although the shuttle crash is a downer there's a sense of a proper adventure with the three of them tramping off into the barren surround. They should have moved in a straight line from the arrow, I would point out, instead of veering off to the right, but perhaps they made up for the veer later! I also felt the neatly chiselled steps in the cave were a little too convenient, though for the most part the set looked good, and differed well from the familiar cave set.
The Enterprise is coincidentally called away at the crucial moment (like that 'TOS' one which I can't remember the name of right now), and I always thought the Malon in 'Voyager' were quite an original concept. Here we see the Enterprise having to deal with a radioactive waste scow, so maybe it drifted out of a wormhole in the Delta Quadrant? The aliens on the planet (they're always a peaceful, non-violent people without any form of weapon or defence - so not too intelligent either, or did they not consider the need for a contingency plan in case large objects collided with their planet?) actually looked like they'd already been contaminated with extreme radiation poisoning, or is that a racist slur?
The episode could have been stronger or more heartfelt or given Wes a bigger send-off, but for a messy, dirty alternative to the sparkling halls and ambassadorial dinners more familiar to Picard, it worked a treat. It's always sad when a character leaves a series, even though in 'Star Trek' there are always possibilities, as a famous pointy-eared legend once said. The adventures of young Crusher would be occasionally dipped into, but never mapped out properly which is a great shame. The series lost something when Tasha, then Beverly, then Wesley left, but at the same time the series was tightened up and I think Season Four is the next stretch of an upward curve, with a great start. Strangely, watching through the series again, Wesley will indeed be missed.
***
Future Imperfect
DVD, TNG S4 (Future Imperfect)
Another fake reality story, not that I'm complaining, but it's been done better. The reality within a reality was much more real in 'Inquisition' ('DS9'), but the set-up here is certainly succeeds in misleading us, as the Romulans close proximity and the likelihood of their kidnapping Riker making us quick to suspect them. Tomalak makes his third appearance, though only from out of Riker's memories, but I must say the key to unravelling the mystery was very well placed for regular viewers. His 'wife' is given the name Min, and that might not spark off suspicions, but once you see her in the home recording, as Riker, you can put the clues together and recognise Minuet from the first season's '11001001'. Clever to make a part of his past that was so real to him, yet leaving the flaw that would reveal the deception, and something that must have been like the flourish of a magician's trick when viewed for the first time. A very nice touch to bring back such a character, if only we'd seen more of her.
As ever with these kinds of episodes it's great fun spotting all the differences, and to be fair some weren't far off the mark - Geordi would lose the VISOR, Data would age and Riker would sport a grey-flecked beard as Captain, though not, sadly, of the Enterprise. This time of course it isn't an alternate reality or a possible future, but an alien boy's manifestation of a feasible way to make Riker accept the situation, and the reality in a reality of the Romulan Holodeck made it a touch more convoluted. The young actor that plays Barash accomplishes the precociousness of being a Riker, with the well-meaning of a misguided and lonely alien, keeping the balance between being sympathetic, yet knowing more than he lets on. A good performance.
Nurse Ogawa is seen for the first time, a female Klingon walks the corridors of the Enterprise, and long before Nog we have a Ferengi crewmember on the bridge of a starship! There are also some nice little moments as Riker comes to terms with fatherhood, takes his son to heart, or when he realises the falsity of his surroundings and tells Admiral Picard to shut his mouth. A long way from being a classic, but an enjoyable adventure all the same.
***
Another fake reality story, not that I'm complaining, but it's been done better. The reality within a reality was much more real in 'Inquisition' ('DS9'), but the set-up here is certainly succeeds in misleading us, as the Romulans close proximity and the likelihood of their kidnapping Riker making us quick to suspect them. Tomalak makes his third appearance, though only from out of Riker's memories, but I must say the key to unravelling the mystery was very well placed for regular viewers. His 'wife' is given the name Min, and that might not spark off suspicions, but once you see her in the home recording, as Riker, you can put the clues together and recognise Minuet from the first season's '11001001'. Clever to make a part of his past that was so real to him, yet leaving the flaw that would reveal the deception, and something that must have been like the flourish of a magician's trick when viewed for the first time. A very nice touch to bring back such a character, if only we'd seen more of her.
As ever with these kinds of episodes it's great fun spotting all the differences, and to be fair some weren't far off the mark - Geordi would lose the VISOR, Data would age and Riker would sport a grey-flecked beard as Captain, though not, sadly, of the Enterprise. This time of course it isn't an alternate reality or a possible future, but an alien boy's manifestation of a feasible way to make Riker accept the situation, and the reality in a reality of the Romulan Holodeck made it a touch more convoluted. The young actor that plays Barash accomplishes the precociousness of being a Riker, with the well-meaning of a misguided and lonely alien, keeping the balance between being sympathetic, yet knowing more than he lets on. A good performance.
Nurse Ogawa is seen for the first time, a female Klingon walks the corridors of the Enterprise, and long before Nog we have a Ferengi crewmember on the bridge of a starship! There are also some nice little moments as Riker comes to terms with fatherhood, takes his son to heart, or when he realises the falsity of his surroundings and tells Admiral Picard to shut his mouth. A long way from being a classic, but an enjoyable adventure all the same.
***
Family Business
DVD, DS9 S3 (Family Business)
Quark's family is the unlikely source of the narrative, but it's as much about Jake's hopes to get Sisko and Kasidy Yates together. The freighter captain has been built up a lot, or to be precise, Sisko's meeting with her has been, as everyone seems to know about it, much like Bashir's impending encounter with Dr. Lense in the last episode. In that, his colleagues were happy to tease him, but a more professional tone is taken with their Commander, they're more embarrassed to confess they know about it. Sisko immediately sees Kasidy's not what he was expecting, but to be fair he had low expectations. It isn't until the magic words "sliding into second base" that things take off unexpectedly with a joint love of the ancient and forgotten sport of baseball providing instant connection - the funniest moment is not the Ferengi frivolities as might be anticipated, but Commander Sisko's reaction to Kasidy's interest in the sport. Up to that point they've been a little embarrassed about Jake's obvious match-making, but this, the single most important revelation for Sisko turns things around. You wonder if Jake knew of this trump card and tactically kept quiet about it... And thus, something is born that would, like Leeta's introduction in the previous story, and Brunt and Ishka's in this one, endure to the end of the series, though none of those characters could be said to be obvious contenders for recurrence from their first appearances.
Brunt, played by Jeffrey Combs, back after appearing in the disgustingly rich and self-absorbed role of alien Tiron, is seen as business-like, a little officious perhaps, but only interested in getting the job done as quickly as possible before he's off to the next infraction. You don't even get a sense that he enjoys the power he holds from his brisk manner, but there's no animosity between him and Quark at this stage as the barkeep appears to be compliant at every step. The full 'brunt' of of the FCA Liquidator's authority isn't felt this time, he's in and out as quick as possible, though his parting comment about hoping never to see them again would not come true. Quark even agrees with Brunt and traditional Ferengi's views on the subject of women not being allowed to earn profit, wear clothes, travel or speak to strangers, but it becomes evident his values aren't as important as profit - his greed is greater than his shame when it comes to Ishka sharing her acquisitions 50-50!
We soon get to know Ishka, or Moogie, her affectionate nickname, as a contrary, self-willed female that has always been untraditional even when her boys were young. Quark's always been ashamed and was taunted by the other Ferengi children that his mother wouldn't chew his food for him or would talk to strangers. Details such as these add greatly to both Quark and Rom's character, and explain a few things, such as the way Quark treats Rom - he always took Moogie's side, and Quark knows what she says about their Father, Keldar is true, that he didn't have a business head, though he doesn't want to admit it. It also explains the way Rom has grown up to be less of a Ferengi than his brother, besides the fact he's not very quick or confident - he spent another ten years at home after Quark left, no doubt Moogie's influence grew stronger, but little did she know what her ways would lead to, indirectly planting the seed of change to Ferengi society through her son.
Rom comes out of his shell and into his own, cowing Quark and Ishka into submission from surprise at his outburst and impassioned speech about the state of the family. He's not as stupid as he seems. Almost as stupid, but not quite. Moogie must have been a big influence on the way he believed, though she is as interested in Ferengi values of profit-making as anything else. Rom is more interested in the happiness of people, it seems, after his unsuccessful attempts to be devious or grasping. Ironically he carries it off for once, lying to get Quark and Moogie together. It's possible to make an estimate of Quark's age from the facts in this episode. We know he left home twenty years ago, at his Age of Ascension. Nog's just completed that rite in his mid-teens so Quark must be in his mid-thirties now. When Quark leaves for Ferenginar a number of Ferengi seem to be going off at the same time - my theory is that it's the waiters and other Ferengi operators of the bar, taking advantage of its closure to visit home just like their boss. Maybe they saved money by all chartering the same shuttle - that would have made for an episode in its own right!
Many aspects of Ferengi tradition and life are explored. We don't see much of the homeworld, but it lives up to the food they like to eat, being a perfect, moist climate for bugs and grubs. We see the famous Tower of Commerce reaching majestically into the sky, and Quark even climbs its stairways (off-camera). Every little thing must be paid for so I can't imagine there are many poor people in Ferengi society. If everyone charges even to admit visitors or to sit in a chair or use basic amenities then money must constantly be changing hands and even the weakest entrepreneur could get by if they put some effort into profit-making. The architecture, spheres abounding, continues the design first established way back in the race's first appearance in 'TNG', but enhances it. The snail-shell design of the chair, the low doorways, the lighting balls in the ceiling in the same style as their ship's consoles, even the hint of a huge version in the dome of the house, all fit with the Ferengi look and style. It's such a pleasure just to visit such an alien culture, yet we also get to meet Quark's mother and hear about his family life growing up (including other relatives being mentioned to add to the list, in Adred, Quark's Grandad, and Cousin Stol who was spoken of in 'Q-Less').
The other characters on the station aren't featured as much, but Sisko and Kira discuss the new Runabout (replacing the Mekong) which he names Rubicon. Kira even makes a joke of the number of Runabouts they get through, and that it's a good job Earth has a lot of rivers! Like the previous episode an example of the Napean species can be seen in the background, this time as one of Kasidy's crew. The reality is probably they needed to reuse the makeup, but it is funny that you never see them and then two turn up in quick succession. Sisko's cooking is again featured, and Mai'Hardu's race are shown to be more than just servants when we hear Moogie made money on Hupyrian beetle snuff, so perhaps the race exports it? Visiting Ferenginar has just about completed the set of homeworlds for the season. We've been to Earth, Trill, Odo's chunk of rock, even Kronos, in fact the only relevant world we haven't been to this season is the one on their doorstep: Bajor. That would very shortly be remedied.
****
Quark's family is the unlikely source of the narrative, but it's as much about Jake's hopes to get Sisko and Kasidy Yates together. The freighter captain has been built up a lot, or to be precise, Sisko's meeting with her has been, as everyone seems to know about it, much like Bashir's impending encounter with Dr. Lense in the last episode. In that, his colleagues were happy to tease him, but a more professional tone is taken with their Commander, they're more embarrassed to confess they know about it. Sisko immediately sees Kasidy's not what he was expecting, but to be fair he had low expectations. It isn't until the magic words "sliding into second base" that things take off unexpectedly with a joint love of the ancient and forgotten sport of baseball providing instant connection - the funniest moment is not the Ferengi frivolities as might be anticipated, but Commander Sisko's reaction to Kasidy's interest in the sport. Up to that point they've been a little embarrassed about Jake's obvious match-making, but this, the single most important revelation for Sisko turns things around. You wonder if Jake knew of this trump card and tactically kept quiet about it... And thus, something is born that would, like Leeta's introduction in the previous story, and Brunt and Ishka's in this one, endure to the end of the series, though none of those characters could be said to be obvious contenders for recurrence from their first appearances.
Brunt, played by Jeffrey Combs, back after appearing in the disgustingly rich and self-absorbed role of alien Tiron, is seen as business-like, a little officious perhaps, but only interested in getting the job done as quickly as possible before he's off to the next infraction. You don't even get a sense that he enjoys the power he holds from his brisk manner, but there's no animosity between him and Quark at this stage as the barkeep appears to be compliant at every step. The full 'brunt' of of the FCA Liquidator's authority isn't felt this time, he's in and out as quick as possible, though his parting comment about hoping never to see them again would not come true. Quark even agrees with Brunt and traditional Ferengi's views on the subject of women not being allowed to earn profit, wear clothes, travel or speak to strangers, but it becomes evident his values aren't as important as profit - his greed is greater than his shame when it comes to Ishka sharing her acquisitions 50-50!
We soon get to know Ishka, or Moogie, her affectionate nickname, as a contrary, self-willed female that has always been untraditional even when her boys were young. Quark's always been ashamed and was taunted by the other Ferengi children that his mother wouldn't chew his food for him or would talk to strangers. Details such as these add greatly to both Quark and Rom's character, and explain a few things, such as the way Quark treats Rom - he always took Moogie's side, and Quark knows what she says about their Father, Keldar is true, that he didn't have a business head, though he doesn't want to admit it. It also explains the way Rom has grown up to be less of a Ferengi than his brother, besides the fact he's not very quick or confident - he spent another ten years at home after Quark left, no doubt Moogie's influence grew stronger, but little did she know what her ways would lead to, indirectly planting the seed of change to Ferengi society through her son.
Rom comes out of his shell and into his own, cowing Quark and Ishka into submission from surprise at his outburst and impassioned speech about the state of the family. He's not as stupid as he seems. Almost as stupid, but not quite. Moogie must have been a big influence on the way he believed, though she is as interested in Ferengi values of profit-making as anything else. Rom is more interested in the happiness of people, it seems, after his unsuccessful attempts to be devious or grasping. Ironically he carries it off for once, lying to get Quark and Moogie together. It's possible to make an estimate of Quark's age from the facts in this episode. We know he left home twenty years ago, at his Age of Ascension. Nog's just completed that rite in his mid-teens so Quark must be in his mid-thirties now. When Quark leaves for Ferenginar a number of Ferengi seem to be going off at the same time - my theory is that it's the waiters and other Ferengi operators of the bar, taking advantage of its closure to visit home just like their boss. Maybe they saved money by all chartering the same shuttle - that would have made for an episode in its own right!
Many aspects of Ferengi tradition and life are explored. We don't see much of the homeworld, but it lives up to the food they like to eat, being a perfect, moist climate for bugs and grubs. We see the famous Tower of Commerce reaching majestically into the sky, and Quark even climbs its stairways (off-camera). Every little thing must be paid for so I can't imagine there are many poor people in Ferengi society. If everyone charges even to admit visitors or to sit in a chair or use basic amenities then money must constantly be changing hands and even the weakest entrepreneur could get by if they put some effort into profit-making. The architecture, spheres abounding, continues the design first established way back in the race's first appearance in 'TNG', but enhances it. The snail-shell design of the chair, the low doorways, the lighting balls in the ceiling in the same style as their ship's consoles, even the hint of a huge version in the dome of the house, all fit with the Ferengi look and style. It's such a pleasure just to visit such an alien culture, yet we also get to meet Quark's mother and hear about his family life growing up (including other relatives being mentioned to add to the list, in Adred, Quark's Grandad, and Cousin Stol who was spoken of in 'Q-Less').
The other characters on the station aren't featured as much, but Sisko and Kira discuss the new Runabout (replacing the Mekong) which he names Rubicon. Kira even makes a joke of the number of Runabouts they get through, and that it's a good job Earth has a lot of rivers! Like the previous episode an example of the Napean species can be seen in the background, this time as one of Kasidy's crew. The reality is probably they needed to reuse the makeup, but it is funny that you never see them and then two turn up in quick succession. Sisko's cooking is again featured, and Mai'Hardu's race are shown to be more than just servants when we hear Moogie made money on Hupyrian beetle snuff, so perhaps the race exports it? Visiting Ferenginar has just about completed the set of homeworlds for the season. We've been to Earth, Trill, Odo's chunk of rock, even Kronos, in fact the only relevant world we haven't been to this season is the one on their doorstep: Bajor. That would very shortly be remedied.
****
Explorers
DVD, DS9 S3 (Explorers)
There are few episodes in the pantheon of Trek adventures in which nothing bad happens, threat being the main motivator in science fiction or space action stories. Threats are not always necessary to craft a genuinely enjoyable tale as proved by this entry, late in Season 3. Detractors might claim it veers too close to soap opera with the introduction, brief as it was, of Dabo girl Leeta (difficult from that scene to imagine the growing prominence such a tiny cameo would lead to), and Bashir's personal life, revolving around his old feelings of inadequacy, and Jake's decisions about his future, but there's far too much warm-hearted pleasantness to care about the style.
Bashir's worries about former classmate Dr. Lense (who would go on to play a starring role in Trek fiction) may stem from his constant fear of being discovered as a fraud, the old excuse about the pre-ganglionic fibre being mistaken for a post-ganglionic nerve sounding thinner each time it's mentioned! At this stage in the series we don't know about his secret, so the competitive nature of the classmates is seen as the cause. Lense may not be quite as intelligent as she's made out to be if she thinks an Andorian would have a name like Julian Bashir, but it made a plausible excuse for the way he's ignored.
It's one of the most English episodes ever, thanks to O'Brien and Bashir's rousing drunk rendition of 'Jerusalem', as well as the fact that the CG creation (the first full-CG ship in Trek?) of the Bajoran solar sailing ship was made in England! The friendship between the two British Isles crewmates came out of nowhere, like in real life - there was no sudden realisation that the two were friends, just a gradual understanding between them as the Doctor wore the Chief down. Since Keiko's absence they've become closer than ever and all this is laid out straight in a way that isn't often attempted thanks to the subtle style of the series: "People either love you or hate you. When I first met you I hated you, but now... I don't." A similar funny moment would occur in one of the last episodes of the final season when the two are in Sloan's mind.
Jake's uncertain career gets a boost with the discovery of his writing talent as revealed by Mardah earlier in the season. She may have left, but Jake's aspirations have continued, culminating in an offer of a writing fellowship from the prestigious Pennington School in New Zealand - so we now know the Kiwi islands have more uses than the penal colony Tom Paris was incarcerated in! Jake's friendship with Leanne has been repaired after the disastrous double-date he and Nog went on, as he's looking forward to her return from Bajor. He's happy to put his career on hold for at least a year, partly because the station is such a good place for experience, partly because he doesn't want to leave the old man alone, and partly because, with Nog likely to be leaving for Starfleet Academy, it would be a bit too much to take Jake out of the series too. They could have had Jake and Nog involved in regular adventures on Earth, but that might have pushed the envelope beyond the series' remit further than they were ready to do at that time.
As well as Leeta's fleeting introduction we're also introduced to Sisko's beard and the possibility of a freighter captain that would turn into the solid form of Kasidy Yates. The beard could be a sign of Sisko's leave - he certainly behaves as if he's on holiday, taking a few weeks off to build the ship and then going off on the trip. Dax behaves quite motherly towards him, bringing him food and talking about his son. Amid the murky and dangerous future she's pleased to see the Commander enjoy himself. His enthusiasm and utter absorption recall 'Dramatis Personae' in Season 1 when he spent most of his time crafting a clock. The happy distraction displayed here is a far cry from the sinister obsession of that Sisko! He would later wish to build a cabin on Bajor, so his reputation as 'the Builder' was more than just a metaphor for the building up of Bajor. They could easily have nixed the beard after this episode when he's returned from his break, but it worked, so they didn't.
There is a multi-cultural side running through the episode with lots of races mentioned. Bashir being mistaken for an Andorian is the best (though I was sure his friend's name was spoken as Erit, yet the Encyclopedia has it down as Erib), but there's also room for Kira to call O'Brien a Cardassian for his doubt at the space-worthiness of the ancient ship. Funny to think how different things would be between them in the space of a year and a bit. He calls her a Romulan for claiming invention of everything first (like the old rivalry between Scotty and Chekov, both always claiming things for their respective nations!). A less noticeable race are the Napeans, as represented by Daniel Kwan in the 'TNG' episode 'Eye of The Beholder'. In one scene in Quark's bar what looks like a Napean crewman is seen among the group with Dr. Lense.
Those medical students must have been very focused on their work. Apart from the party where Bashir was mistaken for an Andorian they must not have socialised at all or she'd have known the Doctor! It's another nice piece of the puzzle that Bashir's assignment, the one he wanted and was given has turned out to be as good as he hoped, while Lense's experience hasn't been as positive. Our Doctor has the best post and is still as happy there as ever. Lense's ship the USS Lexington is not to be confused with the 'TNG' Excelsior-class Lexington of 'Thine Own Self' or 'TOS' Constitution-class Lexington of 'The Ultimate Computer'!
Sisko's connection to the Bajorans must have moved even closer as he proves their claims that ships travelled all the way to Cardassia. The Cardassians are forced, grudgingly to congratulate the successful attempt and in the interests of the alliance (and not to save face at all, oh no) announce the discovery of an ancient crash site. Dukat is the 'fortunate' one, having to eat his words after the feigned 'concern' for Sisko's safety. But it ends in one of the happiest and unexpected ways imaginable - the Cardassians throwing an impromptu space firework display. I expect they were relieved it was a human who proved the legend, rather than an actual Bajoran. The ancient craft gives rise to dialogue about things that are usually taken for granted, such as the gravity net and the bathroom and is a ripplingly beautiful design that would return again. Also notable is the best put-down Sisko ever fired at Dukat, wondering if he was the new Head of the Ministry for the Refutation of Bajoran Fairy-tales. A mouthful, but it has the charm of finesse.
****
There are few episodes in the pantheon of Trek adventures in which nothing bad happens, threat being the main motivator in science fiction or space action stories. Threats are not always necessary to craft a genuinely enjoyable tale as proved by this entry, late in Season 3. Detractors might claim it veers too close to soap opera with the introduction, brief as it was, of Dabo girl Leeta (difficult from that scene to imagine the growing prominence such a tiny cameo would lead to), and Bashir's personal life, revolving around his old feelings of inadequacy, and Jake's decisions about his future, but there's far too much warm-hearted pleasantness to care about the style.
Bashir's worries about former classmate Dr. Lense (who would go on to play a starring role in Trek fiction) may stem from his constant fear of being discovered as a fraud, the old excuse about the pre-ganglionic fibre being mistaken for a post-ganglionic nerve sounding thinner each time it's mentioned! At this stage in the series we don't know about his secret, so the competitive nature of the classmates is seen as the cause. Lense may not be quite as intelligent as she's made out to be if she thinks an Andorian would have a name like Julian Bashir, but it made a plausible excuse for the way he's ignored.
It's one of the most English episodes ever, thanks to O'Brien and Bashir's rousing drunk rendition of 'Jerusalem', as well as the fact that the CG creation (the first full-CG ship in Trek?) of the Bajoran solar sailing ship was made in England! The friendship between the two British Isles crewmates came out of nowhere, like in real life - there was no sudden realisation that the two were friends, just a gradual understanding between them as the Doctor wore the Chief down. Since Keiko's absence they've become closer than ever and all this is laid out straight in a way that isn't often attempted thanks to the subtle style of the series: "People either love you or hate you. When I first met you I hated you, but now... I don't." A similar funny moment would occur in one of the last episodes of the final season when the two are in Sloan's mind.
Jake's uncertain career gets a boost with the discovery of his writing talent as revealed by Mardah earlier in the season. She may have left, but Jake's aspirations have continued, culminating in an offer of a writing fellowship from the prestigious Pennington School in New Zealand - so we now know the Kiwi islands have more uses than the penal colony Tom Paris was incarcerated in! Jake's friendship with Leanne has been repaired after the disastrous double-date he and Nog went on, as he's looking forward to her return from Bajor. He's happy to put his career on hold for at least a year, partly because the station is such a good place for experience, partly because he doesn't want to leave the old man alone, and partly because, with Nog likely to be leaving for Starfleet Academy, it would be a bit too much to take Jake out of the series too. They could have had Jake and Nog involved in regular adventures on Earth, but that might have pushed the envelope beyond the series' remit further than they were ready to do at that time.
As well as Leeta's fleeting introduction we're also introduced to Sisko's beard and the possibility of a freighter captain that would turn into the solid form of Kasidy Yates. The beard could be a sign of Sisko's leave - he certainly behaves as if he's on holiday, taking a few weeks off to build the ship and then going off on the trip. Dax behaves quite motherly towards him, bringing him food and talking about his son. Amid the murky and dangerous future she's pleased to see the Commander enjoy himself. His enthusiasm and utter absorption recall 'Dramatis Personae' in Season 1 when he spent most of his time crafting a clock. The happy distraction displayed here is a far cry from the sinister obsession of that Sisko! He would later wish to build a cabin on Bajor, so his reputation as 'the Builder' was more than just a metaphor for the building up of Bajor. They could easily have nixed the beard after this episode when he's returned from his break, but it worked, so they didn't.
There is a multi-cultural side running through the episode with lots of races mentioned. Bashir being mistaken for an Andorian is the best (though I was sure his friend's name was spoken as Erit, yet the Encyclopedia has it down as Erib), but there's also room for Kira to call O'Brien a Cardassian for his doubt at the space-worthiness of the ancient ship. Funny to think how different things would be between them in the space of a year and a bit. He calls her a Romulan for claiming invention of everything first (like the old rivalry between Scotty and Chekov, both always claiming things for their respective nations!). A less noticeable race are the Napeans, as represented by Daniel Kwan in the 'TNG' episode 'Eye of The Beholder'. In one scene in Quark's bar what looks like a Napean crewman is seen among the group with Dr. Lense.
Those medical students must have been very focused on their work. Apart from the party where Bashir was mistaken for an Andorian they must not have socialised at all or she'd have known the Doctor! It's another nice piece of the puzzle that Bashir's assignment, the one he wanted and was given has turned out to be as good as he hoped, while Lense's experience hasn't been as positive. Our Doctor has the best post and is still as happy there as ever. Lense's ship the USS Lexington is not to be confused with the 'TNG' Excelsior-class Lexington of 'Thine Own Self' or 'TOS' Constitution-class Lexington of 'The Ultimate Computer'!
Sisko's connection to the Bajorans must have moved even closer as he proves their claims that ships travelled all the way to Cardassia. The Cardassians are forced, grudgingly to congratulate the successful attempt and in the interests of the alliance (and not to save face at all, oh no) announce the discovery of an ancient crash site. Dukat is the 'fortunate' one, having to eat his words after the feigned 'concern' for Sisko's safety. But it ends in one of the happiest and unexpected ways imaginable - the Cardassians throwing an impromptu space firework display. I expect they were relieved it was a human who proved the legend, rather than an actual Bajoran. The ancient craft gives rise to dialogue about things that are usually taken for granted, such as the gravity net and the bathroom and is a ripplingly beautiful design that would return again. Also notable is the best put-down Sisko ever fired at Dukat, wondering if he was the new Head of the Ministry for the Refutation of Bajoran Fairy-tales. A mouthful, but it has the charm of finesse.
****
New Ground
DVD, Stargate SG-1 S3 (New Ground)
Not bad, but not as good as the last couple of stories. It wasn't fully resolved, but it was going to be hard to change an entire people's beliefs in the course of one mission. The main selling points are the lush visuals, whether they be the real life quarry-type location or the ever more photorealistic CGI. This season has achieved the most solid effects work seen so far on the series, and the way ships can come into land or energy beams spread out has become almost perfect. The shot of the shuttle scouring above Teal'c's forest hideaway or the shuttle crash into the dig site were as good as any film. The acting was perfunctory, suiting the military bearing of the encountered representatives, but even the SG-1 team didn't have any good lines or inspiring moments.
The temporary side-lining of Teal'c served the story only as a time-waster so that he didn't come to his friend's aid sooner, but Nyan was a pretty reasonable companion whom it appears we'll see more of. He still has to go back to his people to help convince them of the error of their beliefs. As much as it must be exciting to enter a new world of scientific possibility he will surely get homesick for his people at some point. The story was a rather basic comment on holy war which wasn't delved into deep enough, aside from some naming and shaming of another 'false god' who worked for Ra. Seeing only the military view we didn't truly experience the people of the world.
Watching the discovery of the Stargate unfold and making first contact with the SGC from the point of view of the residents was a pleasing attempt at a different angle on familiar proceedings, and it's nice to know that even previously unavailable gate addresses are constantly being retried, though imagining Carter as an intergalactic cold-caller doesn't do her any favours - will she be offering a special deal on double-glazing? I think the idea of having the 'alien's' POV has been done before, and the set-up of a military holding the team captive because of conflicting ideology by an obtuse military man reminded me too much of Season 1's 'The First Commandment' and almost moved as little as that story, but this was better, thanks mainly to it's looks. A little more brainpower would have complemented the beauty nicely.
***
Not bad, but not as good as the last couple of stories. It wasn't fully resolved, but it was going to be hard to change an entire people's beliefs in the course of one mission. The main selling points are the lush visuals, whether they be the real life quarry-type location or the ever more photorealistic CGI. This season has achieved the most solid effects work seen so far on the series, and the way ships can come into land or energy beams spread out has become almost perfect. The shot of the shuttle scouring above Teal'c's forest hideaway or the shuttle crash into the dig site were as good as any film. The acting was perfunctory, suiting the military bearing of the encountered representatives, but even the SG-1 team didn't have any good lines or inspiring moments.
The temporary side-lining of Teal'c served the story only as a time-waster so that he didn't come to his friend's aid sooner, but Nyan was a pretty reasonable companion whom it appears we'll see more of. He still has to go back to his people to help convince them of the error of their beliefs. As much as it must be exciting to enter a new world of scientific possibility he will surely get homesick for his people at some point. The story was a rather basic comment on holy war which wasn't delved into deep enough, aside from some naming and shaming of another 'false god' who worked for Ra. Seeing only the military view we didn't truly experience the people of the world.
Watching the discovery of the Stargate unfold and making first contact with the SGC from the point of view of the residents was a pleasing attempt at a different angle on familiar proceedings, and it's nice to know that even previously unavailable gate addresses are constantly being retried, though imagining Carter as an intergalactic cold-caller doesn't do her any favours - will she be offering a special deal on double-glazing? I think the idea of having the 'alien's' POV has been done before, and the set-up of a military holding the team captive because of conflicting ideology by an obtuse military man reminded me too much of Season 1's 'The First Commandment' and almost moved as little as that story, but this was better, thanks mainly to it's looks. A little more brainpower would have complemented the beauty nicely.
***
Reunion
DVD, TNG S4 (Reunion)
'TNG' is either totally unencumbered by the past or it leaps into heavy continuity with abandon! As a result of such variance this episode is a bit disjointed. It's full of Klingon lore, family matters and the difficult positions certain people are placed in, but at times it feels like a jumble of stuff happening with a lot of questionable moments. Among these were the death scene of K'mpec which is never seen so it's rather sudden that he's taken out of it. The way K'Ehleyr finds all the evidence she needs on the true facts about Khitomer all from her console on the Enterprise is another: The Klingons would surely have buried the details more heavily than that. The way she foolishly steps close up to the enemy, Duras when he confronts her in her quarters. The fact that Worf can get away with only a reprimand on his record for killing someone, no matter who they are. Even K'mpec's seeming implicit trust in the honour of Picard could be questioned.
We're not confirmed in the conclusion that Gowron becomes leader of the High Council, we simply don't see him again, and since the only other candidate lies blood-spattered on the deck of his ship we can only assume what happens next - closure was needed for such things. The storylines ebbed and flowed in a heady swirl, but this could have been an absolute classic if they had been better presented and confidently merged instead of veering all over the place in terms of emotions or keeping up with events. Not to say it isn't a good story, just not told in the best way, in my view.
Big changes are in store, but the series isn't yet quite comfortable enough to allow Alexander to stay intrude on Worf's life on a permanent basis or alter the status quo on the ship. Worf is free to continue as before, and the rest of the crew weren't a big part of the Klingon proceedings. The important things are the taking up of last season's threads regarding Worf's discommendation, the introduction of his son Alexander, the deaths of his mate K'Ehleyr and enemy Duras, and the connection with the Romulans which Duras apparently had, another little thing that isn't explained, but would lead to further developments later in the season.
Gowron and Alexander would go on to feature for several years culminating in the latter seasons on 'DS9', the Duras family would continue to harrass and give the Klingons a bad name even into 'Enterprise', and Worf's situation would also be long in reaching resolution. These points create a better reason to watch the episode than for a slice of slightly confusing Klingon soap opera which, as explained, don't make for the most cohesive or fitting conclusion, but do keep the brain active. And what was Duras' sword about? Why didn't he use a Batleth?!
***
'TNG' is either totally unencumbered by the past or it leaps into heavy continuity with abandon! As a result of such variance this episode is a bit disjointed. It's full of Klingon lore, family matters and the difficult positions certain people are placed in, but at times it feels like a jumble of stuff happening with a lot of questionable moments. Among these were the death scene of K'mpec which is never seen so it's rather sudden that he's taken out of it. The way K'Ehleyr finds all the evidence she needs on the true facts about Khitomer all from her console on the Enterprise is another: The Klingons would surely have buried the details more heavily than that. The way she foolishly steps close up to the enemy, Duras when he confronts her in her quarters. The fact that Worf can get away with only a reprimand on his record for killing someone, no matter who they are. Even K'mpec's seeming implicit trust in the honour of Picard could be questioned.
We're not confirmed in the conclusion that Gowron becomes leader of the High Council, we simply don't see him again, and since the only other candidate lies blood-spattered on the deck of his ship we can only assume what happens next - closure was needed for such things. The storylines ebbed and flowed in a heady swirl, but this could have been an absolute classic if they had been better presented and confidently merged instead of veering all over the place in terms of emotions or keeping up with events. Not to say it isn't a good story, just not told in the best way, in my view.
Big changes are in store, but the series isn't yet quite comfortable enough to allow Alexander to stay intrude on Worf's life on a permanent basis or alter the status quo on the ship. Worf is free to continue as before, and the rest of the crew weren't a big part of the Klingon proceedings. The important things are the taking up of last season's threads regarding Worf's discommendation, the introduction of his son Alexander, the deaths of his mate K'Ehleyr and enemy Duras, and the connection with the Romulans which Duras apparently had, another little thing that isn't explained, but would lead to further developments later in the season.
Gowron and Alexander would go on to feature for several years culminating in the latter seasons on 'DS9', the Duras family would continue to harrass and give the Klingons a bad name even into 'Enterprise', and Worf's situation would also be long in reaching resolution. These points create a better reason to watch the episode than for a slice of slightly confusing Klingon soap opera which, as explained, don't make for the most cohesive or fitting conclusion, but do keep the brain active. And what was Duras' sword about? Why didn't he use a Batleth?!
***
Reunion
DVD, TNG S4 (Reunion)
'TNG' is either totally unencumbered by the past or it leaps into heavy continuity with abandon! As a result of such variance this episode is a bit disjointed. It's full of Klingon lore, family matters and the difficult positions certain people are placed in, but at times it feels like a jumble of stuff happening with a lot of questionable moments. Among these were the death scene of K'mpec which is never seen so it's rather sudden that he's taken out of it. The way K'Ehleyr finds all the evidence she needs on the true facts about Khitomer all from her console on the Enterprise is another: The Klingons would surely have buried the details more heavily than that. The way she foolishly steps close up to the enemy, Duras when he confronts her in her quarters. The fact that Worf can get away with only a reprimand on his record for killing someone, no matter who they are. Even K'mpec's seeming implicit trust in the honour of Picard could be questioned.
We're not confirmed in the conclusion that Gowron becomes leader of the High Council, we simply don't see him again, and since the only other candidate lies blood-spattered on the deck of his ship we can only assume what happens next - closure was needed for such things. The storylines ebbed and flowed in a heady swirl, but this could have been an absolute classic if they had been better presented and confidently merged instead of veering all over the place in terms of emotions or keeping up with events. Not to say it isn't a good story, just not told in the best way, in my view.
Big changes are in store, but the series isn't yet quite comfortable enough to allow Alexander to stay intrude on Worf's life on a permanent basis or alter the status quo on the ship. Worf is free to continue as before, and the rest of the crew weren't a big part of the Klingon proceedings. The important things are the taking up of last season's threads regarding Worf's discommendation, the introduction of his son Alexander, the deaths of his mate K'Ehleyr and enemy Duras, and the connection with the Romulans which Duras apparently had, another little thing that isn't explained, but would lead to further developments later in the season.
Gowron and Alexander would go on to feature for several years culminating in the latter seasons on 'DS9', the Duras family would continue to harrass and give the Klingons a bad name even into 'Enterprise', and Worf's situation would also be long in reaching resolution. These points create a better reason to watch the episode than for a slice of slightly confusing Klingon soap opera which, as explained, don't make for the most cohesive or fitting conclusion, but do keep the brain active. And what was Duras' sword about? Why didn't he use a Batleth?!
***
'TNG' is either totally unencumbered by the past or it leaps into heavy continuity with abandon! As a result of such variance this episode is a bit disjointed. It's full of Klingon lore, family matters and the difficult positions certain people are placed in, but at times it feels like a jumble of stuff happening with a lot of questionable moments. Among these were the death scene of K'mpec which is never seen so it's rather sudden that he's taken out of it. The way K'Ehleyr finds all the evidence she needs on the true facts about Khitomer all from her console on the Enterprise is another: The Klingons would surely have buried the details more heavily than that. The way she foolishly steps close up to the enemy, Duras when he confronts her in her quarters. The fact that Worf can get away with only a reprimand on his record for killing someone, no matter who they are. Even K'mpec's seeming implicit trust in the honour of Picard could be questioned.
We're not confirmed in the conclusion that Gowron becomes leader of the High Council, we simply don't see him again, and since the only other candidate lies blood-spattered on the deck of his ship we can only assume what happens next - closure was needed for such things. The storylines ebbed and flowed in a heady swirl, but this could have been an absolute classic if they had been better presented and confidently merged instead of veering all over the place in terms of emotions or keeping up with events. Not to say it isn't a good story, just not told in the best way, in my view.
Big changes are in store, but the series isn't yet quite comfortable enough to allow Alexander to stay intrude on Worf's life on a permanent basis or alter the status quo on the ship. Worf is free to continue as before, and the rest of the crew weren't a big part of the Klingon proceedings. The important things are the taking up of last season's threads regarding Worf's discommendation, the introduction of his son Alexander, the deaths of his mate K'Ehleyr and enemy Duras, and the connection with the Romulans which Duras apparently had, another little thing that isn't explained, but would lead to further developments later in the season.
Gowron and Alexander would go on to feature for several years culminating in the latter seasons on 'DS9', the Duras family would continue to harrass and give the Klingons a bad name even into 'Enterprise', and Worf's situation would also be long in reaching resolution. These points create a better reason to watch the episode than for a slice of slightly confusing Klingon soap opera which, as explained, don't make for the most cohesive or fitting conclusion, but do keep the brain active. And what was Duras' sword about? Why didn't he use a Batleth?!
***
Shades of Grey
DVD, Stargate SG-1 S3 (Shades of Grey)
My first thought was obviously that some alien coercion was forcing O'Neill to behave in that irrational and obtuse fashion. As his behaviour escalated I began to wonder if it was a test engineered by the Tolan to see how humans would react or to prove they were as honourable as they professed to be. If his superiors sorted out O'Neill and punished him then they'd waltz in and give Earth the technology they wanted. But gradually it dawned that it must be some sort of exposure of whatever Mayborn was up to, but I didn't guess there would be a mole in the SGC. O'Neill's actions and the hurtful way he had to act, in particular to Daniel, must have been a hard line to follow, but he knew that at the end of it he'd be able to explain his actions.
A clever story that has you believing in Jack's dissatisfaction despite the three seasons we've seen him working away as leader of SG-1. He has a really good answer to Carter's confusion over what he's doing - 'ever since I met you I haven't been who I really am, and now I am'. I was half expecting it to turn into a two-parter with such an organisation to bring down, but Mayborn's NID offshoot was on shakier ground than Daniel and Jack's friendship and like Mayborn they were shortsighted and a bit stupid. I wonder if Dawson was played by the same actor who played the guy when he jumped through the other Earth Stargate in the earlier episode or whether they got someone else in to reprise the role? Makepeace has certainly been in it before, and not a nice sort of guy either.
Jack returns to Edora sooner than anticipated, and we get to see Tolana again, so the growing continuity is burgeoning nicely. The Asgaard appear again, and other races are mentioned so the fabric of the series is more and more tightly knit together. I think I knew it was an undercover op when Mayborn got in touch with Jack. It was a bit of a giveaway that he only waits a week before contacting the Colonel, but even that must have been an exercise tougher than taking on the Goa'uld for O'Neill!
***
My first thought was obviously that some alien coercion was forcing O'Neill to behave in that irrational and obtuse fashion. As his behaviour escalated I began to wonder if it was a test engineered by the Tolan to see how humans would react or to prove they were as honourable as they professed to be. If his superiors sorted out O'Neill and punished him then they'd waltz in and give Earth the technology they wanted. But gradually it dawned that it must be some sort of exposure of whatever Mayborn was up to, but I didn't guess there would be a mole in the SGC. O'Neill's actions and the hurtful way he had to act, in particular to Daniel, must have been a hard line to follow, but he knew that at the end of it he'd be able to explain his actions.
A clever story that has you believing in Jack's dissatisfaction despite the three seasons we've seen him working away as leader of SG-1. He has a really good answer to Carter's confusion over what he's doing - 'ever since I met you I haven't been who I really am, and now I am'. I was half expecting it to turn into a two-parter with such an organisation to bring down, but Mayborn's NID offshoot was on shakier ground than Daniel and Jack's friendship and like Mayborn they were shortsighted and a bit stupid. I wonder if Dawson was played by the same actor who played the guy when he jumped through the other Earth Stargate in the earlier episode or whether they got someone else in to reprise the role? Makepeace has certainly been in it before, and not a nice sort of guy either.
Jack returns to Edora sooner than anticipated, and we get to see Tolana again, so the growing continuity is burgeoning nicely. The Asgaard appear again, and other races are mentioned so the fabric of the series is more and more tightly knit together. I think I knew it was an undercover op when Mayborn got in touch with Jack. It was a bit of a giveaway that he only waits a week before contacting the Colonel, but even that must have been an exercise tougher than taking on the Goa'uld for O'Neill!
***
Legacy
DVD, TNG S4 (Legacy)
Tasha Yar's presence on the Enterprise and her premature exit made more of an impact than we perhaps realised at the time and has continued to reverberate down through each successive season when she has been mentioned or seen, her memory not forgotten. This time we get to visit her home planet and meet the sister she left behind. It was depressingly easy for Ishara to gain the trust of the Enterprise crew seeing as her leader was such an obvious rogue, but it's telling that they wanted Tasha back so much that they were willing to believe in her as quickly as possible. The manipulation is not as important as what it says about Tasha's loss. It has affected all the characters, but Data has been both the most and the least of all of them. He has no feelings, but he has experienced something unexpected and troubling.
I feel Ishara will be the most altered by the encounter, but her loyalty to the cause she has known most of her life is what drives the course of her life. She had the opportunity to start a new life if she really had decided to leave Turkana IV, but all she could see was the cause and felt that if she was to abandon her comrades she would be like her sister. Except she was nothing like her - Tasha must have seen beyond her little world and escaped, but her sister won't follow that course because Tasha took it. It's a sad story, but the full impact of the place was extremely toned down compared with the few details we'd heard of Tasha's life there. The sets were okay, but it was too basic, the same old humanoid soldiers standing around waiting to be shot, with little of the true sense of life there. Consequently it's difficult to care or even be interested in the rivalry on the planet, so that lessens the depth of the story.
The references to Tasha and Data's lesson make it a watchable episode, and the effects were certainly a positive, with some things not usually shown caught on camera. Phasers blasting into the planet's surface from the orbiting ship was one, as was the phaser in Ishara's hand making a small arc when she is shot and falls backwards onto the ground. For an instant it looked like she was waving a lightsaber, and seeing a moving phaser beam is a very rare occurrence in Trek. The proximity implants also looked pretty good, and there were some pretty phaser strikes, but on the whole the creeping or running about was overly melodramatic. Like the weak effects of The Original Series, people will remember moments like this when they move around a set trying to look hasty, but actually just meandering as slowly as possible so as not to run out of set!
A visit to Tasha's past, on paper, makes for an exciting proposition, as does meeting her sister, but in execution this is the first of the season to fall down and become a bit bland. The place has moved on since those days, but treachery is still at the forefront. There's nothing there for the Enterprise crew to sympathise with, only pity the small world it is, and the violence it perpetuates. Not a legacy to be proud of.
**
Tasha Yar's presence on the Enterprise and her premature exit made more of an impact than we perhaps realised at the time and has continued to reverberate down through each successive season when she has been mentioned or seen, her memory not forgotten. This time we get to visit her home planet and meet the sister she left behind. It was depressingly easy for Ishara to gain the trust of the Enterprise crew seeing as her leader was such an obvious rogue, but it's telling that they wanted Tasha back so much that they were willing to believe in her as quickly as possible. The manipulation is not as important as what it says about Tasha's loss. It has affected all the characters, but Data has been both the most and the least of all of them. He has no feelings, but he has experienced something unexpected and troubling.
I feel Ishara will be the most altered by the encounter, but her loyalty to the cause she has known most of her life is what drives the course of her life. She had the opportunity to start a new life if she really had decided to leave Turkana IV, but all she could see was the cause and felt that if she was to abandon her comrades she would be like her sister. Except she was nothing like her - Tasha must have seen beyond her little world and escaped, but her sister won't follow that course because Tasha took it. It's a sad story, but the full impact of the place was extremely toned down compared with the few details we'd heard of Tasha's life there. The sets were okay, but it was too basic, the same old humanoid soldiers standing around waiting to be shot, with little of the true sense of life there. Consequently it's difficult to care or even be interested in the rivalry on the planet, so that lessens the depth of the story.
The references to Tasha and Data's lesson make it a watchable episode, and the effects were certainly a positive, with some things not usually shown caught on camera. Phasers blasting into the planet's surface from the orbiting ship was one, as was the phaser in Ishara's hand making a small arc when she is shot and falls backwards onto the ground. For an instant it looked like she was waving a lightsaber, and seeing a moving phaser beam is a very rare occurrence in Trek. The proximity implants also looked pretty good, and there were some pretty phaser strikes, but on the whole the creeping or running about was overly melodramatic. Like the weak effects of The Original Series, people will remember moments like this when they move around a set trying to look hasty, but actually just meandering as slowly as possible so as not to run out of set!
A visit to Tasha's past, on paper, makes for an exciting proposition, as does meeting her sister, but in execution this is the first of the season to fall down and become a bit bland. The place has moved on since those days, but treachery is still at the forefront. There's nothing there for the Enterprise crew to sympathise with, only pity the small world it is, and the violence it perpetuates. Not a legacy to be proud of.
**
The Die is Cast
DVD, DS9 S3 (The Die is Cast)
The general rule is that the second part of a story is weaker than the first. 'The Die Is Cast' came about through unexpected circumstances, there's a reason it's not named 'Improbable Cause, part II': they weren't originally going to make it a two-parter, but got themselves into such a fix that it could only be satisfyingly resolved by extension late in the day. Whether or not this crisis was an inspiration or not, the episode is more exciting, dramatic and well-observed than part I, and bore a legacy that would go on to encourage experimentation in a way the series hadn't previously considered. If it had been a failure maybe less risky roads would have been taken afterwards, but the desire to further what was possible in a 'Star Trek' TV series urged the writers onward past existing boundaries. I did wonder if the episode could stand up to the scrutiny of modern viewing - so much of the 'TNG' ship battles look basic and unexciting now, but this yielded as tense an experience as all the other times I've seen it.
The last fifteen minutes are one phenomenal development after another, with the most pulse-pounding battle to that point, perfectly judged twists and interaction between characters that shows what the series is capable of. Director David Livingston's visual style is potent, whether it's his shooting of Garak and Tain from below to emphasise their power, the extreme close-ups of Tain's descent into madness, his corpulent head filling the frame while Garak desperately urges sanity, or the perfect ending between Odo and Garak, the stationary camera accusingly staring at the tailor, while the small, blurry figure of the constable, seen in the charred mirror shows the distance that exists between them, or should do, yet Odo, without intruding into Garak's broken world, acknowledges the common bond that now exists between them, ironic after Garak's actions. Garak must resign himself to his former life after all the excitement, having lost one of the few close Cardassians he knew. It's a good job he didn't use Odo's methods to save his mentor - I can't imagine him hefting the portly Tain over his shoulder. Rolling him might have worked... And not to say Odo hit harder than he needed to, but I'm sure he got a measure of satisfaction out of beating Garak, and probably used the exact justifiable force, in his eyes. It didn't mean some stress wasn't relieved at the same!
The first half isn't as dynamic by a long stretch of the imagination, and if it had conveyed the depth of character as well as succeeding moments did, we'd be looking at one of the best episodes of the entire series. As it is, it 'merely' rates as one of the best of Season 3, no small accolade when this season has been the breakout year. There is the first tingle of excitement at seeing a huge mobile fleet in motion, a feeling that would become almost familiar post-'Die'. The Romulans still aren't considered an enemy, even after the plot to blow up the Wormhole, as Sisko shows himself happy to try and talk, only ordering battle stations when it becomes clear an entire fleet is decloaking, not just one Warbird. You'd think Chief would have spotted the telltale signs of a singularity after his 'Visionary' experience, but he's as stumped as anyone! When the fleet brushes past DS9 it's like two powerful dreadnoughts passing each other at night, grimacing threateningly perhaps, but with no direct aggressive intentions, all enacted through the 'character' inherent in their design.
It took almost the entire season, but Eddington, who at first looked to be a recurring character, is back. He was only in one scene in 'The Search, part I', and it wasn't really him in part II, so this is his first proper episode. His role may suffer a little because he hasn't been established, but then it may also have helped to make his apparently shifting loyalties easier to accept - he follows his superior, Admiral Toddman's orders, to the letter, but as soon as they're carried out he's able and willing to work as hard for Sisko, making him almost as hard to pin down as Garak. Either he's an extremely complex individual or the most earnest Starfleet officer there could be. He's capable of obeying a superior above his colleagues, yet he is open and happy to admit it and take the consequences. Helping this mood is the way the discovery of the cloak's malfunction is played out - the camera features Eddington in foreground beginning to squirm, while the others discuss the problem in the background, giving us an insider view into what's going on in Eddington's head.
Sisko's impending promotion becomes more and more likely - he may not be a Captain yet, but he's been acting like one for a long time, this time taking the initiative and disobeying direct orders because it's the right thing to do. It's from the Kirk rulebook that if successful you won't be in trouble, and if unsuccessful you'll probably be dead. More could have been made of the crew's decision to volunteer for the mission to rescue Odo - in the 'Voyager' episode 'The 37s' such a great moment is worked in when Captain and First Officer give the crew the choice to leave the ship, but find the Cargo Bay empty as everyone has decided to stay aboard. It's the reverse in this, and they're all too professional not to refuse. While that attitude is highly commended and we see them going about their business as normal, it would have been a good moment to emphasise the danger they were willingly accepting. Sisko's warned by Toddman that next time he does something like that he'll either be court-martialled or promoted, either way he'll be in big trouble. Truer words were never spoken!
They risk everything; their lives, their careers, all for the sake of their friend, and Odo doesn't let them down for his part - he is again given the choice to rejoin his people, and though, as we learn from the torture scene, he badly wants, he again refuses. If the Jem'Hadar had known Odo was aboard the Runabout they wouldn't have attacked it, so an uncharacteristic mistake from the Dominion? I imagine the changelings wouldn't have been happy with their soldiers had such a thing happened. Odo has now become defined in the same way that Spock or Data or Worf had been - he was always the outsider, but now, like Worf in particular, he is torn between his natural inclination to be with his people and his 'solid' life on the station with Kira and his other friends. Garak's torture uncovers a common desire, and despite the way it was shared they're closer than before.
Garak's past ways are no longer easy for him to slip into when it comes to his colleague. He may have sarcastically spoken of Odo feeling betrayed because of their 'close friendship' and the 'loyalty he swore to the Federation', but it's clear he feels wretched at what he must do, and Tain sees that in all the protestations Garak uses to try and protect Odo. Perhaps it's easier to see Garak doing such a nasty thing because we've already seen the Mirror Garak as a cruel thug. It shows that they share the ability to cause extreme pain, but not the same pleasure. The fine line Garak walks between earning the trust of his mentor, and protecting Odo works in his favour as Colonel Lovok sees his intentions. When you know he's a changeling that scene gains an extra level of meaning because while Garak assumes his interest is suspicion, it's actually confusion over why Garak would look out for a changeling and leads to his freedom with Odo. Again, the good morals show through and reap rewards. In this case, not dying!
The whole storyline is about morals if you look broadly enough. The reason the Obsidian Order and the Tal Shiar go to destroy the Founders is for the power and prestige it will bring them as much as the security. Their reputation would become even more feared, but the Dominion's power is magnified beyond expectation when they are shown with the ability to manipulate even the most devious manipulators the Alpha Quadrant had to offer (Section 31 aside, but that was so secretive as to be unknown). No doubt the thought of control over the Gamma Quadrant's races would be a tasty prize beyond the Founder's destruction, and they show great pride in their strength and cunning, overconfidence repaid among all the vices they display by annihilation. The Federation, while possibly in favour of the Founders destruction, don't make such morally bad decisions, and so do not lose their fleet as the Cardassians and Romulans do. Another example that doing right will gain reward.
The most chilling part of the episode is not the 'Return of The Jedi' Death Star attack-type moment when the fleet realises it's a trap, nor Odo's brutal torture, but Lovok's words to Odo. After giving him and Garak the means to escape (repeating the Female's words that no changeling has ever harmed another), he declares the Romulans and Cardassians are no longer a problem - only the Klingons and the Federation remain a threat, and they won't be for much longer! The result is worse than the unknown Dominion activity, because now, potentially people will begin to wonder who could be a changeling next... It's good that the Female doesn't appear, because we know she's out there somewhere, and it makes the Dominion bigger than if we only met one changeling. She's too busy to worry about this little threat.
The story is full of well-observed moments between characters, from Bashir trying to have a Garak-style highbrow discussion over lunch with the Chief, who only cares about the grub, to the brilliant scene at the end focused on Garak's face in his blackened shop. I have no sympathy for Tain. The way he chillingly talks of killing housekeeper Mila in that offhand way, his lidded eyes concealing unknown depths of bloodlust and venom. He's only been in three episodes, but he could well be the most evil person we've met, even more so than Dukat, who at least deludes himself he's a good guy. Tain certainly qualifies for the title of the most evil character in the series, even though we don't see him do anything. We know the depths of his mind and the grip he's held on the Cardassian people. I wonder if the dissidents were celebrating his apparent death?
One of Tain's worst crimes is in tempting Garak back to the violent and warped life he exiled him from in the first place. The way they discuss having Dukat killed has a certain malevolent pleasure to it, but is nonetheless a horrifying thought that such murders are so casually discussed. This two-part story was Garak's biggest role so far and a logical step up from 'The Wire', but who could have foreseen the incredible latitude he's afforded in the course of the two episodes. He looks like throwing everything 'good' away to walk back into the arms of a murderer who happens to be his former mentor, and travels round the dark side of the moon. Fortunately the orbit and his own guilty conscience brings him back to the light by the end, so that all can carry on as before. That didn't seem possible at the end of last episode and necessitated some very sophisticated writing to achieve.
After having a rest for a few episodes the Defiant literally comes out all guns blazing, and nothing can be taken away from the daring fray it takes part in, but the limelight is snatched from the Runabouts again. This time another is lost, but we don't know which it is, or see it blow up, as if it were any old ship that we couldn't care less about. It's a real shame, because the little workhorses were always so useful! According to the Encyclopedia it was the Mekong that was destroyed, which had only joined last season. I knew it wasn't the Rio Grande - that always gets you home! We get more than a fair share of starships, mainly in the battle, but a thought struck me - starships must get most annoyed when they get instructions to break off whatever they were doing and speed to the rescue. It's happened many times, and this time nine starships are told to protect DS9. More often than not, by the time they arrive the catastrophe has been averted so after dashing in at high warp, maybe taking a day or two to get there they find their services aren't needed after all. Must be very annoying indeed.
****
The general rule is that the second part of a story is weaker than the first. 'The Die Is Cast' came about through unexpected circumstances, there's a reason it's not named 'Improbable Cause, part II': they weren't originally going to make it a two-parter, but got themselves into such a fix that it could only be satisfyingly resolved by extension late in the day. Whether or not this crisis was an inspiration or not, the episode is more exciting, dramatic and well-observed than part I, and bore a legacy that would go on to encourage experimentation in a way the series hadn't previously considered. If it had been a failure maybe less risky roads would have been taken afterwards, but the desire to further what was possible in a 'Star Trek' TV series urged the writers onward past existing boundaries. I did wonder if the episode could stand up to the scrutiny of modern viewing - so much of the 'TNG' ship battles look basic and unexciting now, but this yielded as tense an experience as all the other times I've seen it.
The last fifteen minutes are one phenomenal development after another, with the most pulse-pounding battle to that point, perfectly judged twists and interaction between characters that shows what the series is capable of. Director David Livingston's visual style is potent, whether it's his shooting of Garak and Tain from below to emphasise their power, the extreme close-ups of Tain's descent into madness, his corpulent head filling the frame while Garak desperately urges sanity, or the perfect ending between Odo and Garak, the stationary camera accusingly staring at the tailor, while the small, blurry figure of the constable, seen in the charred mirror shows the distance that exists between them, or should do, yet Odo, without intruding into Garak's broken world, acknowledges the common bond that now exists between them, ironic after Garak's actions. Garak must resign himself to his former life after all the excitement, having lost one of the few close Cardassians he knew. It's a good job he didn't use Odo's methods to save his mentor - I can't imagine him hefting the portly Tain over his shoulder. Rolling him might have worked... And not to say Odo hit harder than he needed to, but I'm sure he got a measure of satisfaction out of beating Garak, and probably used the exact justifiable force, in his eyes. It didn't mean some stress wasn't relieved at the same!
The first half isn't as dynamic by a long stretch of the imagination, and if it had conveyed the depth of character as well as succeeding moments did, we'd be looking at one of the best episodes of the entire series. As it is, it 'merely' rates as one of the best of Season 3, no small accolade when this season has been the breakout year. There is the first tingle of excitement at seeing a huge mobile fleet in motion, a feeling that would become almost familiar post-'Die'. The Romulans still aren't considered an enemy, even after the plot to blow up the Wormhole, as Sisko shows himself happy to try and talk, only ordering battle stations when it becomes clear an entire fleet is decloaking, not just one Warbird. You'd think Chief would have spotted the telltale signs of a singularity after his 'Visionary' experience, but he's as stumped as anyone! When the fleet brushes past DS9 it's like two powerful dreadnoughts passing each other at night, grimacing threateningly perhaps, but with no direct aggressive intentions, all enacted through the 'character' inherent in their design.
It took almost the entire season, but Eddington, who at first looked to be a recurring character, is back. He was only in one scene in 'The Search, part I', and it wasn't really him in part II, so this is his first proper episode. His role may suffer a little because he hasn't been established, but then it may also have helped to make his apparently shifting loyalties easier to accept - he follows his superior, Admiral Toddman's orders, to the letter, but as soon as they're carried out he's able and willing to work as hard for Sisko, making him almost as hard to pin down as Garak. Either he's an extremely complex individual or the most earnest Starfleet officer there could be. He's capable of obeying a superior above his colleagues, yet he is open and happy to admit it and take the consequences. Helping this mood is the way the discovery of the cloak's malfunction is played out - the camera features Eddington in foreground beginning to squirm, while the others discuss the problem in the background, giving us an insider view into what's going on in Eddington's head.
Sisko's impending promotion becomes more and more likely - he may not be a Captain yet, but he's been acting like one for a long time, this time taking the initiative and disobeying direct orders because it's the right thing to do. It's from the Kirk rulebook that if successful you won't be in trouble, and if unsuccessful you'll probably be dead. More could have been made of the crew's decision to volunteer for the mission to rescue Odo - in the 'Voyager' episode 'The 37s' such a great moment is worked in when Captain and First Officer give the crew the choice to leave the ship, but find the Cargo Bay empty as everyone has decided to stay aboard. It's the reverse in this, and they're all too professional not to refuse. While that attitude is highly commended and we see them going about their business as normal, it would have been a good moment to emphasise the danger they were willingly accepting. Sisko's warned by Toddman that next time he does something like that he'll either be court-martialled or promoted, either way he'll be in big trouble. Truer words were never spoken!
They risk everything; their lives, their careers, all for the sake of their friend, and Odo doesn't let them down for his part - he is again given the choice to rejoin his people, and though, as we learn from the torture scene, he badly wants, he again refuses. If the Jem'Hadar had known Odo was aboard the Runabout they wouldn't have attacked it, so an uncharacteristic mistake from the Dominion? I imagine the changelings wouldn't have been happy with their soldiers had such a thing happened. Odo has now become defined in the same way that Spock or Data or Worf had been - he was always the outsider, but now, like Worf in particular, he is torn between his natural inclination to be with his people and his 'solid' life on the station with Kira and his other friends. Garak's torture uncovers a common desire, and despite the way it was shared they're closer than before.
Garak's past ways are no longer easy for him to slip into when it comes to his colleague. He may have sarcastically spoken of Odo feeling betrayed because of their 'close friendship' and the 'loyalty he swore to the Federation', but it's clear he feels wretched at what he must do, and Tain sees that in all the protestations Garak uses to try and protect Odo. Perhaps it's easier to see Garak doing such a nasty thing because we've already seen the Mirror Garak as a cruel thug. It shows that they share the ability to cause extreme pain, but not the same pleasure. The fine line Garak walks between earning the trust of his mentor, and protecting Odo works in his favour as Colonel Lovok sees his intentions. When you know he's a changeling that scene gains an extra level of meaning because while Garak assumes his interest is suspicion, it's actually confusion over why Garak would look out for a changeling and leads to his freedom with Odo. Again, the good morals show through and reap rewards. In this case, not dying!
The whole storyline is about morals if you look broadly enough. The reason the Obsidian Order and the Tal Shiar go to destroy the Founders is for the power and prestige it will bring them as much as the security. Their reputation would become even more feared, but the Dominion's power is magnified beyond expectation when they are shown with the ability to manipulate even the most devious manipulators the Alpha Quadrant had to offer (Section 31 aside, but that was so secretive as to be unknown). No doubt the thought of control over the Gamma Quadrant's races would be a tasty prize beyond the Founder's destruction, and they show great pride in their strength and cunning, overconfidence repaid among all the vices they display by annihilation. The Federation, while possibly in favour of the Founders destruction, don't make such morally bad decisions, and so do not lose their fleet as the Cardassians and Romulans do. Another example that doing right will gain reward.
The most chilling part of the episode is not the 'Return of The Jedi' Death Star attack-type moment when the fleet realises it's a trap, nor Odo's brutal torture, but Lovok's words to Odo. After giving him and Garak the means to escape (repeating the Female's words that no changeling has ever harmed another), he declares the Romulans and Cardassians are no longer a problem - only the Klingons and the Federation remain a threat, and they won't be for much longer! The result is worse than the unknown Dominion activity, because now, potentially people will begin to wonder who could be a changeling next... It's good that the Female doesn't appear, because we know she's out there somewhere, and it makes the Dominion bigger than if we only met one changeling. She's too busy to worry about this little threat.
The story is full of well-observed moments between characters, from Bashir trying to have a Garak-style highbrow discussion over lunch with the Chief, who only cares about the grub, to the brilliant scene at the end focused on Garak's face in his blackened shop. I have no sympathy for Tain. The way he chillingly talks of killing housekeeper Mila in that offhand way, his lidded eyes concealing unknown depths of bloodlust and venom. He's only been in three episodes, but he could well be the most evil person we've met, even more so than Dukat, who at least deludes himself he's a good guy. Tain certainly qualifies for the title of the most evil character in the series, even though we don't see him do anything. We know the depths of his mind and the grip he's held on the Cardassian people. I wonder if the dissidents were celebrating his apparent death?
One of Tain's worst crimes is in tempting Garak back to the violent and warped life he exiled him from in the first place. The way they discuss having Dukat killed has a certain malevolent pleasure to it, but is nonetheless a horrifying thought that such murders are so casually discussed. This two-part story was Garak's biggest role so far and a logical step up from 'The Wire', but who could have foreseen the incredible latitude he's afforded in the course of the two episodes. He looks like throwing everything 'good' away to walk back into the arms of a murderer who happens to be his former mentor, and travels round the dark side of the moon. Fortunately the orbit and his own guilty conscience brings him back to the light by the end, so that all can carry on as before. That didn't seem possible at the end of last episode and necessitated some very sophisticated writing to achieve.
After having a rest for a few episodes the Defiant literally comes out all guns blazing, and nothing can be taken away from the daring fray it takes part in, but the limelight is snatched from the Runabouts again. This time another is lost, but we don't know which it is, or see it blow up, as if it were any old ship that we couldn't care less about. It's a real shame, because the little workhorses were always so useful! According to the Encyclopedia it was the Mekong that was destroyed, which had only joined last season. I knew it wasn't the Rio Grande - that always gets you home! We get more than a fair share of starships, mainly in the battle, but a thought struck me - starships must get most annoyed when they get instructions to break off whatever they were doing and speed to the rescue. It's happened many times, and this time nine starships are told to protect DS9. More often than not, by the time they arrive the catastrophe has been averted so after dashing in at high warp, maybe taking a day or two to get there they find their services aren't needed after all. Must be very annoying indeed.
****
Monday, 29 November 2010
Solitude
DVD, Smallville S5 (Solitude)
The resolution of the Dr. Milton Fine arc is about as good as expected, revealing his character and affiliation and providing Clark with a top-class punch-bag. The big surprise is that he isn't Zod (yes, I know he didn't have the beard, but the writers have chosen not to follow continuity slavishly), but a form of artificial intelligence created by the Kryptonians, perhaps by the ship that brought the other two renegades to Earth since he was so free to melt in and out of it. It keeps to the established facts of there being no other Kryptonians alive, ties up the story neatly, though we aren't sure if he'll return, and explains why he was quite happy to waste time posing as a college professor while he's actually an evil-minded and rather hasty fellow when it comes down to Clark destroying Jor-El. Being a program he wouldn't get bored, but stuck to the ultimate plan - to free the nasty General Zod from his Phantom Zone prison, and almost succeeding. I must admit I wanted Zod to get through (beard and all) as he could be just about glimpsed in the vague, shadowy face that spins in the vortex, but it was not to be... yet.
I thought the name Zod might sound a bit corny if they did get to bringing it up, but it was okay as he was introduced as the great hero of Krypton by Fine, undeserved though it was, it stopped him from being simply a silly name. The impending doom Jor-El foretold was averted this time, with Martha surviving the lesions of a Kryptonian disease. It seemed very likely that Fine was behind it so I wasn't surprised by that revelation, but the slurs he made about Jor-El were almost believable, as we've already seen mostly bad things from Clark's real Dad. Whether he was to be responsible for the person close to Clark dying is unclear, as he's only told us it will happen, not that he will do it. The episode managed to end on a grim note, literally - after the pleasant 'things are alright now' speech from Jonathan a negative noise crashed the image out...
If Jor-El is so powerful in the form of the Fortress why did he 'sit' by and allow the agent of Zod to enter, and Clark to put in the black crystal? You'd think he'd have the power to protect 'his' structure, but there's not a peep out of him. We should give him a break I suppose, he is, after all, dead. I still can't get used to Lionel being in the same room as Chloe after their potentially career/life-ending encounter in Season 3. Lionel's release from prison was so unlikely I can't even remember how it happened now, but Chloe doesn't mind the mogul's presence too much, it seems. She gets to look like a cliched reporter when tracking Fine, standing in a phone booth, from the camera view appearing to wear a trenchcoat like some old-style detective. She's not, of course, but the image is there. She does get to be the most important female in Clark's life for this episode, being of great help to him and sharing experiences. Lana doesn't even appear so Clark's mind isn't on girlfriends for once, which is a good thing. There's even the merest hint of the series' more energetic past with the escape from the warehouse, but it's cut brutally short.
Lex' campaign is apparently continuing apace, but we don't actually see either he or Jonathan doing anything related to their campaigns, we're just told it's happening. As for Lex' line to Lois that he has nothing to hide, that doesn't gel with what we know of his chequered past in Metropolis, often cited in earlier seasons. I half hoped Warehouse 15 would be something to do with the skyscraper he took Mxyzptlk last season, but that little storyline hasn't been picked up as yet. The episode was quite strong, again successfully melding the established series with more 'Superman' myth (Lois gets to look intrigued for once as she gazes at the Daily Planet's sign), even the title is better than usual, with the obvious meaning, but also the analogy, mentioned in the episode, that Clark will have to leave people behind, and that no one lives forever. Humans, that is anyway. Are Mr. Kent's days numbered?
***
The resolution of the Dr. Milton Fine arc is about as good as expected, revealing his character and affiliation and providing Clark with a top-class punch-bag. The big surprise is that he isn't Zod (yes, I know he didn't have the beard, but the writers have chosen not to follow continuity slavishly), but a form of artificial intelligence created by the Kryptonians, perhaps by the ship that brought the other two renegades to Earth since he was so free to melt in and out of it. It keeps to the established facts of there being no other Kryptonians alive, ties up the story neatly, though we aren't sure if he'll return, and explains why he was quite happy to waste time posing as a college professor while he's actually an evil-minded and rather hasty fellow when it comes down to Clark destroying Jor-El. Being a program he wouldn't get bored, but stuck to the ultimate plan - to free the nasty General Zod from his Phantom Zone prison, and almost succeeding. I must admit I wanted Zod to get through (beard and all) as he could be just about glimpsed in the vague, shadowy face that spins in the vortex, but it was not to be... yet.
I thought the name Zod might sound a bit corny if they did get to bringing it up, but it was okay as he was introduced as the great hero of Krypton by Fine, undeserved though it was, it stopped him from being simply a silly name. The impending doom Jor-El foretold was averted this time, with Martha surviving the lesions of a Kryptonian disease. It seemed very likely that Fine was behind it so I wasn't surprised by that revelation, but the slurs he made about Jor-El were almost believable, as we've already seen mostly bad things from Clark's real Dad. Whether he was to be responsible for the person close to Clark dying is unclear, as he's only told us it will happen, not that he will do it. The episode managed to end on a grim note, literally - after the pleasant 'things are alright now' speech from Jonathan a negative noise crashed the image out...
If Jor-El is so powerful in the form of the Fortress why did he 'sit' by and allow the agent of Zod to enter, and Clark to put in the black crystal? You'd think he'd have the power to protect 'his' structure, but there's not a peep out of him. We should give him a break I suppose, he is, after all, dead. I still can't get used to Lionel being in the same room as Chloe after their potentially career/life-ending encounter in Season 3. Lionel's release from prison was so unlikely I can't even remember how it happened now, but Chloe doesn't mind the mogul's presence too much, it seems. She gets to look like a cliched reporter when tracking Fine, standing in a phone booth, from the camera view appearing to wear a trenchcoat like some old-style detective. She's not, of course, but the image is there. She does get to be the most important female in Clark's life for this episode, being of great help to him and sharing experiences. Lana doesn't even appear so Clark's mind isn't on girlfriends for once, which is a good thing. There's even the merest hint of the series' more energetic past with the escape from the warehouse, but it's cut brutally short.
Lex' campaign is apparently continuing apace, but we don't actually see either he or Jonathan doing anything related to their campaigns, we're just told it's happening. As for Lex' line to Lois that he has nothing to hide, that doesn't gel with what we know of his chequered past in Metropolis, often cited in earlier seasons. I half hoped Warehouse 15 would be something to do with the skyscraper he took Mxyzptlk last season, but that little storyline hasn't been picked up as yet. The episode was quite strong, again successfully melding the established series with more 'Superman' myth (Lois gets to look intrigued for once as she gazes at the Daily Planet's sign), even the title is better than usual, with the obvious meaning, but also the analogy, mentioned in the episode, that Clark will have to leave people behind, and that no one lives forever. Humans, that is anyway. Are Mr. Kent's days numbered?
***
A Hundred Days
DVD, Stargate SG-1 S3 (A Hundred Days)
Surprisingly heartfelt and better than it seemed at first. It began as a disaster story, but turned into one about being trapped on an alien world. That, in itself, was nothing special, they'd done such episodes before, as early as Season 1, but this time it felt real as Jack begins to let go of the ties to his old life and, if not embrace his situation, at least begin to learn to accept it as the reality. The suitably placed widow helped, and again it isn't doing anything particularly new, but everything about the episode exudes quality and credibility. The gorgeous natural landscapes bring it up another level - it isn't limited to woods and mountains this time, but rippling streams and stunning sunsets, even the ugly great swathe in the earth left by a 'fire tear' or meteorite looks grand.
Unlike some episodes the character comes through as strong as the visuals, with Carter and Fraiser having a brief, but meaningful conversation about Jack to remind us of Carter's personal interest. Teal'c's loyalty comes through strongly and his brave acceptance of the mission to dig through the rock was typical of him, but all the regulars seem closer than ever and display the bond that has grown between them very well. The direction is beautiful, capturing the picturesque views perfectly. The scene which shows the transition between Jack's initial life there, and three months (or about a hundred days) later as the camera pans from him walking away from the river bank to see him arriving along the river on a canoe, his simple homemade shirt a symbol of his acceptance of his new life is particularly stylish.
I don't think they've ever made it more believable that a character has properly begun a new life after being stranded on the other side of a wormhole than in this, and the simple, rustic charms of their agrarian ways are well presented, from the men chopping wood in the village to a night time party with singing and dancing. Carter even gets a viewer sympathy moment at the end as she sees O'Neill say goodbye to his almost-wife. It has enough of all the things that make the series work, including the realistic and devastating daytime passage of the meteorites, to make this one of the best, if not the best put together episodes of the season so far! Even Sokar gets a mention, and good comes out of the attack he made on the SGC Stargate when it gives Carter the inspiration for how to reach the planet. Hooray!
***
Surprisingly heartfelt and better than it seemed at first. It began as a disaster story, but turned into one about being trapped on an alien world. That, in itself, was nothing special, they'd done such episodes before, as early as Season 1, but this time it felt real as Jack begins to let go of the ties to his old life and, if not embrace his situation, at least begin to learn to accept it as the reality. The suitably placed widow helped, and again it isn't doing anything particularly new, but everything about the episode exudes quality and credibility. The gorgeous natural landscapes bring it up another level - it isn't limited to woods and mountains this time, but rippling streams and stunning sunsets, even the ugly great swathe in the earth left by a 'fire tear' or meteorite looks grand.
Unlike some episodes the character comes through as strong as the visuals, with Carter and Fraiser having a brief, but meaningful conversation about Jack to remind us of Carter's personal interest. Teal'c's loyalty comes through strongly and his brave acceptance of the mission to dig through the rock was typical of him, but all the regulars seem closer than ever and display the bond that has grown between them very well. The direction is beautiful, capturing the picturesque views perfectly. The scene which shows the transition between Jack's initial life there, and three months (or about a hundred days) later as the camera pans from him walking away from the river bank to see him arriving along the river on a canoe, his simple homemade shirt a symbol of his acceptance of his new life is particularly stylish.
I don't think they've ever made it more believable that a character has properly begun a new life after being stranded on the other side of a wormhole than in this, and the simple, rustic charms of their agrarian ways are well presented, from the men chopping wood in the village to a night time party with singing and dancing. Carter even gets a viewer sympathy moment at the end as she sees O'Neill say goodbye to his almost-wife. It has enough of all the things that make the series work, including the realistic and devastating daytime passage of the meteorites, to make this one of the best, if not the best put together episodes of the season so far! Even Sokar gets a mention, and good comes out of the attack he made on the SGC Stargate when it gives Carter the inspiration for how to reach the planet. Hooray!
***
Improbable Cause
DVD, DS9 S3 (Improbable Cause)
Another turning point in the series, this was the first to hang an episode on a recurring character instead of the regulars, and while Odo shares the storyline about equally with Garak, it's still all about the Cardassian tailor. It also shows the possibilities of the series for a continuous story to run through. That had been a part of the series from the start, with Bajor's problems, Sisko's new role and the politics of the situation, but now we come across a season-spanning plot that began, without us realising it, right back at the first episode when Odo and his comrades discovered the Founders homeworld, shared that information with the Romulans, and inadvertently, as we learn now, with the Cardassian Obsidian Order and more specifically Enabran Tain, Garak's former mentor, turned nemesis, turned ally. Unanswered questions such as the unidentified Cardassian ships in 'Defiant' and that mysterious build-up in the Orias sector become clear like the reveal of a magician's trick. In the Companion book the writers claim they didn't have a strong arc laid out, but that only makes the tying up of threads more impressive.
A layer of Garak's personality is uncovered, but with each detail revealed his uneven state of mind, or the face he shows to people, becomes even more hazy. The moment we think we are getting to know him he becomes more indistinct than ever, ranging from friendly banter with Bashir, to repartee with Odo, to surprise when Tain offers him a position, anger at Odo's unfeelingness and blank unresponsiveness when questioned directly about his history by Sisko. It's what we wanted all along, to have the question of his past life out point blank, but as usual he dodges the questions, always playing the game, but what they don't realise is that Sisko and the others have been made part of the game and Garak is using them all along. He only occasionally allows himself the luxury of expressing true feelings, but Odo's musing that someone could care about the former spy as Tain's housekeeper seemed to, or that Garak cares about the mentor that tried to kill him pushes him into real irritation. Odo's evasiveness and sarcasm soon reminds him of his own buffers and the gracious and self-satisfied smile flickers back onto his lips in short order.
Odo too, is shown at his best, uncovering plots and seeing through motives, his best scene is probably the encounter with the 'innocent' Flaxian salesman, in which he plays the fish-like alien (complete with tendril-like whiskers coming from face and hands) expertly. There's so much double-talk in the episode that by the end, aboard the Romulan Warbird Tain is even making double-talk about the double-talk much to Odo's disdain. Thanks to this wonderful wordplay and trickery the episode flys by despite a lack of energetic action, aside from Garak's shop exploding (just as the schoolroom had done in Season 1 - maybe that's where he got the inspiration from?) or the Flaxian's ship doing the same. Odo and Garak are off all over the place, but though we hear of where they're going we don't see much indication, though it's wonderful to have the Runabouts so clearly in use again, the Rio Grande being mentioned by name. The Runabout they're aboard when captured by Tain isn't named, but you can bet it isn't the Rio Grande as that ship always gets its owners back in one piece.
The only unconvincing moment is the scene in the cave when Odo meets his Cardassian contact. The floor is level, there's plenty of light and the man's voice doesn't give away his lofty position? Yet he throws down the padd which Odo catches and then the constable resumes peering into the darkness as if he's going to spot the contact. Light in dark places is a common problem in screen dramas. If it was true to life it would be too dark to see anything, so there has to be some illumination. It's just one of those things we take as read, much like artificial gravity or ships travelling the 'right' way up whenever they meet each other. I thought it would be more suitable for the contact to tell Odo he'd transferred the names to his Runabout instead of chucking down the padd. A minor stump in a heartily well-written forest.
The potential for an extreme turning point in the series is not just in the characters (will Garak leave his role aboard DS9 now he's accepted Tain's offer?), but in the stability of the quadrant. The Tal'Shiar and Obsidian Order may be happy to throw everything into a war with the Dominion, regarding Starfleet as an unconcerned neutral, but the Gamma Quadrant enemy will strike back, and that strike will come through the Wormhole dragging the Federation in since they're not going to abandon Bajor. But Tain and his allies are so confident in their power they see only a first strike and victory.
With no 'part I' in the title in the style of all the other two-parters on the series (and in 'Star Trek' in general) the ending catches the viewer off guard. It's not so much a cliffhanger in terms of danger and suspense, but it leaves us with plenty to cogitate over. With all the information that seeps through about Garak, it appears we have concrete details about him at last, but how many cracks are in that concrete? Avery Brooks does another star turn as director, keeping the mystery and pace in so many dialogue-heavy scenes (and still showing the desire to experiment - I love the move into the frame along the wardroom table as we slowly creep towards the Flaxian, showing off the makeup department's triumph as much as anything). Quark and Jake don't feature, but that's the price of an included wider cast, the soundtrack is assured (the music coming across very strongly in the way that later season's would do), even the babble of the Promenade somehow sounds more 'three-dimensional'. Garak gives us at least two thoughts to stay with us: a Nausicaan in wedding clothes for one, and for another, that he definitely isn't as fond of his tailoring life as he makes out!
****
Another turning point in the series, this was the first to hang an episode on a recurring character instead of the regulars, and while Odo shares the storyline about equally with Garak, it's still all about the Cardassian tailor. It also shows the possibilities of the series for a continuous story to run through. That had been a part of the series from the start, with Bajor's problems, Sisko's new role and the politics of the situation, but now we come across a season-spanning plot that began, without us realising it, right back at the first episode when Odo and his comrades discovered the Founders homeworld, shared that information with the Romulans, and inadvertently, as we learn now, with the Cardassian Obsidian Order and more specifically Enabran Tain, Garak's former mentor, turned nemesis, turned ally. Unanswered questions such as the unidentified Cardassian ships in 'Defiant' and that mysterious build-up in the Orias sector become clear like the reveal of a magician's trick. In the Companion book the writers claim they didn't have a strong arc laid out, but that only makes the tying up of threads more impressive.
A layer of Garak's personality is uncovered, but with each detail revealed his uneven state of mind, or the face he shows to people, becomes even more hazy. The moment we think we are getting to know him he becomes more indistinct than ever, ranging from friendly banter with Bashir, to repartee with Odo, to surprise when Tain offers him a position, anger at Odo's unfeelingness and blank unresponsiveness when questioned directly about his history by Sisko. It's what we wanted all along, to have the question of his past life out point blank, but as usual he dodges the questions, always playing the game, but what they don't realise is that Sisko and the others have been made part of the game and Garak is using them all along. He only occasionally allows himself the luxury of expressing true feelings, but Odo's musing that someone could care about the former spy as Tain's housekeeper seemed to, or that Garak cares about the mentor that tried to kill him pushes him into real irritation. Odo's evasiveness and sarcasm soon reminds him of his own buffers and the gracious and self-satisfied smile flickers back onto his lips in short order.
Odo too, is shown at his best, uncovering plots and seeing through motives, his best scene is probably the encounter with the 'innocent' Flaxian salesman, in which he plays the fish-like alien (complete with tendril-like whiskers coming from face and hands) expertly. There's so much double-talk in the episode that by the end, aboard the Romulan Warbird Tain is even making double-talk about the double-talk much to Odo's disdain. Thanks to this wonderful wordplay and trickery the episode flys by despite a lack of energetic action, aside from Garak's shop exploding (just as the schoolroom had done in Season 1 - maybe that's where he got the inspiration from?) or the Flaxian's ship doing the same. Odo and Garak are off all over the place, but though we hear of where they're going we don't see much indication, though it's wonderful to have the Runabouts so clearly in use again, the Rio Grande being mentioned by name. The Runabout they're aboard when captured by Tain isn't named, but you can bet it isn't the Rio Grande as that ship always gets its owners back in one piece.
The only unconvincing moment is the scene in the cave when Odo meets his Cardassian contact. The floor is level, there's plenty of light and the man's voice doesn't give away his lofty position? Yet he throws down the padd which Odo catches and then the constable resumes peering into the darkness as if he's going to spot the contact. Light in dark places is a common problem in screen dramas. If it was true to life it would be too dark to see anything, so there has to be some illumination. It's just one of those things we take as read, much like artificial gravity or ships travelling the 'right' way up whenever they meet each other. I thought it would be more suitable for the contact to tell Odo he'd transferred the names to his Runabout instead of chucking down the padd. A minor stump in a heartily well-written forest.
The potential for an extreme turning point in the series is not just in the characters (will Garak leave his role aboard DS9 now he's accepted Tain's offer?), but in the stability of the quadrant. The Tal'Shiar and Obsidian Order may be happy to throw everything into a war with the Dominion, regarding Starfleet as an unconcerned neutral, but the Gamma Quadrant enemy will strike back, and that strike will come through the Wormhole dragging the Federation in since they're not going to abandon Bajor. But Tain and his allies are so confident in their power they see only a first strike and victory.
With no 'part I' in the title in the style of all the other two-parters on the series (and in 'Star Trek' in general) the ending catches the viewer off guard. It's not so much a cliffhanger in terms of danger and suspense, but it leaves us with plenty to cogitate over. With all the information that seeps through about Garak, it appears we have concrete details about him at last, but how many cracks are in that concrete? Avery Brooks does another star turn as director, keeping the mystery and pace in so many dialogue-heavy scenes (and still showing the desire to experiment - I love the move into the frame along the wardroom table as we slowly creep towards the Flaxian, showing off the makeup department's triumph as much as anything). Quark and Jake don't feature, but that's the price of an included wider cast, the soundtrack is assured (the music coming across very strongly in the way that later season's would do), even the babble of the Promenade somehow sounds more 'three-dimensional'. Garak gives us at least two thoughts to stay with us: a Nausicaan in wedding clothes for one, and for another, that he definitely isn't as fond of his tailoring life as he makes out!
****
Remember Me
DVD, TNG S4 (Remember Me)
One in a long line of weirded-out characters plunged into a different reality. This time it isn't the Holodeck or another dimension, not aliens playing tricks or all happening in the mind. This time it's Beverly's own personal universe and things aren't going well. I've always loved the mysterious and otherworldliness of these kinds of story where you can't tell up from down and you don't know what outlandish thing will happen next. The absurdity of the situation as people tell the Doctor they don't remember familiar characters is something that stuck in my mind when I saw this, one of the few episodes I got to see when I was younger and was impressed by. There has to be something creepy in the benign to make one of these work and few things are creepier than an entire crew vanishing with no record of their existence. The line Picard says sums it up: "We've never needed a crew before". It does bring imaginings to the fore of your brain - Picard and Beverly travelling the galaxy in a massive starship. There's a weird series in that idea.
Crusher's gradual realisation that things are worse than they at first appeared carries on through the episode, right to the end when she has mere seconds to survive as the 'universe' collapses in on her. There was one moment when she didn't react in the most realistic of ways, in the briefing room when her colleagues don't know Worf and when she stumps down the corridor after Troi she wonders if she's mad. Surely she would continue to try to convince her fellow officers that there's something wrong with them if they don't remember Worf, maybe do some tests on them to search for parasites or alien influence as it could more commonly be.
When we do resurface in the real world we're brought back to memories of Season 1 when the Traveller shows up again to remind Wesley that he's smarter than the average bear. The first time, it was what encouraged Picard to speed up the boy's inclusion aboard the Enterprise and has since led to his application to the Academy and maybe even the field commission. Kozinsky is mentioned too, his warp experiments remaining to cause trouble three years after he visited! Another throwback to the first season is Beverly and Picard's 'understanding' or lack thereof, and that she often was about to say what she really thought of him, of them, but has the moment rudely snatched away. Shame we didn't get to see the Picard of her mind's reaction, but a nice touch, especially as such things have been slow to return after Dr. Crusher's absence from the series. Dr. Selar is another reference to the past, and of course O'Brien is almost a regular now.
Beverly's distress and dawning knowledge is only rivalled by the tense rescue attempt - what before she thought was a danger in a safe universe proves to be the other way round and her only way out (long before 'Star Trek Nemesis' gave us people being sucked towards the viewscreen Dr. Crusher shows how it's done!), all thanks to good son Wesley and the enigma that is the Traveller. His arrival neatly in the mid-point of the series is like a masterplan coming together and one of the enduring threads that made the series more than it might have been though the makers probably had no inkling where it was all going. Dr. Crusher makes a strong single focus for the episode and confirms her position on the ship isn't to stand at the back smiling and scanning.
***
One in a long line of weirded-out characters plunged into a different reality. This time it isn't the Holodeck or another dimension, not aliens playing tricks or all happening in the mind. This time it's Beverly's own personal universe and things aren't going well. I've always loved the mysterious and otherworldliness of these kinds of story where you can't tell up from down and you don't know what outlandish thing will happen next. The absurdity of the situation as people tell the Doctor they don't remember familiar characters is something that stuck in my mind when I saw this, one of the few episodes I got to see when I was younger and was impressed by. There has to be something creepy in the benign to make one of these work and few things are creepier than an entire crew vanishing with no record of their existence. The line Picard says sums it up: "We've never needed a crew before". It does bring imaginings to the fore of your brain - Picard and Beverly travelling the galaxy in a massive starship. There's a weird series in that idea.
Crusher's gradual realisation that things are worse than they at first appeared carries on through the episode, right to the end when she has mere seconds to survive as the 'universe' collapses in on her. There was one moment when she didn't react in the most realistic of ways, in the briefing room when her colleagues don't know Worf and when she stumps down the corridor after Troi she wonders if she's mad. Surely she would continue to try to convince her fellow officers that there's something wrong with them if they don't remember Worf, maybe do some tests on them to search for parasites or alien influence as it could more commonly be.
When we do resurface in the real world we're brought back to memories of Season 1 when the Traveller shows up again to remind Wesley that he's smarter than the average bear. The first time, it was what encouraged Picard to speed up the boy's inclusion aboard the Enterprise and has since led to his application to the Academy and maybe even the field commission. Kozinsky is mentioned too, his warp experiments remaining to cause trouble three years after he visited! Another throwback to the first season is Beverly and Picard's 'understanding' or lack thereof, and that she often was about to say what she really thought of him, of them, but has the moment rudely snatched away. Shame we didn't get to see the Picard of her mind's reaction, but a nice touch, especially as such things have been slow to return after Dr. Crusher's absence from the series. Dr. Selar is another reference to the past, and of course O'Brien is almost a regular now.
Beverly's distress and dawning knowledge is only rivalled by the tense rescue attempt - what before she thought was a danger in a safe universe proves to be the other way round and her only way out (long before 'Star Trek Nemesis' gave us people being sucked towards the viewscreen Dr. Crusher shows how it's done!), all thanks to good son Wesley and the enigma that is the Traveller. His arrival neatly in the mid-point of the series is like a masterplan coming together and one of the enduring threads that made the series more than it might have been though the makers probably had no inkling where it was all going. Dr. Crusher makes a strong single focus for the episode and confirms her position on the ship isn't to stand at the back smiling and scanning.
***
Through The Looking Glass
DVD, DS9 S3 (Through The Looking Glass)
The Mirror Universe, part of the enduring legacy of the Original 'Star Trek', cried out for a sequel after Season 2's visit. In that story we found out how much had changed since Kirk turned Spock round to peace, and almost as much has progressed now we revisit a year later. A new Rebellion has grown up from the seeds planted by Bashir and Kira after inspiring Smiley O'Brien. Out of the many likely guest stars to 'crossover', shall we say, I should think Tuvok was one of the least in contention seeing as our version was lost in a distant part of the galaxy. Jennifer Sisko was also very long odds to reappear, being dead in our universe, but it just shows you can bring anyone in with the right story. No one is truly dead until both they and their mirror counterpart is killed, and even then there's time travel and Prophets taking on their persona, and who knows what else!
Far from taking over the series, the Defiant has been used sparingly and for the right reasons. It doesn't shake a nacelle in this episode, but is useful as redressed sets for Smiley's rebel ship, which I'd never noticed before thanks to the extreme lighting - the transporter, corridors and rooms, are all courtesy of the Defiant (except for one bit of corridor that looks like a station doorway, but not the lift with its fancy map graphic on the wall, unless that too is a redress of the Defiant's turbolift - we see that so rarely as the ship is so small so it's difficult to tell. Maybe Smiley didn't need to capture the Defiant's specs in Season 4 after all, he just had to look around his own ship! Lest the Runabouts (used even more sparingly than the Defiant) be forgotten, the piloting area is a redress of the Runabout cockpit. Was Smiley's ship Cardassian built? It had the familiar golden brown ripples of the station's Cardassian transporter visual. We also see a little more of the station and perhaps the only airlock door to appear with no windows in it (at the Ore Processing facility). One of the rare vertical ellipse windows is also glimpsed.
While in the first 'DS9' Mirror story it was enough to be going to that universe, for a sequel they needed to up the stakes. They did so by making the heart of the story about the two Siskos - Jennifer has all this vitriol stored up to fling at Ben, but when it comes down to it she's only able to exert half-conviction when Sisko reacts in a totally unexpected way. For his part he successfully keeps the bravado of Captain Sisko, while skillfully, but truthfully making up for his counterpart's faults. One of the best moments is when he vows to get her out of the seemingly impossible situation and she wholeheartedly replies "I believe you!", signalling her change of heart so strongly. As in 'Civil Defense' Sisko activates the station's self-destruct, but I'm not sure how he knew the Intendant's code - he hopes the station was designed by the same Cardassian as in his universe, but Kira would have her own personal code. It's possible he could have accessed some program of the designer's which told him what the current code was.
Avery Brooks had an interesting challenge, playing Sisko as playing Mirror Sisko, so he's not as violent or expressive as that version was, but is more expressive than normal Sisko. It must have been difficult to find the right balance as he'd played the full-on Sisko, but didn't want to go that far. He meets the challenge admirably (let's not get ahead of ourselves, Captain will do for now!). He, himself gets to be called Captain for probably the first time (and gets to talk about himself in that rank in the third person!), so maybe he was inspired by the experience and more open to becoming a Captain than ever before? On hearing of Captain Sisko maybe Starfleet thought it was time the real Sisko was a Captain? Let's hope he didn't notice the Intendant's attraction to baldness or he might not have been so quick to shave his head...
I'd forgotten how exciting the end was, with all its shooting matches and tricks and near misses - both Smiley and Jennifer have close calls where beams narrowly miss them. I didn't realise when Smiley was scratching behind his ear that it was the sub-dermal communicator, I thought it was another little reminder that he's a bit dirty and maybe he'd got fleas! I'd also forgotten that Rom wasn't a traitor, and it was all a ploy. The tradition of killing off a famous Ferengi per visit took shape with this episode. They had been quite indiscriminate in the first visit, killing Quark and Odo, and with this they'd got rid of Sisko and Rom. They must have realised they couldn't keep making Mirror stories if they murdered all the main characters, but still wanted to have some fun, so the idea of the Ferengi being the most likely candidates for death came into being. That's my theory, anyway.
I wonder if there's a Parallel Prime Directive to complete the set, alongside the standard Prime and Temporal Prime Directives? If not, Sisko may have kept the details of his disappearance vague so as not to give too much embarrassment to his colleagues. Starfleet must have known about the event however because the universes travel at the same rate of time and he could have been gone a couple of days. How to explain it? I also wonder if there's supposed to be the suggestion Jennifer and Smiley are fond of each other with the way she talks about him at the end. Possibly not as I don't recall that being borne out in the next part of the 'trilogy'.
This is Garak's second episode in an unprecedented four-episode run. Season 1 belonged to Nog and the O'Brien's, 2 saw Rom come into his own more, but 3 has definitely been Garak's showcase, even though this is a third episode in which he plays a Garak that isn't Garak (after 'The Search' and 'Distant Voices'). The Mirror Garak has no finesse and is all about power and hurting people for the sake of cruelty. He can't restrain his emotions, but relishes the chance to let loose under the Intendant's orders. He comes across as a little stupid, allowing his pleasure for violence to overwhelm him. So far we haven't quite discovered whether our Garak shares any of these attributes deep inside, but we're about to...
As with the last few episodes there is something to link back to the previous one. This time it's the characters playing variations of themselves, and doing so with aplomb. Dax is quite scary and Bashir looks like a tramp so that it was almost a pleasure for Sisko to knock him head-over-heels across a table! Morn hasn't been seen as regularly this season, the visits to Quark's bar not quite the same backbone of the series as they had been, but he does get a mention, as do Vole fights (first mooted in 'Destiny'). The Romulans also get an honourary reference as that's the story Sisko tells to let people know he's going to be gone for a while. How Smiley explained Sisko's 'death' a second time I don't know. I expect his followers thought it was all a ruse again. Lastly, the Badlands are seen to be just as stormy in the Mirror universe as in ours. Surely they should be a place of peace and serenity?
****
The Mirror Universe, part of the enduring legacy of the Original 'Star Trek', cried out for a sequel after Season 2's visit. In that story we found out how much had changed since Kirk turned Spock round to peace, and almost as much has progressed now we revisit a year later. A new Rebellion has grown up from the seeds planted by Bashir and Kira after inspiring Smiley O'Brien. Out of the many likely guest stars to 'crossover', shall we say, I should think Tuvok was one of the least in contention seeing as our version was lost in a distant part of the galaxy. Jennifer Sisko was also very long odds to reappear, being dead in our universe, but it just shows you can bring anyone in with the right story. No one is truly dead until both they and their mirror counterpart is killed, and even then there's time travel and Prophets taking on their persona, and who knows what else!
Far from taking over the series, the Defiant has been used sparingly and for the right reasons. It doesn't shake a nacelle in this episode, but is useful as redressed sets for Smiley's rebel ship, which I'd never noticed before thanks to the extreme lighting - the transporter, corridors and rooms, are all courtesy of the Defiant (except for one bit of corridor that looks like a station doorway, but not the lift with its fancy map graphic on the wall, unless that too is a redress of the Defiant's turbolift - we see that so rarely as the ship is so small so it's difficult to tell. Maybe Smiley didn't need to capture the Defiant's specs in Season 4 after all, he just had to look around his own ship! Lest the Runabouts (used even more sparingly than the Defiant) be forgotten, the piloting area is a redress of the Runabout cockpit. Was Smiley's ship Cardassian built? It had the familiar golden brown ripples of the station's Cardassian transporter visual. We also see a little more of the station and perhaps the only airlock door to appear with no windows in it (at the Ore Processing facility). One of the rare vertical ellipse windows is also glimpsed.
While in the first 'DS9' Mirror story it was enough to be going to that universe, for a sequel they needed to up the stakes. They did so by making the heart of the story about the two Siskos - Jennifer has all this vitriol stored up to fling at Ben, but when it comes down to it she's only able to exert half-conviction when Sisko reacts in a totally unexpected way. For his part he successfully keeps the bravado of Captain Sisko, while skillfully, but truthfully making up for his counterpart's faults. One of the best moments is when he vows to get her out of the seemingly impossible situation and she wholeheartedly replies "I believe you!", signalling her change of heart so strongly. As in 'Civil Defense' Sisko activates the station's self-destruct, but I'm not sure how he knew the Intendant's code - he hopes the station was designed by the same Cardassian as in his universe, but Kira would have her own personal code. It's possible he could have accessed some program of the designer's which told him what the current code was.
Avery Brooks had an interesting challenge, playing Sisko as playing Mirror Sisko, so he's not as violent or expressive as that version was, but is more expressive than normal Sisko. It must have been difficult to find the right balance as he'd played the full-on Sisko, but didn't want to go that far. He meets the challenge admirably (let's not get ahead of ourselves, Captain will do for now!). He, himself gets to be called Captain for probably the first time (and gets to talk about himself in that rank in the third person!), so maybe he was inspired by the experience and more open to becoming a Captain than ever before? On hearing of Captain Sisko maybe Starfleet thought it was time the real Sisko was a Captain? Let's hope he didn't notice the Intendant's attraction to baldness or he might not have been so quick to shave his head...
I'd forgotten how exciting the end was, with all its shooting matches and tricks and near misses - both Smiley and Jennifer have close calls where beams narrowly miss them. I didn't realise when Smiley was scratching behind his ear that it was the sub-dermal communicator, I thought it was another little reminder that he's a bit dirty and maybe he'd got fleas! I'd also forgotten that Rom wasn't a traitor, and it was all a ploy. The tradition of killing off a famous Ferengi per visit took shape with this episode. They had been quite indiscriminate in the first visit, killing Quark and Odo, and with this they'd got rid of Sisko and Rom. They must have realised they couldn't keep making Mirror stories if they murdered all the main characters, but still wanted to have some fun, so the idea of the Ferengi being the most likely candidates for death came into being. That's my theory, anyway.
I wonder if there's a Parallel Prime Directive to complete the set, alongside the standard Prime and Temporal Prime Directives? If not, Sisko may have kept the details of his disappearance vague so as not to give too much embarrassment to his colleagues. Starfleet must have known about the event however because the universes travel at the same rate of time and he could have been gone a couple of days. How to explain it? I also wonder if there's supposed to be the suggestion Jennifer and Smiley are fond of each other with the way she talks about him at the end. Possibly not as I don't recall that being borne out in the next part of the 'trilogy'.
This is Garak's second episode in an unprecedented four-episode run. Season 1 belonged to Nog and the O'Brien's, 2 saw Rom come into his own more, but 3 has definitely been Garak's showcase, even though this is a third episode in which he plays a Garak that isn't Garak (after 'The Search' and 'Distant Voices'). The Mirror Garak has no finesse and is all about power and hurting people for the sake of cruelty. He can't restrain his emotions, but relishes the chance to let loose under the Intendant's orders. He comes across as a little stupid, allowing his pleasure for violence to overwhelm him. So far we haven't quite discovered whether our Garak shares any of these attributes deep inside, but we're about to...
As with the last few episodes there is something to link back to the previous one. This time it's the characters playing variations of themselves, and doing so with aplomb. Dax is quite scary and Bashir looks like a tramp so that it was almost a pleasure for Sisko to knock him head-over-heels across a table! Morn hasn't been seen as regularly this season, the visits to Quark's bar not quite the same backbone of the series as they had been, but he does get a mention, as do Vole fights (first mooted in 'Destiny'). The Romulans also get an honourary reference as that's the story Sisko tells to let people know he's going to be gone for a while. How Smiley explained Sisko's 'death' a second time I don't know. I expect his followers thought it was all a ruse again. Lastly, the Badlands are seen to be just as stormy in the Mirror universe as in ours. Surely they should be a place of peace and serenity?
****
Splinter
DVD, Smallville S5 (Splinter)
Red and green, and blue and... silver? I don't know how many colours of Kryptonite there, but for once that didn't matter because this is the best installment I've seen from the series for a long time, certainly as far back as Season 4. Somehow all the pieces that are usually missing fell into place in a way that should happen all the time! You actually feel sorry for Lex - he's wronged by all and sundry, thrown through the air with the greatest of ease and his Dad even swans in to dig the boot in, just like the old days. The Kent's are a solid family again, everyone there and a part of it. Such a thing as Chloe revealing her knowledge of Clark to the Kent's goes by the wayside in a story packed with possibilities. Pete's engagement with the family ended sadly and bitterly, but if this is anything to go by Chloe will be a different proposition.
The writing is clever enough that at first it seems Clark is just acting all immature and stupid, like he got out of bed on the wrong side, and while I balked at his bizarre treatment of Chloe I soon twigged that all was not as it seemed - it had to be, with Lionel offering Jonathan a bribe and it being accepted. I thought perhaps Lionel was really Dr. Fine in disguise, causing mayhem for his own reasons, and I was right, in a way. He is finally unmasked (sort of) as the Kryptonian we always knew he was. I suspected either him or Lex of sending the silver Kryptonite in the first place, but I was inclined more towards him because Lex was unlikely to know what effect the rock would have and things were pointing towards Luthor Jr. so it would be too obvious. Fine has so far seemed like a nice guy (a dangerous, murdering one when in his own company, it's true...), but here his penchant for wearing black begins to make sense - it's clear he was the sender of the rock to test Clark or manipulate him by gaining his trust.
There were problems even with such a good episode - I'd have liked to see the episode from Clark's point of view so the paranoid delusions were apparently real until someone got through to him (like the 'DS9' episode 'Whispers'), and it would have been great for Clark and Fine to have a full-blown battle using all their powers, rather than the quick scuffle that ensues. I also didn't like the idea that Chloe told Lana the silver stuff gave Clark temporary powers, because in some ways that makes it harder for him to tell her his real secret with the assumption being he no longer has those powers. At the same time there's no better time than now because she reacted well to the story Chloe spun and didn't 'freak out'. For once I was truly glad it was all simple to make up at the end as it would have been too easy for them to write that she gets all annoyed again ("How can I trust you, blah, blah, blah"), but she accepted it as an aberration.
The friendship between Clark and Lex is again unclear, shifting between best buddies looking out for each other to total distrust on a weekly basis. Now Lex appears set on winning over Lana I foresee trouble, but I can't think about downsides too much when I've enjoyed an episode so much. Will Jonathan die through standing against Lex, and will his heart be able to cope? Just as importantly what is the Kryptonian identity of Fine? I kept expecting him to reveal his real name, but no. Is he Zod or not? For a brief moment Clark's world appeared to be crumbling around him, and I can't help but hear the future in many of the words spoken about Lex and Clark and humans in general. Strange that an episode that so successfully intertwines the Kryptonian mythology with a slightly pessimistic view of the future should also be such a genuinely enjoyable group of interactions that inspire memories of when the series was great.
***
Red and green, and blue and... silver? I don't know how many colours of Kryptonite there, but for once that didn't matter because this is the best installment I've seen from the series for a long time, certainly as far back as Season 4. Somehow all the pieces that are usually missing fell into place in a way that should happen all the time! You actually feel sorry for Lex - he's wronged by all and sundry, thrown through the air with the greatest of ease and his Dad even swans in to dig the boot in, just like the old days. The Kent's are a solid family again, everyone there and a part of it. Such a thing as Chloe revealing her knowledge of Clark to the Kent's goes by the wayside in a story packed with possibilities. Pete's engagement with the family ended sadly and bitterly, but if this is anything to go by Chloe will be a different proposition.
The writing is clever enough that at first it seems Clark is just acting all immature and stupid, like he got out of bed on the wrong side, and while I balked at his bizarre treatment of Chloe I soon twigged that all was not as it seemed - it had to be, with Lionel offering Jonathan a bribe and it being accepted. I thought perhaps Lionel was really Dr. Fine in disguise, causing mayhem for his own reasons, and I was right, in a way. He is finally unmasked (sort of) as the Kryptonian we always knew he was. I suspected either him or Lex of sending the silver Kryptonite in the first place, but I was inclined more towards him because Lex was unlikely to know what effect the rock would have and things were pointing towards Luthor Jr. so it would be too obvious. Fine has so far seemed like a nice guy (a dangerous, murdering one when in his own company, it's true...), but here his penchant for wearing black begins to make sense - it's clear he was the sender of the rock to test Clark or manipulate him by gaining his trust.
There were problems even with such a good episode - I'd have liked to see the episode from Clark's point of view so the paranoid delusions were apparently real until someone got through to him (like the 'DS9' episode 'Whispers'), and it would have been great for Clark and Fine to have a full-blown battle using all their powers, rather than the quick scuffle that ensues. I also didn't like the idea that Chloe told Lana the silver stuff gave Clark temporary powers, because in some ways that makes it harder for him to tell her his real secret with the assumption being he no longer has those powers. At the same time there's no better time than now because she reacted well to the story Chloe spun and didn't 'freak out'. For once I was truly glad it was all simple to make up at the end as it would have been too easy for them to write that she gets all annoyed again ("How can I trust you, blah, blah, blah"), but she accepted it as an aberration.
The friendship between Clark and Lex is again unclear, shifting between best buddies looking out for each other to total distrust on a weekly basis. Now Lex appears set on winning over Lana I foresee trouble, but I can't think about downsides too much when I've enjoyed an episode so much. Will Jonathan die through standing against Lex, and will his heart be able to cope? Just as importantly what is the Kryptonian identity of Fine? I kept expecting him to reveal his real name, but no. Is he Zod or not? For a brief moment Clark's world appeared to be crumbling around him, and I can't help but hear the future in many of the words spoken about Lex and Clark and humans in general. Strange that an episode that so successfully intertwines the Kryptonian mythology with a slightly pessimistic view of the future should also be such a genuinely enjoyable group of interactions that inspire memories of when the series was great.
***
Distant Voices
DVD, DS9 S3 (Distant Voices)
Is he mad, back in time or in a coma? Well actually he is, yes. In a coma, that is. Trek occasionally delves into the psychological and these episodes are my favourite kind because they enable a surreal vision of the world, things that couldn't normally be done - balloons adorning Ops for a Birthday celebration or a tennis court on the Promenade. The possibilities are as open and endless as the mind itself. 'Distant Voices' is my favourite example, and one of my highest rated episodes to boot. It combines an initially unexplained event with the natural darkness of the station, so often seen in the light, but gaining a sinister atmosphere once the dark shadows are everywhere. The corridors of DS9 have always been a little foreboding on a good day, but the moment the lights go out and the pitch blackness scuttles after Bashir like a living entity, each set of lights enveloped, is incredibly chilling, not the least because a monster gets his hands in the turbolift door before it shuts, leading the Doctor to kick them away with all his strength. At this stage the darkness of the station, the absence of almost everyone aboard and the fact that a half-seen alien menace is intent on physically tearing the place apart brings a huge level of atmosphere and danger into play. But what raises the bar of the episode is that it not only creates a mysterious and scary situation, but it's a character episode in which we learn concrete things about one of the best; Dr. Bashir.
The reveal of the situation comes surprisingly early - already we're primed to half-expect some kind of unreality. As early as the teaser in which Garak presents the Doctor with a Holosuite program as a birthday present the idea of holo-manipulation is a common jump to reach when things are not as they seem. Likewise the possibilities of a virus or Dominion plot are suggested early on. That it is as simple as being in Bashir's mind is no disappointment because it's more than a lost-in-his-mind tale (like 'Extreme Measures') or escaping a monster. The scene in which he works out what part of him each character represents loses some of the momentum that had been sustained until that point, but at the same time it's true to the situation of Bashir having aged and taking longer to say things and work them out, and it's always a joy to see the main actors acting out of character, and in this instance seem cognizant of who they are, becoming annoyed when Bashir explains they are part of him.
So the episode very successfully creates a worrying and uncomfortable stage, and we dig deep into Bashir's psyche (though not deep enough to reveal his deepest secret...), but the episode also scores on the fantastic (and Emmy award-winning) makeup - Bashir's ageing is realistic and a work of excellence. The look is emphasised by the lighting - the scene in which he finds Kira lying dead in a pool of light and Odo melting shows the gaunt nature of his visage as he flits from dark to light, lit from below or above, moving through the corridor, his haggard appearance exuding the fear and horror he experiences. The Lethean is no less a work of latex art. My favourite race are the Vulcans, but the Letheans are the best of the minor races ever designed and should have been used more than the two outings they got. The red eyes appeared more liquid, the ridged head and spikes bring immediate visions of the Jem'Hadar, further enhancing Altovar's fearsome image, topped off by a visually splendid and deadly telepathic attack that could almost rival the mind meld for drama. His deep, menacing voice mocks the Doctor, though we'll never know if the real Lethean was as eloquent - from his one scene the impression is of a typical surly and silent ruffian in the Nausicaan mode, yet with more guile than those thugs as he doesn't threaten the Doctor, but gets right on with taking what he wants when refused. I want to know why there's no Lethean action figure!
The role is a tour de force for Alexander Siddig - his appearance was created by the makeup department, but you can't put makeup on a voice, that is all credit to Siddig, as is the doddery walk and the mannerisms of an old man. His voice becomes deeper and huskier, he becomes breathless, his voice cracks. His whole being becomes the embodiment of ancient. Nitpickers might suggest that an old man couldn't crawl through Jefferies tubes or haul himself up onto a stool, and might point out that he suffers a broken hip, but a few minutes later is walking about, albeit slowly. They forget that this is all in his mind, and the age is only a visual symptom of the mental destruction raging through his brain. If he forgets about his injuries then they aren't likely to bother him.
The triumph of the story is in the way we are treated to an update on Bashir, how he sees his life now, after almost three years on the station. He admits (to himself I suppose) that he still loves Dax, but he's happy with the friendship they enjoy; he could have tried harder in his schooling (the reason why he didn't try as hard isn't revealed beyond not wanting the pressure of being first - maybe that's what he told himself, though a stronger reason would come to light), but he doesn't look back and would have chosen this assignment regardless. He's happy to be where he is and has matured into a more serious and experienced hand far from the impulsive chatterbox he was when he arrived on the station. His friendship with Garak (who also plays a variation of himself, just as in the mental world created by the Founders of 'The Search'), is shown to be as strong as ever, and it leads to one of the best closing scenes in any episode as Garak enjoys a little fun, suggesting Bashir still doesn't trust him, proving he's learnt something - a touching reminder of the first few meetings when the Doctor was more impressionable and all excited at meeting the 'spy' of the station. Garak's views have impacted Bashir and in some ways he's one of the people that has shaped him. Notice that Quark is especially polite when he interrupts their meal because they're eating in the Replimat and he wants them to come to his bar to eat!
Seeing the station unlit except for a few areas here and there is quite stunning and makes me wish they'd used that style more. Only in 'Empok Nor' did we see the station's layout even darker than that. The last few episodes have had a link to the previous one, and in this one it's seeing O'Brien lying dead, which also happened in 'Visionary'. Even the title is one of the best, evoking mystery and an ethereal quality. That it remains in the top tier of episodes for me, is a tribute to all the departments that were forced into doing something different and further than usual, whether it was lighting or makeup, but most especially to Alexander Siddig for what may be his best performance.
*****
Is he mad, back in time or in a coma? Well actually he is, yes. In a coma, that is. Trek occasionally delves into the psychological and these episodes are my favourite kind because they enable a surreal vision of the world, things that couldn't normally be done - balloons adorning Ops for a Birthday celebration or a tennis court on the Promenade. The possibilities are as open and endless as the mind itself. 'Distant Voices' is my favourite example, and one of my highest rated episodes to boot. It combines an initially unexplained event with the natural darkness of the station, so often seen in the light, but gaining a sinister atmosphere once the dark shadows are everywhere. The corridors of DS9 have always been a little foreboding on a good day, but the moment the lights go out and the pitch blackness scuttles after Bashir like a living entity, each set of lights enveloped, is incredibly chilling, not the least because a monster gets his hands in the turbolift door before it shuts, leading the Doctor to kick them away with all his strength. At this stage the darkness of the station, the absence of almost everyone aboard and the fact that a half-seen alien menace is intent on physically tearing the place apart brings a huge level of atmosphere and danger into play. But what raises the bar of the episode is that it not only creates a mysterious and scary situation, but it's a character episode in which we learn concrete things about one of the best; Dr. Bashir.
The reveal of the situation comes surprisingly early - already we're primed to half-expect some kind of unreality. As early as the teaser in which Garak presents the Doctor with a Holosuite program as a birthday present the idea of holo-manipulation is a common jump to reach when things are not as they seem. Likewise the possibilities of a virus or Dominion plot are suggested early on. That it is as simple as being in Bashir's mind is no disappointment because it's more than a lost-in-his-mind tale (like 'Extreme Measures') or escaping a monster. The scene in which he works out what part of him each character represents loses some of the momentum that had been sustained until that point, but at the same time it's true to the situation of Bashir having aged and taking longer to say things and work them out, and it's always a joy to see the main actors acting out of character, and in this instance seem cognizant of who they are, becoming annoyed when Bashir explains they are part of him.
So the episode very successfully creates a worrying and uncomfortable stage, and we dig deep into Bashir's psyche (though not deep enough to reveal his deepest secret...), but the episode also scores on the fantastic (and Emmy award-winning) makeup - Bashir's ageing is realistic and a work of excellence. The look is emphasised by the lighting - the scene in which he finds Kira lying dead in a pool of light and Odo melting shows the gaunt nature of his visage as he flits from dark to light, lit from below or above, moving through the corridor, his haggard appearance exuding the fear and horror he experiences. The Lethean is no less a work of latex art. My favourite race are the Vulcans, but the Letheans are the best of the minor races ever designed and should have been used more than the two outings they got. The red eyes appeared more liquid, the ridged head and spikes bring immediate visions of the Jem'Hadar, further enhancing Altovar's fearsome image, topped off by a visually splendid and deadly telepathic attack that could almost rival the mind meld for drama. His deep, menacing voice mocks the Doctor, though we'll never know if the real Lethean was as eloquent - from his one scene the impression is of a typical surly and silent ruffian in the Nausicaan mode, yet with more guile than those thugs as he doesn't threaten the Doctor, but gets right on with taking what he wants when refused. I want to know why there's no Lethean action figure!
The role is a tour de force for Alexander Siddig - his appearance was created by the makeup department, but you can't put makeup on a voice, that is all credit to Siddig, as is the doddery walk and the mannerisms of an old man. His voice becomes deeper and huskier, he becomes breathless, his voice cracks. His whole being becomes the embodiment of ancient. Nitpickers might suggest that an old man couldn't crawl through Jefferies tubes or haul himself up onto a stool, and might point out that he suffers a broken hip, but a few minutes later is walking about, albeit slowly. They forget that this is all in his mind, and the age is only a visual symptom of the mental destruction raging through his brain. If he forgets about his injuries then they aren't likely to bother him.
The triumph of the story is in the way we are treated to an update on Bashir, how he sees his life now, after almost three years on the station. He admits (to himself I suppose) that he still loves Dax, but he's happy with the friendship they enjoy; he could have tried harder in his schooling (the reason why he didn't try as hard isn't revealed beyond not wanting the pressure of being first - maybe that's what he told himself, though a stronger reason would come to light), but he doesn't look back and would have chosen this assignment regardless. He's happy to be where he is and has matured into a more serious and experienced hand far from the impulsive chatterbox he was when he arrived on the station. His friendship with Garak (who also plays a variation of himself, just as in the mental world created by the Founders of 'The Search'), is shown to be as strong as ever, and it leads to one of the best closing scenes in any episode as Garak enjoys a little fun, suggesting Bashir still doesn't trust him, proving he's learnt something - a touching reminder of the first few meetings when the Doctor was more impressionable and all excited at meeting the 'spy' of the station. Garak's views have impacted Bashir and in some ways he's one of the people that has shaped him. Notice that Quark is especially polite when he interrupts their meal because they're eating in the Replimat and he wants them to come to his bar to eat!
Seeing the station unlit except for a few areas here and there is quite stunning and makes me wish they'd used that style more. Only in 'Empok Nor' did we see the station's layout even darker than that. The last few episodes have had a link to the previous one, and in this one it's seeing O'Brien lying dead, which also happened in 'Visionary'. Even the title is one of the best, evoking mystery and an ethereal quality. That it remains in the top tier of episodes for me, is a tribute to all the departments that were forced into doing something different and further than usual, whether it was lighting or makeup, but most especially to Alexander Siddig for what may be his best performance.
*****
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