Abyss

DVD, Smallville S8 (Abyss)

A frustrating episode, and not for the usual reasons. So often I get irritated by the series for messing me about and going round in circles of meaningless where nothing has any depth and it gets all soapy without a strong connection between the characters. This time it was more of a frustration with the potential of the story and how it remained pedestrian up until the end when some great stuff happens. I've always been fascinated by Doomsday, though I know little about it, my only Superman comic from youth being the one in which this creature kills Superman. That's about all I ever knew about him, except that he was some kind of alien, and if he could kill Superman he had to be something pretty impressive! I've always wanted to see this enemy of the Man of Steel portrayed on screen, and I'd heard years ago that it was coming to the series, though only in rumour, nothing for certain about when or how. But I kept waiting, even though there had been false starts with the back of the Season 4 DVD set featuring 'Doomsday' as part of the slogan, yet having nothing to do with the creature, disappointingly. I can't remember if I had suspicions about Davis being Doomsday before, but I certainly did early in this episode. I think after his 'rebirth' as a Kryptonian being after being 'killed' by Lois under the control of his Mother, I assumed he was just going to be another renegade member of the race, but something in this episode (before it was obvious), suggested it to me, and it does seem pretty transparent that Davis is the monster after all.

Clark doesn't seem fazed at all by Jor-El's description of this terrible being that was created to adapt to any attack (I'm thinking the Borg), but that's not surprising since he's always managed to survive whatever the universe has thrown at him, even if it came at great cost. Mind you, the vanquishing of Brainiac was about the most underwhelming way to defeat an enemy as you could imagine. Not only does Clark simply pop the blue crystal back to the North Pole (will we ever find out who the mysterious 'X' was that sent it back to him?), and in the usual repeating pattern, restore what had been so dramatically lost with no trouble and no stakes, Chloe is just laid on a bed of ice and the black liquid of Brainiac drips out! Quite apart from the dismay I should have been feeling (except that I'm oh so used to it), at such an important event as the destruction of the Fortress of Solitude, in which, lest we forget, Lex Luthor was embedded, being undone in such a simple way, almost as if it had never happened in the first place, Clark pronounces he's learned his lessons and is now ready to protect more than just his friends and family. Where did that come from? Was it Oliver Queen's bullying from episodes past or some other motivation that's slowly gripped him? There hasn't been a change in attitude that would show the character changing, and I hate to say it when I'm writing about an episode that has some really good ideas, but it's the writing at fault again, though in this case it's more the fault of previous episodes not doing a good enough job at being consistent or showing growth.

Anyway, Jor-El welcomes him back and they're best buds again, which is useful because Chloe has to have her memories restored. The episode was very different to how I imagined it was going to be from the exciting teaser in which Chloe flashes back to her engagement party and everything falls apart and blanks out in representation of her chronic memory loss. It was dramatic and unexpected, and I was hoping for the kind of 'trapped in a world of horror' episode the series can pull off when it tries to, with Chloe bouncing around from memory to memory, or someone trying to guide her 'home' out of her own mind (like some mix of the 'DS9' episodes 'Distant Voices' and 'Extreme Measures'), but then it slowed to a crawl, becoming very talky with very little of note happening. Occasionally we get another flashback, the most enjoyable being when we witness the child Clark showing Chloe around his loft for the first time in a nice nod to the past while also giving us something new to fill in the gaps. The young actors were fine and there was a pretty good feel of these characters at that young age, reminding us of the much more quirky nature Chloe used to display that was gradually watered down as she became an adult. It was almost a flashback in itself to see Clark fixing something at his farm as it happens to rarely, but one thing I didn't miss were Lois, Tess or Oliver - rather than have them squeezed in for the sake of it they remained absent.

There were plenty of these nods back in time to the series' past, like the mention of Lana Lang, whom I don't really expect to see again unless they brought her back for a final season cameo that I don't know about. Clark lists all the people who've left the series… I mean, all those he's lost, either leaving or dying, which sets up the most surprising conclusions: that when Clark has a chance to wipe Chloe's mind of his secret identity as a super-powered alien he goes for it. So I think he's back to being alone again, since no one else knows his secret on the series (forgetting Kara or Phil Morris' characters who could potentially appear again, or Lionel and Lex who are out of it, and Mrs. Kent, who's far too busy to get involved these days!). There was a moment of real connection and character that's rare on the series in these later seasons - Clark has to sacrifice having Chloe as his full ally in order to protect her, effectively shown in the flashback to when he caught the car with her watching back in Season 4 or 5, was it? It's been a long time since Chloe found out, and they played it so that she didn't tell him she knew at first, and I suppose I should be railing against the writers for doing another spiral with the status quo being restored, especially as she's sure to learn Clark's secret yet again in future. But it was something that had depth to it and meant something, so I applaud the series for doing it. It makes Chloe's position in Clark's life more interesting to see where it might go now, not least because she's the link from Brainiac to Doomsday, having Davis imprinted on her as the only one to trust during her mental meltdown.

Davis was certainly acting strange this time. He had much more of a sinister aura around him, which we're not used to as he's always been positioned as a good guy, a helpful sort on the periphery whose dark secret was to be explained. Well, the secret's out, but it remains to be seen how it will play since his goals are unclear. It could be that his abandonment by Chloe as anything more than a friend will be the catalyst that crosses his motives over into the dark side, which would be a little cliched, but I'm not going to judge until I've seen, and I am excited to see how Doomsday is revealed. I'm hoping, and I'm pretty sure it does happen, that he turns into the big grey monster physically, not just as a representation, like Khan in 'Star Trek Into Darkness' which was nothing like the original. Not having James Marsden to play the villain in the background of Chloe's mind hurt the episode, and I really did want to see a runaround inside Chloe's head rather than the slow realisation that Brainiac is messing with her memories. They take long enough to get to that point, too, with Clark eventually vocalising what we all knew from the start.

I wondered why Jimmy would go to Clark instead of taking her straight to a doctor, but they are all good friends and with all the weirdness they've experienced you'd hope they would all turn to each other in a situation like that - indeed, I really wanted a happy ending with the three of them driving off to Metropolis in a kind of recreation of the friendships of the early seasons, but then we wouldn't have had pouty Davis, and they probably felt they had to do that, even though it was a bit weak. I did like that Jimmy and Clark discuss Chloe's former meteor power for the first time, Jimmy assuming he knew, but only now being confirmed in that. And you have to feel sorry for the guy as it feels like Jimmy remains on the back foot to everyone! Finally, was that the voice of Lionel Luthor speaking the last words as Jor-El gets taken over by the Brainiac gunk? We'd already seen his picture during Chloe's attempts to remember all the people she'd known, and his name was spoken along with Lana, Jonathan, Pete and Lex when Clark talks about those he's lost. As good and ripe with potential as the ending was, there still wasn't enough to make the episode work well as a whole, hence my irritation. Another lost opportunity then, but at least this time it was because they got to the good stuff late rather than never.

**

Far Beyond The Stars

DVD, DS9 S6 (Far Beyond The Stars)

Although undeniably a top ten-calibre episode of the series (and perhaps even of all Trek), and a memorable one at that, I couldn't quite remember what the point of it all was, as I watched. I got that it was a classic 'issues' story dealing with racism, reminding us how much has changed by the 24th Century, and I got that it was a triumph of both acting and directing from series star Avery Brooks, allowing him his defining moment of acting, just as William Shatner had at the end of 'Star Trek II,' and Patrick Stewart had melding with Sarek in his series (nothing immediately leaps to mind as the defining moment for Captains Janeway and Archer), but I didn't get what the point was in the wider context of the series. If this were a fully anthology-based series it wouldn't need a context, it would just be pure storytelling, which, by the way is very strong - you're interested in what happens in Benny's world as much as if it were a happening that was meaningful to Ben Sisko's life, drawn along by events as much as by the gimmick of seeing the regular cast and many of the supporting players act in the same production without makeup and as different characters that have no, or very little connection to their familiar roles. No, gimmick is the wrong word, as that makes it sound like a contrivance or a stunt, when it is in fact a delightful twist of uniqueness, reality within another reality that works on the level of fascination to see these actors working together in more than the way we'd expect, perhaps breaking the fourth wall, perhaps setting out a theatre production, yet still being in the confines of that four by three TV episode…

It's a difficult one to explain in the way of attraction because these aren't who we think we're watching, a bizarre, but wonderful connection that we have with these new characters all interacting in another world. At the same time it makes sense because, like Odo's multi-mind meld in 'Things Past,' these are all aspects of Sisko's mind, the dreamer and the dream, as the Preacher says to him. The difference is that in that previous example, the closest I could think of, those involved were themselves, and aware of who they were, but also knowing they appeared as other people to anyone but the small group that shared the experience. In this, every character is a new character, and even Sisko believes himself to be this other person, who sees visions of himself, during his life as Benny, looking outside of that life, either in a window's reflection, or in the most effective and bewildering way, when he lurches from dancing calmly with Cassie at his home, to being the Captain dancing with Kasidy in his quarters on the station, acted and directed in a sharp, almost violent way to how you would think a pleasant little dance could be, emphasising Sisko's loss of understanding, his confusion and even some kind of pain, I think.

None of the other characters have that outside perspective, they're all simply players in Benny's world, except from his perspective when there's a weird crossover moment of the vision and reality blurring together, such as Kay speaking about Major Kira, and taking on her image at the same time, or Willie dressed as a full Klingon, or Pabst's ghostly wander past Sisko's office door. The connections in Sisko's brain are beginning to activate, from the same visions he was gifted in last season's 'Rapture,' producing a vivid, but essential tale, but also giving him that lightning bolt of insight as Benny that the future could be, and is, real. When Sisko follows baseball star Willie into someone's quarters on the station I expected some concerned crewman to ask what he was doing, but that's the transition moment into the 1950s - right away there's the tiniest of hints about the source of this strange occurrence, with the view as we look at Sisko from the front, showing the blank whiteness that he's so often experienced before when talking to the Prophets. I don't know whether that was intentional, but usually when a character enters another reality, a Holosuite, for example, you see the environment behind them, not just in their angle of vision.

The strong draw to see the actors play vastly different characters had always been there (though I thought it would have been a better in-joke for artist, Ritterhouse, to have stated interest in Klingons rather than Cardassians!), whether that's because they've been infected with viruses (such as Season 1's 'Babel' and 'Dramatis Personae'), or have been taken over by an outside force, but the method isn't the slightest bit important in this scenario (though it does have a logical, even scientific genesis through Sisko's previous encounter with visions in 'Rapture'), and so far into the production of not only 'DS9,' but Trek in general, spanning over thirty years by this time, and closing on the five hundred episode mark, had done just about every conceivable variety of alternate realities - it gets to the point where the means don't matter, you want to cut to the story and get on with it, and that's exactly what they did here, the advantage of having a continuous production cycle that lasted so long. If a new series came along now they'd be redoing every plot and every invention seen before, but 'as new' because it would likely be aimed at a whole new audience, whereas at the time this episode was made, it had the advantage of its audience being drip-fed the concepts and contexts of everything about the universe for years, giving us a shorthand (like the way things were being ticked off lists by characters experiencing similar things to what we'd seen before). Some may call it baggage, but in fact it's the licence and ability to get down to the storytelling without worrying about explanations too much, but still being satisfying in that world.

Not that the episode appeared to have much explanation to begin with, as I noted earlier I couldn't see what the purpose of the episode was, beyond telling an interesting, and affecting, story, but one that could be seen as 'old hat': racism is bad. Yes, we know that, thank you. It wasn't until the end that, like Sisko, my eyes were opened and I saw how cleverly it slotted together as a piece both wildly separate from the series, but also neatly connecting and making it worthwhile for the characters. Because if they don't learn or discover anything, it could be seen as a waste of their air time, which could have been better used to showcase what the series is about. But the series is about one man's journey from redemption through to understanding, and this was just a way point along that path. I should have got it from the opening scenes in which Sisko's upset on learning another good friend of his has been lost, along with his ship and crew, the losses of war beginning to be more than oppressive, and make him wonder if he should pack it in, not to keep fighting in his place, but leave the hard decisions to someone else. But that's not how the Captain's of Starfleet behave, is it? They don't have doubts and question their place, wonder if they're up to it, do they? Well, even stretching back to the very first episode, 'The Cage,' one of the signature characteristics of Jeffrey Hunter's Captain Christopher Pike is that he doubts himself and is tired of losing people. It's a practically identical situation, and it's somehow reassuring to know that even the greatest heroes have moments of uncertainty and confusion.

'DS9' was actually closest to the original vision of Gene Roddenberry if you look at it carefully. It may be couched in a darkly lit station that doesn't travel, and it may have a huge variety of nonhuman beings, but its true to the spirit of 'TOS,' but in a post-'TNG' world. It reacts and reflects both of its forebears, and this dichotomy is one of the things that made it the best series of all - while 'Voyager' was either a weaker version of 'TNG,' or a stronger one depending on which you saw first (I'm marginally in the latter camp), and 'Enterprise' was most definitely a weaker 'TOS,' 'DS9' had all the best qualities within it, ably demonstrated in an episode such as this one. But it wasn't perfect, and despite my assertion that this is one of the best of the series (and one of personal favourites), I can see where it could have been improved. Not least by having Andrew Robinson in it, but more seriously it would have been so much more meaningful if the friend of Sisko, Captain Swofford, had actually been someone we'd known, perhaps introduced as a maverick in the six episode War-arc (if it had been possible to squeeze any more characters in!). I was actually wondering if the USS Cortez was the ship which had been mentioned a few times in that arc, but that was actually the USS Centaur under Captain Charlie Reynolds. If it had been he who died, and we'd met him, even once, as a good buddy of Sisko's, the feeling of depression that washes over the Captain would have more basis in our minds. The series was usually so much better at planting seeds for later use, but this is one case where they didn't.

This adds up to slight confusion that Sisko, who's so battle-toughened, would start to question his role, and only when the story is completed at the end, with Sisko realising the whole vision was an encouragement from the Prophets in his dark time (they may claim not to interfere, but they do!), to keep him from abandoning the path laid out for him, do we see the significance. But greater clarification at the start was needed - we don't really see Sisko suffer, just a general impression of despondency. The other crime, if you could call it that, is taking away a once in a lifetime event: Joseph Sisko visiting DS9! This would have been a glorious episode in its own right, with the cranky old man having run-ins with each of the crew, surprising and delighting us in equal measure - any time they could get Brock Peters was licence to cash the cheque of greatness, so to miss out on such potential as Joseph simply being on the station was a big hole to fill. Fortunately the episode lives up to the challenge, and I would never give this story up in exchange for the nonexistent 'Joseph on DS9' storyline, however much I imagine it would have been a great one. But it's typical of Sisko's wilful and recalcitrant Father that he would pick wartime for the moment to make the visit he always claimed he never would! Or you can look at it another way, seeing it as self-sacrificial for the gourmet maestro to leave his customers and restaurant for so long just to come and see that his son and grandson were okay. It's the greatest show of support he can give, and doing it at such a time displays the love he has for his family.

It's not like Brock Peters isn't used well, either, since he has the pivotal role of advice-giver both in Benny's world as the voice of the Prophets, and in Sisko's world with the voice of the Bible, he speaks with authority and care for Sisko's future in both cases. I love that they use the quotation from 2 Timothy, not just because it's good to see that people in the 24th Century still know their Scripture, (even if Sisko showed surprise at his Father's quote, he knew where it was from, and you have to wonder if as many people would recognise it now), but also because it brings home the resonance of Sisko's experience and sets him up for the rest of the 'race' that he must run, even when, as the Preacher says, sometimes the path of the Prophets is a painful one, something Sisko would be confronted with in the hardest manner at the end of the season. Joseph's appearances are far from forgettable, but it's easy to lose track of the episodes he's in when he's not in his native environment of the restaurant. He'd only be in two more episodes after this one, out of six appearances, but despite the relatively few times he was in the series he always made an impact, on Sisko as much as the audience. The station-bound part of the story also reintroduces us to Kasidy Yates, which is useful as she hasn't appeared much at this point in the series, only being on one episode ('Rapture'), since her conviction for helping the Maquis in Season 4. So it's good to know she's still out there making her cargo runs even in a time of war. Life on her cargo ship would have been another interesting episode for them to do, say, if 'Profit and Lace' never existed! Perhaps that would have been one of the six stories that Benny wrote about 'DS9' and which we were sadly not privy to…

I loved the design of the 1950s idea of what Deep Space Nine would look like, with jets taking off on runways spiralling away from the station, and a much more curvier style to the architecture (an unconscious influence on the design of the new 'DS9' in the current novel series?). But style and design were at the forefront of this huge production - I can only imagine the gruelling schedule Avery Brooks must have been on to get this all done. Not only does he direct a piece that is ambitious in its scale, feeling more like a film than a weekly TV series (like the 'Incredible Tales' magazine compared with an actual TV episode of Trek), with a huge number of extras milling about, some big camera work, such as crane shots peering in at Benny's window, or the diner being shot on an outside location so the city street was bustling in the background. All this, and Brooks has to act in every scene and give his best performance ever, when Benny collapses in a fit of defiance and despair. I'm always saying he was a great actor, up there with the best of Trek (which is saying a lot with so many classically trained, experienced actors filling the series'), but if there's one scene that proves it beyond question it is that scene, which provides a thrill of awe that even writing about pricks the eyes! Maybe it was easier, in some ways that he was absolutely immersed in all aspects of the episode, because then he would be practically living it, and everything would be built on, the connections in the mind stronger, consistency of time and energy a boon for a cohesive piece of work that is heavily artistic, but still fits solidly within the series it is part of.

Even the choice of shots is impressive, with the exuberance of Benny and Cassie leaving the nightclub expressed by a trumpet player blasting right into the camera, or in my favourite shot, when the Preacher melts into the darkness after warning Benny of pain, disappearing completely into the shadows in a theatrical, but not exaggerated way. Or the camera pulling back from the savage beating meted out by the cops, as if hope is pulling away from the scene; or during the beating when images of Dukat and Weyoun flash into Benny's point of view (Weyoun's never been so active!). It's one of those episodes (becoming almost common by Seasons 5 and 6!), where everything works, with set detail of the period fascinating to behold, music perfectly attuned to the time, and the story throwing us into this other world without bothering about trying to blend in or get out of it - it's a means to tell a story, a good story, one that holds the attention aside from all the other aspects. The cast all get their dues, there are in-jokes aplenty (when they talk about their readers wanting to see what they look like it's as if they're pointing to us watching them outside of makeup, which we all wanted to see - it's all Morn's fault, he started it in the preceding episode!), and the range and ability of the company makes you wish they'd gone on a world tour with theatrical productions outside of 'DS9,' or made a film together, because it would have been amazing! It's no surprise that for the 35th Anniversary celebration night on the BBC, when each of the then four Captains was asked to choose their favourite episode, Brooks chose this. It ends with the most poetic of final thoughts, and so do I - what if this review is all a dream, and somewhere, beyond all those distant stars, Benny Russell is dreaming it…

*****

Who Mourns For Morn?

DVD, DS9 S6 (Who Mourns For Morn?)

Intergalactic Morn of Mystery: if I'd been told through all those years of seeing the blank-faced sluggard, lumbering laboriously along, gulping down his liquid fuel in the background, with only the occasional brush with the limelight in the lives of the other characters, that he was a two-stomached, Klingon-sparring, mud bath-sleeping former bank robber with a cunning brain to match the regularity of paying his bar bills, I'd never have believed it. But Morn had already saved the Alpha Quadrant this season by taking the all-important message out to Starfleet, hidden in his Mother's birthday present wrapping, so anything was possible. It's just that Morn's onscreen persona and the one we hear about doesn't exactly jibe. But 'twas ever thus, with Morn and his non-speaking volubility, his absent verbosity, more garrulous than Garak, more long-winded than most Cardassians, that provided the series' best-loved running joke: on camera, never to be heard, the next in a startling array of 'Dad's Army' parallels, in the same way that Captain Mainwaring's wife was never to be seen. So by the time the sixth season had rolled around, and Morn remained the blank canvas (as 'blank' as his matador painting, it turned out), he was ripe to be expanded; extended; brought into the light to be more than just a joke. Rather, his joke became a larger joke, that the unknown quantity, the still surface hid a deep pool, and I'm not just talking mud baths here.

The beauty of the story is to promote even more mystery about Morn than already existed in our minds - so many surprises are thrown on the canvas that we don't know what to believe. You know what they say: if you throw enough mud, it will stick. In Morn-ey's case this was as true as can be, with both lies and half-truths abounding. He really does have two stomachs, we learn. He really does have a mud bath as his only possession of note (not counting the matador painting he won in the auction during last season's 'In The Cards'), and certainly is a Lurian with a shipping business. Just not the crown prince, as much as I wanted it to be true. Quark may not have minded too much, either, though if the story Hain spun about it being a bequest on the occasion of his abdication were to have been true, Quark wouldn't have got anything out of it, when in fact he does get what must be a fortune at the end, thanks to Morn's generous belch of around one hundred bricks of pure liquid Latinum, since the statute of limitations on Morn's elicit haul had expired and he couldn't be arrested. Only nine years for it to run out? That seems rather stupid if you ask me, and asking for trouble, the patient kind of cunning trouble that Morn and his friends displayed. But we don't know much about the Lissepians, so maybe they're not a very legally advanced race, on the whole?

Morn proves to be more devious than even Quark had given him credit for, using his Ferengi barkeep to draw out those former colleagues, knowing they'd be along soon. But Quark was hardly blameless as a stooge, showing complete lack of concern for Morn's wellbeing or for his resultant, and apparent, death. All he cares about, in true Ferengi spirit, is what he'll get out of it. Odo's accompaniment to his run of disappointment as he finds nothing of value whatsoever begins the traditional ribbing between the pair, but Odo also plays his part in keeping an eye out for trouble, despite it being trouble for Quark. Just as when he saved Quark's brother Rom, and Kira, from enemy soldiers aboard the station at the end of 'Sacrifice of Angels,' he comes in with his security force to put a stop to the firefight in the Cargo Bay, rescuing Quark from the deadly intentions of Morn's associates (as well as walking into the bar like a cowboy expecting a draw when it's closed for Quark to entertain Morn's mates - was Quark's mention of 16:00 a reference for when Odo should come and help him, I wonder?). Morn probably guessed that that would happen, too, and had no doubt in Quark's strength and courage when motivated by his greed. And he was proved right, of course, but you'd think that someone like Quark who depends on Morn as his most lucrative, reliable customer, and someone that helped to keep his bar going, would feel at least a little bit sad about his demise? But no, he's completely uncaring, though he puts on a good show for the stations' occupants, so many of which cared about Morn - he was a lot more popular than ever expected!

Quark does wonderfully at the memorial service, and it was truly quite moving to see the number of people that turned out for Morn, bringing all kinds of gifts, filling Quark's Bar with their largesse and presence. Morn was clearly not the kind of person to die with no one to care. Quark's speech may have been intensely insincere, but he's a good enough actor that he sells it beautifully and really makes the audience feel the loss, surprising even Odo with such seemingly heartfelt reminiscences. You can't fault his business idea to have Morn's seat kept warm, too, though it looks like people were more sitting there for this reason than to be emulating Morn's drinking if O'Brien and Bashir were anything to go by (the Chief fixing something, and Bashir twiddling his fingers!). My favourite piece of trivia is not that Morn speaks at long last (he doesn't), but that the man beneath the latex, Mark Allen Shepherd, was the Bajoran whom Quark selects at random from the crowd to begin this new (money-making) tradition of keeping it warm, for Morn. For the first and only time, the real Morn was onscreen (though even without the makeup he didn't get to speak!). I have to wonder if underneath all that heavy padding the Lurian wears, he's actually a more energetic figure than imagination credits, since we learn from Worf that he sparred on a weekly basis with him in the Holosuites, something difficult to imagine, unless it were sumo-wrestling, though we know Dax used to mud wrestle, so maybe that was it - perhaps, like a physically awkward person who comes alive in the freedom of water, Morn was a different man in mud?

It could be he wore all the padding for another reason other than a fashion statement: maybe it was his protection against being stabbed, since his fortune was secreted inside his second stomach, so it's possible he was very sensitive about attack to his person (another reason wrestling Worf rather than battling with a Bat'leth is more likely!). And with people like Krit and Nahsk as associates, he had to be - that must surely be the only appearance of a flick knife in Trek when the slow brother decides to take Quark's thumb off, precipitating the usual Ferengi defence mechanism: screaming like a peculiarly high-pitched baby… At least we found out that Morn's bumpy, warty head may not be the standard look of his species - apparently he used to have hair, but carrying around all that Latinum in his belly probably made it all fall out (except for the little hairs on top, which Dax used to find so cute…). It's fun to think so, anyway, even though a lot remains undefined, the writers no doubt having their fun with the audience again (it's a construct; it's more than a construct; it's a construct; etc). It made me think the sight of another Lurian would have been appreciated (not counting the holo-Morn - at least Quark found a use for his bar's holo-projectors since he last used them to clone himself during the strike in 'Bar Association'), but then, on second thoughts, it might lessen the impact Morn has, to see others of his race, and more specifically lessen the wonderful reappearance at the end where we realise they didn't do such a horrible thing as get rid of what is essentially the station's mascot - even during the Dominion takeover Morn was there.

I thought it odd that Hain, a human, or human-looking person would be working for the Royal Family of Luria, but that was sorted out by his being a lying crook. He's very believable, however, and I couldn't exactly remember Hain's position so I was taken in by the official attitude Gregory Itzin performs so well (he'd already carried the same weight in 'Dax' back in Season 1, and would proceed to 'Voyager' and 'Enterprise,' just as Brad Greenquist, the actor behind green-skinned Krit would later be in 'Voyager' and as the alien Trip fights in 'Dawn' on 'Enterprise'). His brown/grey wardrobe and dull, adjudicator role nicely played off Larell's manipulative red-haired alien, and the green gangster twins. The group as a whole were a lot of fun, though perhaps not quite to the same level as the group from 'Statistical Probabilities' - the series really knew how to pull off a group of new characters that were as varied as they were interesting, another sign of strong writing. I wouldn't say they deserved to return, and I wasn't bothered when they didn't, but they brought some comedy to the station, with a line of unpredictability and danger to them that only a Quark pumped up on dreams of avarice could handle - when he discovers all he has are a thousand bricks of worthless gold, crumbling to pieces in his desperation to find the all-important Latinum missing from within, it's like his own personal hell, a misery of torment at being so close to his dreams coming true - instead, a nightmare!

Gold being worthless in the 24th Century, though some primitive cultures still believing in its value, was a nice dig at our own culture and a beautiful little vignette to end with. The episode, like the best Treks, makes you feel good, and even if you felt down before, by the end of it, you're not thinking about real life and the problems therein, you're sucked into the real world of DS9 and the adventures to be had. It's not always gently amusing or sadly moving, but when it does these things it does them better than any other series out there. The provocative title belies a strong comedic tone, the music one of the keys to unlock its power, straddling this tone of amusement and the seriousness of the stakes in Quark's eyes. It's not quite the same intensity of threat as he faced against Fallit Kot back in Season 2's 'Melora,' but Quark isn't having the easiest of times, regardless of the short term pleasure Larell brings him. This isn't an issues episode, Quark doesn't learn a lesson, unless it is not to judge by appearance (though he should know that well!), but it is enjoyable, not just for the character and tone, but for some physical comedy that Quark excels at (people breaking into his rooms, for one, or when he stands up and finds himself in the line of fire of all Morn's co-conspirators!). There are some nice little moments, too, such as Dax admitting she used to have a crush on Morn, much to the jealousy of Worf; Quark playing Tongo with Dax, just like the old days (and she makes a valid point through it); mention of the Assay Office again; and even a rare (possibly the first), mention of Broik, one of Quark's main Ferengi waiters. And who could fail to miss the similarity in titles to 'TOS' story, 'Who Mourns For Adonais?' A gold-pressed Latinum-rich episode.

****

Waltz

DVD, DS9 S6 (Waltz)

Dukat and Sisko go camping. That's the way Dukat would see it, anyway, and if Sisko thought having Quark and Nog along for a camping trip was bad in 'The Jem'Hadar,' he hadn't seen anything yet! The episode starts quite nicely on a Federation starship, the USS Honshu, speeding through space (the set designers can be either rapped for reusing the Defiant's corridors, or praised for showing that that ship's design has begun to spread into other classes, with the corridors in the same design, yet broader, which is a nice touch), when Captain Sisko goes to visit his 'old friend,' Prisoner of War Dukat (sounds like an action figure variation!). Otherwise known as Insane Dukat, since he really does see Sisko as his old friend as in his mind everything revolves around him - people live to serve his existence, and they're either pretending not to like and respect him, do respect him, or are waiting to come to their senses. That's the way his mind always worked, but now he's lost even that tiny barrier that stopped him from losing control of himself, and is at the mercy of mental phantoms; mocking, reassuring or goading. But this is all revealed later. At this stage, Sisko just sees a man to pity, who's lost the one thing he brought into the world that was good: Ziyal. I'm not sure if this is the last time her and her death are mentioned, but it's likely the last time Dukat speaks of her. She was the angelic force that brought out the best in her Father. He gave up his Cardassian family and position among his people, was more generous to those around him, and listened to his daughter's pleas (not always, she didn't turn him into a good man just by thinking he was).

If Sisko really understood the depths of this man's mind he might not even have paid him the courtesy of a visit, but Dukat's very civil, has a new calmness about himself and his situation, and, when Sisko first finds the Cardassian has rescued him, he's probably still grateful for the act, even if he never would trust Dukat. What would have happened if the Honshu hadn't been destroyed, but instead had successfully brought the war criminal to trial? Sisko would have testified against him, there's no doubt he'd have been sentenced, and probably ended up on some kind of penal colony. But what then? We like Dukat, even though he's done so much wrong and is a dangerous personality, because of his charm and his ability to appeal to our reason when not in full flow of anger. He has the gift of a silky voice that can sound so reasonable and bring people round, the persuasive and complete belief in himself and his point of view. Doubt is something Dukat does not know. It's a familiar trait in Cardassians, but he's a master, so I can imagine that wherever he ended up he'd somehow find a way to bring people to his side. Unless he was incarcerated alone, with no contact, that voice and cunning mind, even unhinged as it is now, would twist itself around his prison and start to shake the foundations. If anyone could pull a prison break from even the Federation, it would be him. If he'd been inhumanely locked away, something the Federation would never do, it would destroy him, but even then he'd have had to have visits from doctors and other medical professionals, and I have no doubt that somewhere along the line he'd have uncovered a weakness he could exploit.

What I'm getting at is that the end result of a wild and raging Dukat, loose in the galaxy, was always his destiny. Nothing could ever keep him down, which is why the ominous tone of the ending, setting he and Sisko up for their final confrontation, feels inevitable. He is the Anti-Sisko, everything that Sisko has striven for, and has slowly realised over the years, about his love for Bajor, how he now thinks of the world as home, how he would protect it with his life… All these things Dukat vows against: all Bajorans must die and he's the one to do it! For once in Trek, and more specifically, in 'DS9,' the nature of good and evil is laid bare without the shades of grey that come into perceptions so often: at its base, its core, its heart, evil is absolute and must be opposed - no yin and yang, no ends justifying means, just the ultimate battle. Except good is always ultimate victor because that was the way creation was designed. Evil has its time to run loose and seemingly free, to damage and destroy, to attempt to undermine, for a time. Dukat's time had come. He'd given himself over to his evil passions, and while he hadn't yet become the vessel for the enemies of Sisko's allies, the Prophets, allowing the Pah-Wraiths to have him, he had set himself on that path. He'd always had the opportunity for redemption had he chosen to pursue it, but he never could accept that he'd been wrong: it was the Bajorans' fault for not understanding their place as inferior race to Cardassia's superior. They should have welcomed their place and rejoiced when Dukat lightened their burden the tiniest bit because they didn't 'deserve' anything!

The Cardassians have always seemed to be modelled on the Nazis, the Bajorans filling the place of the Jews, and whether this was intentional or just a natural forming of opposites to conform to our own history, the parallels grew over time. Dukat's ranting at the end, appearing like a spindly spider, creeping backwards on all four of his limbs, the shot cutting off the ground so his limbs could be the same length, hair wild, teeth gritted and eyes narrowed like some monstrous insect, or Gollum himself, is a powerful image, the true rotten core of the former leader vomited to the surface, his civilised facade of culture and the enjoyment of finer things crumbled away, exposing the real Dukat to Sisko. It has even more impact (assisted by the lightning and dusty storm whipping around him), because of his excessive calm earlier in the episode, and his, at first, reasonable attitude to Sisko. He couldn't contain his fury any more, even blaming Sisko for the beating he administered, saying it was the Captain's own fault. That's the thing with Dukat, he refuses to take responsibility, his delusion at the strongest it had ever been, blossoming into deep insanity, hounded by the opinions of his mind, the constant need for acceptance and love, respect his overpowering obsession.

In all this why did he save Sisko's life in the first place? Because he respects Sisko and wanted the Captain to return that with his blessing for what he's done. So why did he look after him despite the Captain's refusal to give it? He must have broken the cast in his furious attack, yet when Sisko awakes, his arm is tied in a sling. Dukat could have left him to die on that unknown planet, but he sends the signal to let the Defiant know where to look. It's because he still wants Sisko to see him as an equal, and even in his rage it's like a game to him, and he can't let himself be denied the chance to beat Sisko when he's at full health and show him his great moment of triumph. Only then could he kill him. As he said to Weyoun when he was still commanding the station, a true victory is to make your enemy see he was wrong to oppose you in the first place. It's something that could have been written with this episode in mind, amazingly! I think Sisko would have soundly beaten Dukat in a fair fight - even with one arm shattered he was able to give a good account of himself, but a fair fight was never going to be the way Dukat took him on, and even at the end it would be with the supernatural strength of the Pah-Wraiths that he fought, Sisko having to sacrifice himself to take out the madman. If Dukat had planned to kill Sisko on that deserted planet I don't think events would have transpired as they did, because it's The Sisko he's dealing with, Emissary of the Prophets, and they wouldn't have allowed the 'game' to end in that manner. I don't know whether they'd have given assistance somehow, or simply made it so he couldn't travel on the Honshu, but death would have been prevented, of that I'm sure.

It's amazing that it had taken almost six years for the pair to come to blows and say what they really think. It's a shame, in a way, that Dukat had finally committed to one way or the other - not just that he'd chosen the path of evil, but that he'd lost the mercurial quality, the devious charm and delightfully deluded conversation in making his choice. Already he was less the man that he had been, his motives revealed, his hidden frustrations made clear. There's no room to like him any more, as in the series to this point you could sometimes laugh along with him, sometimes feel sorry for him - the reason he's lost touch with reason is because of a tragic event, the death of his daughter, and while it's ridiculous for him to really believe Sisko and the others are his old friends, you can sort of see where he's coming from, because he has been through several adventures with the crew of DS9, so much so that he genuinely considers them old friends. Not that he wouldn't murder them if it served his purpose, but to him that's all part of the game, all part of the race between the weak and the strong, and he considers himself to be strong. And in many ways he has been - he always knew which way to leap when it came to being loyal, and it eventually got him to the highest point: leader of his people with the prospects of being high up in the Dominion (or so he might have thought), and the ultimate goal, you sense, of overthrowing that empire and having his own dominion over the Alpha Quadrant, like all the worst despots of history!

When we first see Dukat talk to Weyoun we could almost believe we're in a prison Sisko's been brought to, held to be interrogated by Dukat, perhaps, but it doesn't take long before this supposition proves false as Weyoun behaves so strangely (you wonder if Dukat actually went back to the Dominion if they'd lock him up rather than allow this free, but crazy agent to go about his business and possibly interfere with their plans or be captured again to reveal their secrets). So rather than draw out an extended charade to keep viewers guessing about the reality of the situation they quickly reveal the truth: it's more unpalatable than Sisko being held prisoner by the Dominion, it's his personal nemesis that plans to persuade him he was right in what he did in siding with the Dominion, and more importantly, that he was right in what he did in the Occupation. A deranged enemy could be more dangerous than a sensible one! I like that we get a little history about Dukat with the story about his unsavoury job as a young Glinn on the Kornaire (and one of the only references to Orion slave girls pre-'Enterprise'). We know so little about Dukat's early life, mainly details on his time during the Occupation, so that was a little treasure. Sisko wasn't going to kick a man when he was down, which explains his generous attitude towards Dukat when visiting him in the brig - it really had been a privilege to have Ziyal staying with them. Dukat doesn't have the same qualms, and only his fervent desire for Sisko to see things his way keeps him from doing the Captain damage as he eventually succumbs in his rage.

Dukat's always milked the common ground he's found thanks to his daughter, whether it was with Kira, who treated him more carefully because of her friendship with the girl, Ziyal herself, and now Sisko. One of his phantoms could have been Ziyal herself, deriding him, but she would have had too much of the characteristics for the good, and the faces and voices he's 'chosen' from his subconscious are the three that mean most to him in his current life: Weyoun, his boss; Damar, his right hand man; and Kira, whom he wants by his side. But they're all exaggerated versions: Kira's got the flaming sarcasm she had in the first season, with the arrogance and irritation of the Intendant (such a shame that character never met Dukat as she's like the female version of him, and it would have been fascinating - they'd probably have plotted to take over both universes together, while never once trusting each other!), though without the self-centredness. Damar, appearing from an arch in the rock tells him what he wants to hear, soothing his mind and encouraging action against Sisko; and Weyoun just mocks in an incredible performance from Combs! If we're talking performances though, it is Marc Alaimo and Avery Brooks who get the credit for making this stage play episode a stand out (in a similar manner to 'Duet'). Brooks is at his best as he indulges Dukat, patronising and grinning incredulously, partly trying to say what Dukat wants to hear, but almost goading the man into ranting about all the goodness he's done and never been thanked for! And he really sells the pain of his arm as Dukat fights him by the shuttle.

Together they make an incredible counterpoint, Dukat going from helpful, soldierly camaraderie to offended reaction if Sisko ever says anything in opposition - even Sisko's suggestion he's putting too many herbs in the soup elicits a stern and surprised look (though how Sisko knew what the correct quantity for an alien plant would be, I don't know, unless they were herbs from the shuttle's supplies). Sisko soon realises how things stand, checking out Dukat to see whether he knows the communications array (the same thing Quark and Odo had to haul up a mountain last season!), is off-line, cleverly making himself appear weaker as he feebly stretches for water from the trunk, although the way he eases himself back against the rock made it look like he probably could have moved himself pretty comfortably! The only downside I see to the episode is that the planet surface looks like a set, in the same way that much of 'TOS' or 'TNG' used sets for their alien planets. The cave was fine - no matter how many times they used it, it looked like a real cave, but the horizon of the planet felt too close and artificial (a bit like 'Dawn' on 'Enterprise'), and it's so much better when they filmed on location. Not that it affected the episode adversely - thanks to the feel of a play, it was the foreground players we were concerned with, the background unimportant.

It was good to be able to see the Defiant sets again, with scenes in the Transporter Room and Sickbay. I also like that it was 'old man' Dax, someone who really was Sisko's old friend, whom he talks over the events at the end, a bit like they did after Eddington went out in his blaze of glory. Only this has a much more chilling conclusion, Sisko realising that from now on it's going to be 'him or me,' though in reality, and tragically, it would be him or Dax before the season was done. It marked the beginning of the end as we saw the final battle set up, though plenty more was still to happen before that. Although the Defiant-set part of the episode is barely a B-story, it still carries some dramatic weight, showing Worf with the makings of a good Captain. The usual cowboy-style reaction to orders when they threaten an important member of crew, is open to the Klingon as Bashir and O'Brien say they couldn't understand Kira's garbled message to prepare for their next mission to the Badlands (where they have to be to protect a convoy). Bashir almost has the Worf role in 'First Contact' where he stands up to the Captain on his own bridge ("If you were any other man, I would sedate you where you stand!" I can almost hear him say!), but Worf reacts calmly and sends him off the bridge without incident. I don't think Worf's honour was the issue as much as their duty as Starfleet officers, and it was ironic that Dukat should be the one to save Sisko. Saving him for a more meaningful, fiery demise…

****

The Magnificent Ferengi

DVD, DS9 S6 (The Magnificent Ferengi)

Actually it was The Magnificent Six, or even The Magnificent Seven if you count Vorta Keevan, and despite claims to the contrary by the makers of the episode, this is reminiscent, in small ways, of the famous Western, 'The Magnificent Seven': when they get their group together they count each new addition off on their fingers (sometimes it almost seems like they're breaking the fourth wall, like they're gesturing to the camera, the most obvious example being Cousin Gaila's recruitment, after which they walk out of 'Voyager's brig, sorry, the Starbase's brig, right past the camera!), and they even do the close-up of the eyes as Quark, Rom and Nog look at each other coolly before they make the walk, all in a line, towards their enemy. I haven't seen the film in years, so I can't remember if these things were exactly what occurred, but they seem like the honouring of a Western's style to me! After the legal troubles from using both Sherlock Holmes on 'TNG' and James Bond in 'Our Man Bashir,' I expect they wanted to distance themselves from any further IP haggling. Why use the title then? Well, apart from those small details I've already mentioned, and the idea of a small group of individuals banding together to help the little people against a vast and powerful bully, there aren't any similarities to the plot. That's it! Quark's gang are the village from that film - both the victims of the village and the cowboy heroes of their own story, blended into one.

I always loved the Ferengi episodes, one of the starkest decrier of the ridiculous criticism that 'DS9' wasn't funny. While some may have found their attempts, (successfully), to make the discarded 'TNG' race as essential as any of the other top-tier peoples of the Trek galaxy to be irritating and farcical, the point was to expand and portray a believable society, no matter how alien - these are aliens, don't forget, but even in a time and place in which alien contact is as normal as walking down to your local supermarket is today (I was about to say High Street, but the way things are going, that may not be possible for too much longer!), the Ferengi remain alien to all the other species we see, frankly because their customs and system are abhorrent in many ways. But while their culture is not something to be followed or held up as a wonderful example of a good lifestyle (as certain aspects of other major races might be, in moderation, such as the logic of the Vulcans, fearlessness of Klingons, or fascination with discussion that the Cardassians love), they're used more to satirise our own culture today, so it's no wonder that when they (who generally fail and show the worst sides of life), succeed, we root for them!

Quark has long been my favourite Trek character, an atypical choice, I know. He's not the hero, he's not the villain, he's just a man trying to make a living, struggling, railing against the realities of the world around him which is so different to what he believes and is fighting not to be conformed to, yet from another perspective gradually lessens in his extreme Ferenginess over the years to take on the positive values of the Federation, showing a streak of bravery when absolutely necessary. He's a character you can identify with - we might respect Worf and Sisko, but we could never emulate their ability; we don't have the diplomatic patience of Picard or the computational brain of Spock; the superhuman powers of Data or the wisdom of Dax' many lifetimes. But Quark, he we can understand, so when he breaks out of his selfish little world to do something for the greater good, or for unprofitable (materially), friendship, it makes us ever more fond of him. This episode may be his highest moment of sacrifice (regardless of the fifty bars of gold-pressed Latinum reward offered by the Nagus - you can't spend a reward if you're dead), because to rescue his Mother he has to go way out of his comfort zone and use all his guile, skill and people power to effect the rescue, turning into an exchange, of his Moogie, Ishka. Quark's always been rather resentful towards his Mum, because she doesn't conform to the expected standards of behaviour and do what all the other Mums do, forgetting that much of his own ability has been inherited from her, which is why he struggles with himself.

Not in this episode, but he's been shown to have problems, stretching back to his youth, something that had been explored in 'Family' where we first met Moogie, and again in 'Ferengi Love Songs' where both Quark's ideal in Grand Nagus Zek, and his shame, in the form of Moogie and her male-like tendencies to earn profit, wear clothes and do other such scandalous things are frustratingly merged for him. But he's also come to admire Moogie's ability, and while not accepting her wish to change things for her gender, she's his Moogie, and he's going to rescue her from the Dominion. It couldn't be a much more farfetched idea in principle: Moogie has been captured by the most dangerous enemy of the Federation and Quark has to go up against them. So it's an absolute tribute to the writing and acting (not to mention the fine direction), that can pull this off and make it, not only believable, but true to Ferengi nature and a pleasingly deep story that is as much about proving themselves to each other and others, as it is about pulling off a caper where hilarity abounds, yet is dramatic and you feel the personal stakes of those involved: their lives, and proving to other races that they can be as heroic in their own way as anyone else. And that they did achieve!

Of all the Ferengi soap episodes this is the most dramatic, has the highest personal stakes, and keeps the tone of a bunch of amateurs that, with the help of some Starfleet-directed resolve from Nog, the engineering expertise of Rom, and the backup of Gaila, Leck and Brunt, can win out against impossible odds, not only achieving what they set out to do, but doing even better - though I wouldn't set much store in the Ferengi's future trading or working with the Dominion after they double-cross Yelgrun, though that was itself a reaction to an unfortunate event precipitated by the hotheadedness of a Ferengi. Even when their worst attributes came through, Quark was somehow able to use it to their advantage. Quark is what everything rests on: he's the backbone that Brunt doesn't have; the control over his foggy-minded, but genius brother; the direction for Nog's strict discipline and Leck's murderous tendencies; and the pull of Gaila's backup - without him, none of them could have succeeded, he does the job a leader should, even when he really doesn't want to lead from the front. We've hardly ever seen him so driven and forceful as we do here, carefully playing on each of his comrades' desires to build his team, running at top speed through the abandoned station, Empok Nor, reacting to situations, coming up with a cunning and safe way to deal with the Dominion. His heroics may be driven by profit, but they're also driven by an inherent need to prove his people's prowess amid a community which stars Starfleet people to whom such challenges are common.

It's a shame that Zek and Mai'Hardu aren't part of the episode, not even appearing via viewscreen (Wallace Shawn was unavailable), as the Ferengi family is incomplete without them (even if Mai'Hardu is an Hupyrian, he's an honorary member of the Ferengi troupe), but we get a wonderful array of personalities that do show up. It couldn't have been much better unless all Quark's extended family were along for the ride, various members of which were mentioned over the seasons, though only Cousin Gaila was ever seen - Quark getting him out of prison for an important mission was so similar to Sisko doing the same for Eddington, it was uncanny! Gaila was Quark's ideal, the successful one: "The one with the moon." But hang on, that's no moon, it's a space station! Gaila's stock has fallen very low, arrested for vagrancy (though why he should be imprisoned in 'Voyager's brig, sorry, the Starbases' brig, I'm not sure!), he has nothing following his dealings with Quark last season in which he tested Quark's true and deep morals to the limits by getting him involved with Steven Berkoff's weapon's dealer, Hagath. It was another breakout moment for Quark as he realised profit wasn't the most important thing, and his creative solution to the moral quagmire he found himself in must have been a confidence booster, and one of the stepping stones to get to this episode, in which he willingly puts himself against the Dominion to save his Moogie.

Berkoff wasn't the only famous face to appear in 'DS9,' as evidenced by rock star Iggy Pop's role here, one of the best Vorta ever, Yelgrun. He's so different to the others of his kind, and for a cloned race, it's not surprising that many of them are difficult to distinguish unless you've seen the episodes a number of times. I don't mean you couldn't spot the difference between, say, Deyos and Borath, but they, and other Vorta blend into one in the memory - all share short black hair, blunt, evil personality and sliminess. It took Weyoun, and to a lesser extent, Kilana, to create really compelling characters for the race. This season we've been spoilt, since Keevan had already been a stronger Vorta role than most of the others (still not up to the great Jeffrey Combs' Weyoun), with his distinctive large eyes and strange voice. And we were getting a second fantastic Vorta in Yelgrun, with that bony facial structure and resonant voice, here was another Vorta that was incredibly memorable, and not because of the casting. I'd never heard of Iggy Pop before I first saw the episode, so that made no impact on me, but I was impressed by the character. Knowing now that he was well known for being an out of control personality, it gives me an understanding of why he worked so well as the character - there's an underlying dramatic tension in putting a loud, boisterous person under the constraints of a restrained race that nonetheless has the great well of power behind him that means he has no pressure points and is merely indulging these Ferengi in order to get Keevan as quickly as possible.

He says himself he could have his Jem'Hadar storm the Infirmary, and kill them all, but Quark knows better - if the Dominion was willing to set up a trade, it's because they want Keevan alive. Yelgrun has the hallmarks of his race, happy to use force whenever necessary, but fundamentally polite and diplomatic. His downfall comes of underestimating the Ferengi and their incredible tenacity and ability to adapt to situations (probably the reason the Ferengi Alliance exists), just as Keevan did, and ends up getting captured, just like Keevan. I'd never thought about it before, but there could be an issue of the Federation acting out of line with their moral outlook. Today, nations have to think long and hard about sending a prisoner or convict to another nation that practices torture or may even kill the subject. This was the case here, because Starfleet must have known Keevan was a marked man thanks to his treasonous plot to get himself out of the war by sacrificing his Jem'Hadar to Sisko in 'Rocks and Shoals,' allowing him a nice comfy life out of the fighting. In his own way he was as devious as a Ferengi, but I suppose he didn't reckon with Sisko's burning anger at the death of honourable men, the only way to resolve the situation on the planet. It took great self control to prevent himself from killing Keevan when he nonchalantly strolled over the remains of his men, and I get the feeling, just as Bashir and the savants in 'Statistical Probabilities' needed Sisko's voice to support their plan, Quark only got Keevan because Sisko recommended it. A fitting punishment for Keevan, though it does make Sisko indirectly responsible for his death.

Or it would have if Keevan had been tortured and killed by the Dominion. Instead he gets it in the chest from an angry Gaila, as bad a shot as he is stupid. Gaila by far exhibits the worst of his race's vices - before, he was willing to kill millions to make a profit, now we see him as lazy, foolish, hot-tempered, murderous, sulky and stupid. But what I like about him is that he is a distinct and different Ferengi. Just as the Vorta have had specific things to differentiate them, in some cases stronger than others, the Ferengi on 'DS9' were given real character. You think back to the days of the Ferengi on 'TNG' and you think of identikit, grey-clothed idiots, the only difference being Early Ferengi and Later Ferengi. The Early version was misguided and absolutely ridiculous, portrayed like monkeys, practically. The Later variety were no longer being made ridiculous by their physical actions, just their silly schemes, and you'd be hard-pressed to remember one from another. Obviously there were exceptions: Bok being a personal nemesis for Picard; Dr. Reyga who was actually intelligent, though he was created after 'DS9' had begun to change things for the better. But look at the six Ferengi in this episode and each is as distinct and interesting a character in his own right. Sorry, I should have said seven, since Moogie's just as memorable - I love the moment she batters Nog round the head for daring to slice her palm with a knife to check she's not a Changeling. It results in Rom saying that's no way to check when she says she's doing the same to Nog, which then turns into her demanding the knife, the observation that that's family by Quark, then Yelgrun admitting he doesn't understand as he was cloned!

It's that punchy dialogue, pinging back and forth that makes the episode even better, adding to so many moments of laughter and joy. Even things like revisiting Empok Nor, which Nog obviously has knowledge of, is an excellent choice. The fact that Nog is part of it is essential as he brings Starfleet training and discipline to what could have been a shoddy affair, though at first refuses because he can't run off on a personal mission - that didn't stop Dax in 'Blood Oath,' or Worf, or most of the other characters at one time or another! He also gets to play at Dr. Frankenstein, crying for more stimulators when rescuing Gaila's mistake by reanimating the dead Keevan - a shame his clone never came into the series, but the Dominion may have excised his series for treachery. Reusing Empok Nor may have been encouraged by the idea to save money, just as all the series' have used their ships as alternative locations at one time or another, but it works for me because 'Empok Nor' is one of my favourite episodes and any excuse to see the darker, creepier sister station of DS9, is fine by me (even though 'Covenant' wasn't great, I liked the return of Empok Nor). It's a reminder of what our station is really like - if you strip away the neon lights of the Promenade, remove the people and dim the lights, it becomes a terribly creepy place to walk through with its Gothic Cardassian architecture and dark corners, as seen on various occasions. It's no surprise to me that 'Distant Voices,' should have been my favourite episode when I was growing up, because it's another to bring out the fear embedded in the design of this alien monstrosity.

Like 'Resurrection' before it, this episode features reminders of the early seasons. For one, Odo baiting Quark, though not something he ever stopped doing, had lessened, as Odo had other fish to fry, with less scenes between the pair in later seasons, sadly. Also, Rom crawling through the station's underbelly (or should that be 'overbelly,' since he and Quark end up popping out unexpectedly in Sisko's office!), and the feeling of all the nooks and crannies of a vast and unexplored station come rushing back - something else that drew me to the series in the first place was the station's untapped potential in itself: that huge amount of space and its interconnectedness, the same reason people love old buildings with their dusty passages and forgotten spaces behind the walls - it all added mystery to the series, something that lost over the years because bigger, more essential events were occurring on a plane above the inner workings of the station. How could they explore the depths of DS9 when there was war on a huge scale? One place I'm not sure we ever actually saw (or if we did, it never made an impact), was Quark's store room, to which he directs his Syrup of Squill consignment. I couldn't help noting after his tale about blackmailing this Squill out of the producers that he got it on condition he didn't reveal their plan to raise prices, but he's just told everyone the story! That may not be as illogical as Moogie's trip to Vulcan to raise her ears - seems odd that Vulcans would perform such an unnecessary procedure of vanity, unless it was for a medical reason, though if anyone knows about ears, it's them!

Another way this episode feels like the film it was named after, is that no one is the main character, everyone's part of the story. I'm not talking about the usual main characters of the series, as they either don't appear (Worf and Jake), or do so fleetingly - Odo's observation about there being nothing heroic about earning profit is the icing on the cake, though I guess it must be an upside down cake, since it comes in at the beginning. But it's those very words that eat at Quark and, added to the fifty bars, inspire him to take on the deadly mission in the first place. We get to see a funny sequence of what would happen if the Ferengi did get into a fight with the Jem'Hadar, and it's not pretty: running into walls, shooting the person they're supposed to save, running away screaming… It's after this depressing demonstration that Quark, through Rom, realises that it's no good trying to behave in the same way as others do, but to find their own strengths and play to those. It's a rewarding episode for that very reason, because it gives the message that you can succeed without applying the same techniques or courses of action as others, but by being unique; yourself, and doing things the way that you do them best. If you know yourself you have an advantage.

It's a very positive episode, despite the dingy surroundings of Empok Nor, the profit-fuelled decision-making, and the worst characteristics of the most morally degenerate race on Trek (okay, there's an argument to be had there, but I'll leave that one for now), because it says 'you can.' It's a proving of Quark, as if we didn't already know that secretly he's a good man whose own race's tenets aren't really good enough for him - if they were he'd have his own moon by now! I think it's this feel-good factor, combined with my favourite character getting his dues that make this, believe it or not, my favourite 'DS9,' even my favourite Trek episode in total. What? A Ferengi episode? It must be a farce! But it's so enjoyable, impressive and well-constructed that I can't stop myself from awarding it this accolade. It may not have the same impact it had on the first few viewings, but that's always the way, and I've always found it so funny, fun and reassuring; success against impossible odds; the continuation of the development of the Ferengi; and specifically the getting together of a Ferengi Rat Pack.

I almost wish there could be more episodes of the gang getting together again, solving problems, or overcoming the odds, but that would be to lighten the pudding, taking away from the almost perfect mixture in this one: Nog, trying to be Worf; Rom supporting his brother; Gaila proving what a fool he is (when he shoots Keevan and Leck calls him an idiot, it was another 'Dad's Army' moment - I half expected him to say "You stupid boy!"); Brunt along for the ride, the most unlikely addition to Quark's club (once again I feel myself astonished that he's played by the same man who plays Weyoun!); and Leck, the most un-Ferengi Ferengi. The attention to detail is also impressive, bringing back these characters again, even Leck had had a tiny role in the last Ferengi soap instalment, 'Ferengi Love Songs.' Best of all, it ends with a flourish, the forgotten corpse of Keevan continuing to bump into the wall after they've gone. Poetic. You can even point to a little hint of the future with Yelgrun's exasperation: he announces he thought the Breen were annoying, after his patience is tested by Quark's stalling. Could this be the time when the Dominion were trying to recruit the Breen to their cause? Whatever, it's another mysterious mention of the mysterious race, and that, along with other little points, such as the Battle of Prexnak adds even the last little flavouring or spice that makes this dish the best, and one of those rare episodes that makes you laugh out loud.

*****

Bloodline

DVD, Smallville S8 (Bloodline)

Back to the quarry again. The catch this time is that Lois comes along for the ride to the Phantom Zone, much to Clark's concern (it all comes from simply touching the blue crystal which has mysteriously been sent to him in the post - who by, that's what I want to know?), but it's all okay because Lois gets knocked out by Kara (yes, she's there too), and so doesn't hear any of the Kryptonian chat that passes between them. Not that it would have really mattered anyway as by the end of the episode she thinks it was all a hallucination (blood sugar levels, Clark suggests cunningly), and the mechanism which gets her to this position happened when she was back on Earth anyway, so why did she even need to tag along? Why go to the Phantom Zone anyway except as a way to bring back Kara… so she can be sent away again, making her choice for 'another journey' just as Clark's is on Earth. Somehow I doubt we've seen the last of her, since her quest to find some lost city of Krypton which may still exist, could easily pop up again if necessary (in other words, if the writers are short of ideas that week - first paragraph and I'm already swiping at them!). Funnily enough, for once I felt her character actually had some interest - this version of Kara is one that had been abandoned to the hellish Phantom Zone by Brainiac, and she's become a wild survivalist, used to battling away with the Zoners, though they'll never kill her because she can open the portal home, and she won't do it, knowing they'll try to escape. There's a nobility in her actions, and a serious psychological burden behind her eyes.

All this is undermined by Clark and Lois showing up and having to get back - Clark would stay, but Lois, as he says, doesn't belong there, so he'll hang around and stop any Zoners that try and get through while Kara and Lois escape. Except he can't stop one getting through, and nor can Kara. Then it becomes another in a long line of possession stories (I can't even remember how many times this has happened to Lois, any more than I can recall how often she's been knocked unconscious!). I will give Erica Durance credit for creating a completely different feel to her role as Faora, wife of Zod, even down to the voice, though it was helped by Faora taking such trouble over a different hairstyle for her new vessel. We didn't see the scene where she was using curlers, but that might have made her character less threatening. Nor was there time, as so much is packed in. I only wish I could say much of it was good, but as often is the case with this series it's a series of set-pieces or moments, conversations or activities that merge together like a badly cut jigsaw, chip-chopping between stories and characters to veil the fact that this isn't a well told, or structured, story.

There were a couple of scenes I thought good, though they came right near the end with Clark talking to Tess Mercer, and then Oliver Queen (who gets to be the Green Arrow for a brief moment, using a cool paralysis dart to incapacitate Tess when she discovers him stealing a device that can 'read' the blue crystal, because somehow Chloe has narrowed down all the possibilities of where Clark might have gone and how to save him, to hacking into said crystal - but I'm meant to be presenting the good stuff). In those conversations there's a little of the old tension of what and how much does Tess know, saying that Clark was the last person to see Lex alive, since she's still obsessed with finding him, and why didn't Lex trust him? Then with Oliver it's the old argument chipping away at Clark living his mundane life (relatively speaking), when Chloe's constantly getting caught up in dangerous Kryptonian stuff. It's nice to see Queen at the Kent Farm (not so nice to see Tess there, earlier, and quite why she was there, except because they needed to make Chloe have to lie to her, I don't know).

The premise might be, as Chloe neatly summed up, 'Lois with Clark's abilities, but without his inhibitions,' which could sound intriguing if we hadn't already seen it done time and time before, where a character gets Clark's powers or equivalent, and he has to fight them or clean up after them. Not that he fought Lois, he just let her chuck him out of a hospital window onto a parked vehicle (and no one came to see if they were alright! Not that the staff are up to much at that place - when Lois as Faora goes to see her 'child,' Davis, in a ward, a doctor tells her the area is restricted, but she tells him it's her child, the doc presumably thinking she's talking about the little boy Davis is patching up, but rather than wave her through compassionately he disdainfully ignores her and walks off!). That was a surprise, I'll give them that: that Davis Bloome, ambulance attendant, is actually the offspring of Zod and his wife. Not a good surprise; I was sort of hoping for something clever, vainly perhaps, but I still hoped. It looks to be that Davis is going to be the annual 'fall guy' who comes in with a mysterious past and secret life and is killed/leaves by the end of the season. It's a pattern that's been followed quite regularly over the series, and having a one-season wonder main character isn't a bad idea if not for the fact that they usually die or have to have a dark secret, the attitude being 'otherwise what's the point?'

And then Lois/Faora kills Davis so he can come back with what appear to be Kryptonian powers. I missed the part where killing one of Clark's people actually makes them stronger, or is it just in this particular case? Rather than make me wonder at the revelations following these events, it just makes me unimpressed, because up till now Davis the mystery was relatively interesting. As has become too common it's not just poor plotting, but poor writing that permeates the fast-moving train of happenings, with such moments as Davis not being surprised to see Lois, even after Chloe's been worried about her, just talking to her normally. Admittedly, this could be my fault for not paying close enough attention, and it may be that she never told Davis that Clark and Lois were missing as she did Oliver, but it rips along so fast and so many different things happen that it's little wonder if you can't follow everything that you should - maybe they like it like that as there's less time to think and realise how this is all flung at you to deceive you into thinking it's actually been pretty good. It does succeed in that way a lot of the time as you get carried along, and only when you think about how people behave or what they say, or the many, regular coincidences (not to mention an unending queue of Kryptonian visitors to Earth), do you feel like the joining of the dots doesn't make much of a picture. Like Chloe tasking Queen with stealing the device: she doesn't have time to explain what's happened to Clark, but she has time to wait for Oliver to bring her the machine. In other words, she didn't want to explain herself, just do what she says and get on with it as the plot demands!

Perhaps I'm being too harsh? I've already pointed to things about the episode that were comparatively accomplished, such as Durance's performance as Faora and Kara being a bit more interesting, but we're ping-ponging back and forth between events, locations and stories so that what could have stood as an episode alone (Lois and Clark lost in the Phantom Zone, for example), is rushed through, and you get the feeling that it's just a facade, an empty wall that if they throw enough at it won't show the cracks or transparency that standing still would reveal. Too much is kind of pointless, only there to get you from A to B so that there is an episode - Lois decides to move back in at the Kent Farm, but it's only so she can be sucked into the Phantom Zone. One or two instances like this in the course of an episode wouldn't be a crime, but too many and it becomes a flimsy thing to behold. Yet questions remain to keep you interested: what did Mercer make of a super-speeding Lois? How is Chloe after plugging into the blue crystal? What has Davis become?

**

Statistical Probabilities

DVD, DS9 S6 (Statistical Probabilities)

As close to a stage play as you can get, I could genuinely imagine this performed in theatre thanks to its reliance on character over multiple sets and action. The story does stray outside of the Cargo Bay in which this group of genetically engineered individuals resides for their visit to Dr. Bashir, but much of it happens within those four walls, including a holographic recording of a meeting between Sisko and Dominion representatives Weyoun and Damar (though we don't get to see holo-Sisko, unfortunately, as it would have been fun to see the group commenting on him, too!). Does this mean the Cargo Bays have holoemitters within them, was it something unique to this particular one, was it something installed specifically so the group could watch the proceedings, or was it all connected to that large screen? It's possible that the screen was a holoemitter itself, far beyond 3D TV, able to project a scene into a room. It would be a nice bit of kit to own, and who knows, maybe one day we'll be able to watch this series in fully three dimensions like that? But I'm getting away from the episode, which, as I said, has the feel of a well-written play about it thanks to some excellent dialogue and characterisations.

The key to its success was in the casting, with one of the strongest groups of actors brought together for an episode. If they hadn't worked, the whole thing would have crumbled, but they make it the fascinating study of possibilities that it is, and positively demanded to be brought back, so it's a good job they were. Two of the actors had appeared in previous Treks (Michael Keenan as an alien in 'Sub Rosa' on 'TNG,' as well as King Hrothgar in a 'Voyager' Holodeck episode, 'Heroes and Demons,' while Hilary Shepard-Turner was in 'The Ship,' during the previous season of 'DS9' as a Benzite - I was going to say she had more makeup on in that one, but after watching the episode again, I'm not so sure, Lauren being caked in the stuff!), which may have given them their practice episodes since none of those stories were as good as this one (though their performances may not have made that much difference to the overall quality of the episode), this 'the real thing' where they were able to stretch their acting wings. The other two, Jack and Sarina, were played by actors that had never done Trek before, and it's great to see both new and old faces working together to create an immersive story through the idiosyncrasies and antics of these socially inept geniuses. I would also highlight Dr. Karen Loews as being a really good character as well, despite her short appearance - the way she responds to Jack's spiteful violence is not the shock that she must have felt (and we, the audience, feel), but with considered compassion and calmness, like the best Vulcan would.

Jack's extreme levels of energy and unpredictability give him a flow of forcefulness in his personality, yet he doesn't have the commanding presence that a true leader would have. He bounces from thought to thought and emotion to expression like a… jumping jack! One of the best moments in the episode comes after he's refusing to talk to Bashir at the end, his plans foiled, pride hurt, but before they beam out he asks Julian, if they come up with a way to beat the Dominion will he listen? So he still wants to use his talents to help, and he clearly has respect for the Doctor as he's willing to make the request, and of course Bashir agrees and it all ends amicably. The group came in like a whirlwind, threw people's thoughts and hopes into a flurry with their reading of the Dominion War, then bow out again as the dust settles. It couldn't have been much finer. The wonderfully simple demonstration of all their lofty facts and figures, projections and predictions being derailed by one single person was powerful and has something to say about those who seem to be great thinkers and planners, concerned with the big picture in their own arrogance, but forgetting the smallest thing that can make all the difference. It's a lesson in not trusting too much in man's wisdom, (Bashir even says they're not gods, though Jack, in lofty arrogance, seems to think they're close), and taking the time to consider that we don't have all the answers and have to operate despite that.

Sarina, the ghostly figure that spends most of the episode in the background, almost an extra, and one that doesn't even speak, though for once in Trek, it wasn't to save money, but as an incredibly effective dramatic device, gives us another rush of mastery and meaning when at the last, having spent her time with eyes downcast, she looks up into Bashir's eyes and makes a connection. It's so much more affecting because of her waif-like role throughout the rest of the story, and shows that there's hope for her yet, as would become the launching point of the sequel. Patrick and Lauren are there more for comedy value and to provide added complexity to the group, as they both have obvious problems, but taken as a whole, the four are so distinctive, characterful and engaging to watch that they enhance (not just genetically!), the viewing experience and set a contrast for the still newly revealed Bashir and his enhancements. This is the first episode to really touch on his abilities, though we saw how useful they can be in 'A Time To Stand,' and it gives us another touchpoint of the issue of gene manipulation and modification, something becoming more science fact than fiction now. It shows both the positive, with Bashir able to lead the fantastically useful life that he does, both as Doctor and Starfleet officer, and the dark side of the procedure when things go wrong, ably exampled by Jack's motley group.

It isn't just about the rights and wrongs of such unnatural manipulation (we'd already seen the strongest argument against augmentation at its most extreme, in the Borg, whose constant striving for perfection becomes their sole purpose and creates a horrific self-centredness that isn't even about the self, but is a mindless conglomeration, slaves to a group will, and overseen by a single, malevolent one), it's about the treatment of such people by society. Bashir's colleagues discuss the advantages such people would possess and how they should be barred from competition for such positions as serving in Starfleet. They are feared in some ways, not just because of what they could do, but in the thought that un-enhanced people would have to become like them to compete. It could become a spiral of competitiveness, won by those with the best resources. Bashir's caught in the middle - he feels guilt at being this enhanced man, and even points out Jack's behaviour as being exactly the kind of thing ordinary people fear when he wants to take the law into his own hands and end the War by forcing the Federation to surrender. The Eugenics Wars get a glorious mention, and the parallels are there again, with Khan and his cronies taking over so much of the world - they do things by force if they can't do them by consent. It's interesting to note, that like Khan and his people before them, these are all humans, as if it's a human problem - our own greatest threat is ourselves.

Jack is a worrying character because he isn't afraid to take extreme actions. Cutting Dr. Loews' hand was only one example, he also grabs Sarina's head and threatens to snap her neck if he doesn't get his way quickly enough. I don't think he would do anything so unforgivable as that, but you can't be sure because of his unpredictable nature, when he's doing something out of meanness or when he's just reading the situation and thinking this will be the quickest way to force something to be done. He's the leader because he wants to take action where the others are content to stand, lie, or waddle around. What comes as some of the most amazing moments are how the story is masterfully crafted so that you can believe Starfleet and Sisko would happily give these misfits classified information. From the start we're introduced to them all as they wait for Bashir to meet them, so well designed to show off their personalities. They seem like they have very little hope of contributing to 24th Century life until, by happenstance, they catch Damar's speech and show their intuitive and insightful reading of a person or situation, beautifully turning it into a legendary, or fairytale archetype to express the facts as they see them. This in turn gets them access to the peace talks (how interesting it would have been if they'd really been allowed to attend the meeting!), which gives Starfleet an important tactical advantage when the Dominion were trying to pull the wool over their eyes. All this leads them to go overboard and formulate the shape of future events.

Bashir gets caught up in the excitement over their initial success and really believes in their ability to predict the long term future (just as we hear of the past with the Eugenics War we also hear of a possible future where the Federation surrenders, but one day an uprising eventually overcomes the conquerors, leading to a golden age of a new Federation that lasts for thousands of years - it's certainly appealing if you forget about the lives of the contemporary people who will have to give up their freedom), so much so that he begins to talk like them, faster and almost patronising those that can't keep up, since surely that's the only way people wouldn't agree with their rightness, not the real reason of being more level-headed or opposed to sacrificing their ideals. And that's the biggest issue of the episode: is it right to sacrifice freedom or even a number of lives in order to safeguard a far greater number of lives. It becomes about huge figures and dispassionately giving up, rather than fighting for what you believe in and making a difference, as Captain Kirk would have said - when the odds were against him and the situation was grim that was when Kirk was at his best, enjoying the thrill of trying to stay alive or do what you could with your last breath. Not that that gung-ho nature would necessarily be a tasteful response to the serious issue of billions of lives, but it does start me wondering what Kirk would have done had he survived 'Generations' and been given a ship during the War… The Dominion would have had a tougher time, I'm sure!

Sisko won't ever give up, not when everything he's fought for is on the table, and not for the possible chance to save so many lives, because these are all hypothetical future events, and as the War would prove, there are far too many factors to be able to truly predict the course of the future. The other issue I thought I gleaned from the episode was a possible pro-gambling stance… Okay, so really it was just a more upbeat way to end the episode, (taken even further when Bashir actually gets to send off the group - but did Lauren beam in lying down on the Transporter pad since she beams out that way, or do you get rearranged to a standing position in the process?), but at first Bashir's upsetting Quark's customers at the Dabo table by ranting about the odds being against you and you can't help but lose, and then when he's back at the end he wins! It certainly improves the mood, ending cheerfully and with hope for the future, another reason this ranks highly among so many great episodes of the series and season - though that's two episodes in a row where people have been able to get away with a serious crime due to charges not being pressed. This time Sisko allows them to go free after almost becoming traitors, and last episode Mirror Bareil was freed by Kira!

Also like last episode, Odo's lack of keeping track of people on the station continues. Last time he wasn't keeping tabs on Bareil, now he fails to realise when Weyoun and Damar try to have a secret meeting with potential traitors, though I did love the fact that he's the one to tell them the meeting's off. You'd think there must be Starfleet guards outside of the visiting Dominion reps' quarters, so we don't know how they snuck out of there without being caught (I can just imagine Weyoun and a grumbling Damar struggling through the station's Jefferies Tubes!). Having the pair back in it again is another wonderful aspect of the episode, and quite unexpected as the next taste of their characters after evacuating DS9. Major changes have occurred, with Gul Damar taking his former superior's place as leader of his people, and a new interaction between him and Weyoun. If you think back to the station's occupation, the Vorta thought of and treated him as nothing more than a dog, but now there's a slight degree of mutual respect, essential for such a position. The dynamics have changed, with Weyoun schooling Damar, an uncertain figure, clouded with doubt who has to be strong for Cardassia. He's probably as confused by what's happened as we are! But it makes sense that he would be next in line as you can imagine when Dukat rose to power that only those in his good books would rise with him, and since Damar was the man he most trusted, he would be the one to share most of his confidence and so be in the best position to take over the role with Dukat's descent into madness and capture.

I don't think at this stage Damar knows what he's doing or what he will do, but Cardassians seem genetically predisposed to take control if the opportunity arises, and he's obviously learning a lot very quickly. This is the beginning of the true Damar, the one who would become a hero, though he doesn't know it yet. For such a time as this he was raised up to lead his people, a man that secretly hates the Dominion, but is forced to work with them. Weyoun's modified his own role into being a kind of mentor, knowing it's important to have Damar on his side to make it easier to fight the Federation and Klingons, and no longer baits the Cardassian, but works with him, also, no doubt, believing it will be easier to keep Damar under his thumb than the eminently untrustworthy and egomaniacal Dukat, though he doesn't know the other man's depths. I suppose Damar had come up with the solution to the minefield, and had proved his loyalty to the Dominion (though actually to Cardassia), by killing even the daughter of his friend and leader for being a traitor. His motives were personal, but the Dominion sees its goals in the same direction as his, so these are more concrete reasons for his being chosen to take command than simply being in the right place at the right time!

It's the first time Damar and Kira meet since he killed her friend, Ziyal, but she has to keep herself restrained since these are peace talks, and doesn't attack either physically or verbally. Strangely, she doesn't even seem that angry with Damar - both she and Dukat, the two most affected by Ziyal's death also seem to be very forgiving of Damar for some reason as neither threatens his life or tries to pay him back, or do anything in revenge, as if it was almost inevitable that she would die and Damar just happened to be the instrument of death. I think that's a small blind spot in the series, and Damar should have become public enemy number one for those two, or Kira at least. It's as if the writers had bigger plans for him, so his crime was quickly forgotten. Weyoun's just delighted to be back on the station and able to chat with his favourite Starfleet Captain, though if there is something missing from the episode it would be his and Sisko's interactions. We'd already seen them at it before, or am I thinking of Kira and Odo, or even Dukat, but it would have been a nice extra. As it is, the peace talks do give us something of great interest and enjoyment when we hear Weyoun speak 'Dominionese,' a short segment where we hear the real, untranslated words, since Jack's group are pointing out something about the way he speaks. I also love the moment when Patrick wanders into frame because it's so unexpected, since you assume (and it's cleverly directed to support this belief), you're at the actual meeting rather than a holographic simulation!

That's what gives the episode even more depth: the delight in the little things, whether that's spontaneous ballroom dancing, accurate predictions for the future (Romulans joining the fight; the Cardassian rebellion), the dartboard's return, or seeing the senior staff round at (what looks like), Sisko's for a meal, relaxing before dessert and awaiting Damar's speech. We've seen this happen at various times in the series, one of Sisko's hobbies is that he loves to cook, it helps him relax, so what better way to discuss the issues of the day informally than to invite your colleagues round, though you have to wonder why they're all dressed so formally! A bit like 'In The Cards' when everyone was depressed, this is a low-key dinner party, but not negative, just thoughtful. They must still be feeling a confidence boost after retaking the station, no matter how the War goes. One thing that works really well amidst all Bashir's problems in the episode is his friendship with O'Brien. Some of the best dialogue between them comes in this, with O'Brien thought of as uncomplicated by the savants, and Bashir absolutely milking it. Yet there's also a falling out between them over Bashir and his group's gloomy predictions - the Chief, like Sisko, knows that they have to keep on fighting, regardless of their chances, but importantly, they resolve their differences by the end, Bashir realising he was in the wrong. There's always been a rivalry between the pair, stretching back to when they first became friends, even becoming that way thanks to the rivalry of a single professional versus a working man with a family. Bashir's genius unveiled has only enhanced their friendship, and it's thanks to having friends like O'Brien that he's managed to have a normal, productive life - one enhancement that really was worth it.

*****