Tacking Into The Wind (2)

DVD, DS9 S7 (Tacking Into The Wind) (2)

One thing I hoped for in this episode was that Nog would show up so I could write about Aron Eisenberg's contribution to the series, because I watched this episode on the day I found out about the actor's death at the age of fifty. Sadly, Nog wasn't in this episode, but I'd like to dedicate this review to the memory of one of the great actors of the greatest TV show ever made. Eisenberg wasn't one of the main cast, didn't show up in the opening titles, but his portrayal of the most typical Ferengi, that changed into the most atypical, without losing his essential Ferengi nature, was one of the best examples of how much development even relatively minor characters received on such a series. Nog wasn't a minor (even in age terms, Eisenberg was in his twenties when he portrayed the character, who was a child!), part of the series, he had a terrific arc across the seven seasons, appearing in many episodes from the pilot to the finale, and even having the accolade of starring in at least one episode ('It's Only A Paper Moon'), as well as co-starring with Jake in several adventures (the best of which was 'In The Cards'). It could even be said that Nog became more of a regular character than his best friend Jake. Partly, that's due to the focus being on Starfleet officers during the war, but also because Eisenberg imbued the young Ferengi with an eternally driven, disciplined and optimistic attitude in the best traditions of the Federation. It is very sad to think that his final episode will always be in 1999 in a time when the curtains are rolling back on the 24th Century stage, because I feel sure that had Eisenberg been in good health he would have been practically a certainty to appear as Captain Nog in the Picard series at some point. But his legacy is forever secure in the minds of Trek aficionados for the wonderful things he did as, and with, his famous character.

On a happier note, this episode, the fourth from last of the entire series, begins the upward swing of the final few, building gradually, almost imperceptibly into another great one. I don't know whether it was plots such as the Winn/Dukat narrative, or the Worf/Ezri moping that prevented the first half of the final arc to shine, or whether it was the impeding nature of the multiple stories that needed to be woven together, out of the usual norm for the series, but this episode breaks free, setting up the last lap as characters find their places, shuffle around, and prepare to land. To begin with I wasn't sure why I had retained the impression that this was a great story, because it is slow in building, but in the greatest tradition of drama, it goes up a level at a time, right to the climax. It's no surprise that Ron Moore's handprint is on the tiller, fitting as it is for the final Klingon-centric episode of the series: Gowron's reckless tactics reach a new low when Martok's latest mission into Dominion-held space fails with much loss of ships and life, the General himself left in the balance. If there was something that could improve the episode it is that we don't see Dr. Bashir working his wonders on Martok. We see the wounded General in the Infirmary (I don't know if it was my imagination, but the thin material covering him did suggest a bulky exoskeleton on his chest), specifically in the little-seen operating room away from the main area where so many have been scarred for life or not even survived Bashir's house of horrors. But the doc's busy with his unceasing research into a cure for the Changeling's virus, so maybe it was good for Martok after all, on reflection!

It's very good how the simple solution to meeting with someone from Section 31, the authors of this deadly disease, is so organically arrived at. It's just Bashir and O'Brien, secretly thinking this through and racking their brains over how they can capture an agent from the shady organisation in order to wrest a cure from him - we hear they've been chasing shadows from here to Vulcan (I don't know if that means they actually travelled to Vulcan, or whether they meant in 'paper trail' terms, or perhaps calling up contacts and associates), until they hit upon the idea of lying. After all, O'Brien is a proven liar: he lied to Captain Kirk himself, so a little fib for the greater good doesn't seem too far beneath him. The trap is baited and with bated breath we await the coming of Section 31. We don't need to await the coming of Keiko, since she's apparently on DS9 at this time. We know this because she sends Bashir some crab rolls O'Brien claims she 'whipped up' - notice he didn't say replicated, so does that mean she likes to cook for real, like the Siskos? Quite beside the point, the real issue being why is O'Brien's family not safely ensconced on Earth? Okay, so the Breen showed that even the human homeworld isn't as safe as it used to be, but wouldn't somewhere like Bajor be a reasonably safe place at this time of war? We don't know if O'Brien's children are also on the station, but it's a good bet that they'd be with their Mother.

The search for a cure is merely the C-story for the episode, as the top two slots are shared by both Worf's growing realisation that Gowron must be challenged before he throws the last hope for the Alpha Quadrant allies into disarray, and Kira's tightrope walk in Damar's resistance group. Both Worf and Kira have difficult choices to make, and both paths end with the death of someone. It is fortunate that in both cases right wins out and those setting back the cause of freedom and victory over the enemy are dealt with. One of the enduringly fascinating things about the conclusion to this part of the Trek canon, is in the gift it left for future writers: pretty much all the major races of the Trek universe are challenged and changed by the events of the Dominion War. War is a catalyst for change, and the writers did an excellent job of showing that in the way the various races reacted to both the war itself and its outcome. One of the tragedies of modern Trek is that it chose to go into an almost endless cycle of prequels and (basically), reboots, rather than gorging themselves on the multiple delights left on the political and social table that was the Alpha Quadrant in the aftermath of the war. 'Voyager' had a couple of seasons in which to play with such things, but the nature of their location, the other side of the Galaxy, meant they were extremely limited in that regard (one reason I feel they should have come home at the end of Season 6, so as to explore the issues and ramifications of this new era for both those characters and the major races), preferring to concentrate mainly on the playing pieces they were already moving about their own board.

That's fair enough. But although I don't regret the creation of 'Enterprise,' I still would have rather seen a continuation of the 24th Century, hanging ripe with fat, juicy fruits, waiting to be plucked. It was good for the novel writers as they had material to last them a good couple of decades, up until the point we're arriving at now, in which 'Star Trek: Picard' is set. Will that series take up the narratives of the changed Ferengi values, the Cardassians laid low, the Klingons ravaged, and all with new leadership? Or will it be back to 'normal' because enough time has passed that the spectre of a great war is only a distant memory for most, and history to the young? The fortunes of new Trek hang in the balance, but are irrelevant as regards this episode, so let us return to the 'now' and look to the future from that perspective: both Cardassian and Klingon Empires can see great change from the top down, and nowhere has it been as blatantly stated as in this episode where we see the true colours of Damar, struck home in the most painful way, not just by the cruel murder of his wife and son on the orders of the Female Changeling, but in his immediate vicinity when Kira chooses that moment to spike him with the reminder that the murder of innocents was exactly the kind of brutality Damar's people committed to Bajorans, in response to Damar expressing dismay at such horrors. It's a very strong moment, but that's not enough, they go and take it up a whole other level when we see the almost fierce light in Garak's eyes and voice as he asserts that Kira's words will have far more weight at this time, when she shows regret for having said them.

It was a moment that reminded me of the story around the filming of Kirk's attitude towards the Klingons in 'Star Trek VI,' where William Shatner wanted to play it as Kirk having a similar outburst ("Let them die!"), only to immediately show regret at such a sentiment coming from his mouth, only Director Nicholas Meyer edited it so we don't see his regret clearly. Here, we do see the conscience of Kira rise to the surface, but it's used as a platform upon which we finally understand the magnitude of who Damar has become and what he'll mean for Cardassia: he's had the full dose of the kind of behaviour his peopled inflicted on others, and Garak sees a future where this will influence him in a positive way. And this is coming from a man that hated the former Damar for killing his only love. Not only has he forgiven and forgotten, as it was practical to do, and Garak is a practical man, but he's turned around to support his enemy one hundred percent, seeing in him the Cardassia their people need. Damar, after killing Rusot, his close friend and ally, demonstrates just how much his sentiments mean. That he's willing to kill someone so close to him because he was intractable in the old ways: his Cardassia is gone, and it's not coming back, are Damar's heartfelt words, and it's as if he's destroyed the last part of the evil Cardassia. Sometimes it takes people the loss of everything before they see the truth.

The episode was meant by Moore as a commentary on the state of the Klingon Empire, but he fits in a neat parallel on the state and the potential future of the Cardassian one, too, and that is the mark of a great writer. The Klingons get their due, particularly Worf, whose commitment to true honour is finally rewarded after years of abuse by his race. As quickly as he was taken back into the fold of Gowron upon the Chancellor's appearance on DS9, thanks to his place within the House of Martok, he's as swiftly discarded for being a traitor when he stands up to the leader. He's always been the best of Klingons, even to the extent that he fulfils the Klingon ideals (such as killing the murderer of his mate on 'TNG'), and the bonds of loyalty winning out over the uniform (such as going back for the dying Jadzia in Season 6), so that he's always had a personal code that means he'll be at odds with someone. The conflict within him over allowing himself to be Klingon, while also recognising his own humanity in the ideals of Starfleet and duty to them, has always been one of the most fascinating elements of Trek, at least on a par with the similar internal struggles of Spock or Seven of Nine, and probably surpassing all. The most torn characters are the best to watch, and even here Worf is unsure what to do beyond exhorting the obvious successor, Martok, into action against Gowron. But Martok still thinks of himself as lowly (best in evidence in Kor's final appearance in 'Once More Unto The Breach'), a man best suited to following the orders of those above and doing whatever is asked of him for the Empire.

It is here that that famous old saying of Kahless comes into play: great men do not seek power, they have it thrust upon them. (Hang on, are you sure that was Kahless? In the original Klingon? Ah, right, I see). Worf doesn't want power any more than Martok does, but he's in the best position in which to see who gets it. After consulting Ezri (and we see just how far they've come when he reveals she's still considered to be a member of the House of Martok, something he'd have been dead against at the start of the season), for a useful outsider perspective who, as she says, sees the Empire differently to both Curzon and Jadzia, who were deeply enmeshed within it, he does stand up to Gowron and, in beating him, passes the mantle to Martok. I'm not sure Ezri's words weren't a little pushed to the extreme to make an impact on Worf, because she says she thinks the Empire is dying due to it holding onto ancient traditions, long outmoded, and should die because Klingons, though they profess allegiance to the traditions, don't exhibit the honour that goes with it, allowing the corrupt to rule - whoever carries out the traditions can do what they will apart from them. She makes a terrific point asking who was the last Chancellor Worf truly respected, and has he ever known one he did? This goes back to 'TNG' and earlier than we know, and is typical of Moore's love of adding to Klingon lore. I could have done with a mention of K'mpec, or whoever was before him by name, but it's nice to think back to the living past of Trek that we can actually go and see any time we want!

Worf was right, Martok is the ideal man to lead the Empire because he is humble, but also has great intelligence and experience, and it would have been glorious to see him return post-'DS9,' even if it had been a cameo in the last 24th Century film, 'Nemesis.' But in keeping with the trend of Trek made in the 21st Century, they largely ignored major things (except for a little mention of the war amid other challenges). The actor who played him, JG Hertzler, wrote a couple of novels on Martok's reign, but although I've long planned to read both, I still haven't got my hands on them (though I do have both Armin Shimerman's Quark novel set during the series, and Andrew Robinson's Garak book which does go into the rebuilding of Cardassia after the war), and the books aren't part of canon, anyway, as we all know (in spite of several moments in production history where they've been claimed as being so: when Jeri Taylor wrote her two 'Voyager' books, when the Kelvin Timeline comics were supposedly considered canon, and more recently, when the 'Discovery' books were supposed to be, until they were superceded by the series, which is what always, and rightfully, happens, even if sometimes the ideas of the authors can be better than that of the TV writers, such as making stupid decisions fit better!).

For the sake of history, Gowron's death at the hands of Worf, was an important moment. He had been in Trek since the fourth season of 'TNG' and had always been a different kind of Klingon. He wasn't the biggest and most bloodthirsty, you could even say he was a bit scrawny, but he had the strength of brain power that made up for any bodily deficiency. And as he proved here, he was a not inconsiderable fighter, quick to throw off his robes and take up the challenge of his subordinate. I wonder if the ageing, partially mutilated Martok, only just recovered from his severe wounding, would have beaten the Chancellor as Worf did? Or would Gowron have proved himself worthy in the eyes of his people and at the same time rid himself of the jealous burden that Martok was for him? It probably worked out for the best with Worf feeling it necessary to do the challenging himself, and even then Gowron played dirty - I think he deliberately planned to break Worf's sword into pieces, and I wouldn't put it past a man of such cunning (and needing it, considering life as a Klingon leader is a bit like the Captain of a pirate ship, never knowing when challenge to authority may come), that he had a specific bat'leth hanging up that he knew was a good sword, while all the others in the room were of inferior make, just for such an eventuality. But Worf's creative ingenuity saw him off. As soon as you see that great glass screen, you know someone's going through it, and in its own way it's as impressive as Falcon smashing through the window at the start of 'Our Man Bashir'!

Why were their bat'leths on the wall of this briefing room, anyway, was it just for decoration, or in case of just such an eventuality as arose? It looked like a room that had been given over to the Klingons permanently for their use during the war, which makes sense, though I can't imagine Sisko would sanction Worf killing the Chancellor of Starfleet's keenest allies. If it got out it could turn into an ugly civil war, and I'm surprised someone from the Duras family wasn't around to cause trouble (we did see Duras' son, Toral, back in Season 4, not to mention the Duras sisters right at the beginning of the series - another sad loss recently was Barbara March who played Lursa), but I suspect the whole thing was kept under wraps as an internal matter. Worf does the age-old symbol of removing his combadge as a sign that he speaks on behalf of himself, not representing Starfleet, but I'm sure that's not how they'd see it. Mind you, he's already been reprimanded enough, and Sisko and Admiral Ross would see the need for Gowron's removal, even if they couldn't sanction Worf's involvement. Maybe, since Worf passed the mantle of chancellorship to Martok it will go down, however wrongly, as Martok's kill. I don't think the issue came up between Worf and anyone in the final three episodes, amid all the other things going on, but if this had been an ordinary DS9 day before the war, the whole episode would have been about this, and the ramifications of his actions. There simply wasn't time at this point, even with so many episodes devoted to finishing out the series, and it's probably reasonable that it should be so.

Sisko himself gave Gowron a tongue-lashing, not holding back on his anger, though he probably knew that he was okay doing that since Klingons admire people speaking boldly, as Gowron's toothy grin told. I love the almost sheepish way the Chancellor mutters about Martok being 'expected to survive,' as if that makes his orders justified! It was all about discrediting Martok, except that the General continually did his best to carry out whatever orders his Commander-in-Chief gave him, because he's a good soldier. It was almost like Martok was Uriah and Gowron was King David in the Bible, sending out this man in order that he dies in his service. It wasn't a woman Gowron was chasing, but the holding on of power he felt was slipping away, ironic then that this chasing of power is what led to him losing it, when in fact he was strong in his position since Martok supported him. But the cunning mind doesn't think like that and can sometimes turn itself in circles when it gets a bee under its bonnet. Although Gowron was a great character, and had been used sparingly, it was the right time for him to be killed off to make room for a new Empire: just as it was time for the old Cardassia to be washed away, and time for Kai Winn to step down from her position (or be removed through death). We see that power or prestige is always hard to give up, which is why Damar is such a triumph for Cardassia and its future.

Through the bullying of the Dominion regime over Cardassia it's humbled him from his great pride, something that Weyoun doesn't really understand. Because Weyoun doesn't really have a planet or a people, he's happy under the protective wing of the Founders, though even he is not immune to the genocidal intent of the increasingly thwarted Female Changeling, who threatens that if there were cloning facilities he'd be disposed with (she talks to a new representative of the Breen, Thot Pran - what happened to Thot Gor?). It's the first time the Vorta has nothing to say, but a shocked look in his eyes that his 'gods' could do such a thing to him, a loyal servant. But because he is no more than a clone, he has no solid base to stand on: where Damar had his history and people that came into focus as motivation enough to die for them, Weyoun is only a servant, nothing beyond that because the Founders didn't need any more from him. I always go back to the lack of aesthetic appreciation he admitted to, because the Founders didn't include it in his genetic makeup, therefore in his logic, it isn't necessary. But it also shows there's nothing more to him, which is a tragedy in itself. As things fall apart for the Female Changeling she's becoming increasingly dangerous to all around her, as will play out to its logical, but terrible conclusion (I imagine if this had been made now, she'd have become a whirling dervish of spiteful destruction, physically taking out Jem'Hadar, Cardassians and Vorta alike in her bitter refusal to accept defeat - I'm glad it wasn't made now).

As much as the internal politics of Kira's time in position of a leader in the Cardassian resistance are involving on a microcosmic level, I'm so glad they got to go out of the caves and off on an actual mission. It's one that brilliantly builds the dramatic tension, and from multiple sources. The keenest felt for Kira is Rusot's hatred of her that boils over into a physical confrontation in which she gains the upper hand, impressively, but which also sets in motion a heavy vendetta that can only be paid off by her death at his hands. You sense that Garak is taking the time to watch over her like a guardian angel as he steps out of the shadows following the altercation, as much to reassure (he's holding a Cardassian Phaser), as to give her advice: though Rusot threatened to kill her after the war is over (much like the Jem'Hadar that threatened the same to Sisko in 'To The Death'), he'll strike before then, so she needs to kill him first. Kira isn't a stranger to killing, but this is just what she doesn't need at a time when she's got enough to worry about in training these obstinate Cardies in the ways of the terrorist. And then there's Odo. This was so beautifully scripted, so true to both their characters, and even admits Garak in to show what a friend he can be to them - he finds Odo resting in the bunk room, his natural state of decay all too evident. You'd think Odo would have found a dark corner to lie in, since there are no doors in a cave and no way to knock, so if Kira had entered she'd have seen his 'secret' suffering (even though she's already seen everything, from when-it-rains-coloured-lights-Odo, to sloshing-in-bucket-Odo). Maybe he didn't hear Garak's approach because he can no longer form ears properly?

Garak agrees not to tell Kira because Odo thinks she's got enough on her plate, and the Cardassian has good reason to do what's best for the Constable since the last time he saw him in this desiccated state it was he who was responsible for it, but when a plan requires Odo's participation for its success, he pulls her aside and breaks the confidence given to him, for Odo's sake. Shapeshifting advances the rate of the disease, and we hear that Odo's been shifting regularly in various missions (which sound so intriguing you wish we could have seen them!), accelerating his demise. Kira already knows, she's not stupid, but she's willing to play dumb to Odo's torment because if her not knowing keeps him going she'll do whatever it takes not to know. Work is what keeps Odo going, that has always been the case, he can't lie around feeling sorry for himself, even if that would be best for his health. The obstinate care they have for each other is perhaps never better portrayed than it is here, at death's door for both of them, Odo from the wasting, Kira from an irate Cardassian. It adds so much to the story and in fact is the best part of the episode. The slow start only allows it to build and build, the pressure cooker of the various events playing out so satisfyingly and intricately. Regardless of the threat to both Odo and Kira, the mission has to proceed, just as we'd expect from a Starfleet crew.

It's sometimes easy to forget that, though in this case Kira is working for Starfleet, she and all the others are all non-Starfleet, a ragtag bunch of aliens that is about as far from the 'TOS' or 'TNG' formula of a Trek episode as you can imagine, but no less great for it. We know these people, we know their races, and so when we see things play out as we do, it all feels right. There are shocks along the way, twists and turns, but unlike modern Trek they aren't the focus, it's the people that matter most and cause us to care. Even with so much established tech, canon and lore to play with, they aren't above inventing a few new things. I don't recall if we'd seen a Cardassian shuttle before, but that's what they use for travel on their way to another Cardassian structure in space that is as different from DS9 as could be, yet still visibly recognisable for being in the same design lineage. It was massive, too! The moment where they come aboard to be greeted by a joint Jem'Hadar and Cardassian guard detail, such a simple exchange, but still so good - you'd think Damar at least would be instantly recognised, and Kira must be a well-known figure considering DS9 has been at the centre of Dominion interaction with the Federation for years. I guess the Jem'Hadar doesn't read reports, and we soon learn that the Cardassian (Vornar, played by J. Paul Boehmer, previously the Nazi Kapitan in 'The Killing Game' on 'Voyager,' later to be a Borg on the same series, and even later still, a Vulcan and another Nazi on 'Enterprise,' so it's great to see him again, even in such a minor role), does indeed recognise the banished leader and secretly supports him!

It's a moment of morale boosting, just when something needed to go right for them. It's cool to see Odo disguised as something again, this time he's the cuffs restraining the Bajoran 'prisoner,' though does that mean Kira can carry the weight of Odo around on her wrists? How much does he weigh? Can he alter his weight as well as shape? All questions that have come up before, I'm sure, but they don't detract, just add tasty speculation. The way she dropped them unceremoniously to the deck plate might suggest they weren't the most comfortable! On a docked Jem'Hadar ship a Breen energy weapon is being installed, overseen by a Vorta named Luaran (played by Kitty Swink, the wife of Armin Shimerman, which makes it even more disappointing that Quark doesn't show his face in this one as it would be fun trivia that they'd acted together, although she had previously played Minister Rozahn in Season 2's 'Sanctuary,' and made a great Vorta here - interesting to note that the current 'Star Trek Encyclopedia' wrongly lists her as playing Vayna, and Betty McGuire as Rozahn in that episode!). But hang on, the Female Changeling shows up and isn't she sure to recognise Kira, Damar and Garak? Until I remembered this was Odo, again in disguise (how did he know exactly how far her disease had spread?), all part of the plan to take over the ship, and a very effective plan it was. Salome Jens does very well pretending to be Odo pretending to be her, such as when he looks slightly uncomfortable as he passes the weapon to Garak, who promptly kills everyone on the Bridge.

Odo doesn't use weapons, doesn't like weapons, so again it's very true to his character that he would share a look like that, and then question whether killing them was necessary. It's all very well put together, and then the tension rises as we hear the weapon hasn't been fully installed yet, so they'll have to 'sit tight' as Kira puts, which enrages Rusot - he was looking for his opportunity, but Garak has been looking for him looking for his opportunity and puts a gun on him. Odo has collapsed, his facade finally broken and Damar is the one to break up Rusot's threat by killing him. I like that they don't even show his death, they concentrate on Damar and the cool way he dispatches this misguided friend, stepping over him and acknowledging the old Cardassia is gone. And with that, Kira is free to cradle Odo for a powerful ending where she admits she knew the extent of his covering up the illness - the music reminded me of 'Into The West' from the end of 'The Return of The King,' just a little portion of it, and I wish that had been on the CD set rather than the good, but martial, Worf and Gowron duel (though I haven't bought the second volume, so it could be on there).

There's much to admire about the structure of this episode, the words that were written, but also the production work that went into carrying it all off. It's another truly great episode full of the kind of Trek detail we expect and cherish (Gowron's 'I would kill you where you stand,' to Worf is very much like the Starfleet Klingon's same statement to Picard in 'First Contact,' also written by Moore; Worf doing the death cry over Gowron's body; Worf using the broken pieces of his bat'leth to win the fight), but also internal logic that makes sense (the unlikelihood of Bashir being able to find a cure for a disease that all the resources of the Dominion have failed in; Section 31 being tracked down by him and O'Brien when it's remained in hiding for three hundred years - take that 'DSC'!), and the setting up of a grand scheme of rejuvenation and change for the major powers in the coming years, a changing of the guard to a better, softer galaxy that, as I said earlier, would have been (and still is), a fascinating sandbox for writers of the 'DS9' calibre to explore. Somehow I don't get the same feeling about the current crop of writers and I can't imagine the forthcoming 'Lower Decks' animated series, set as it is right after 'Nemesis' a few short years after the end of 'DS9,' is likely to tackle the political and social ramifications promised by all this. But we'll always have 'DS9' to show the whippersnappers how it could be, how it was, and how it should, be done!

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