DVD, Smallville (Trespass)
A traditional episode of the series in every sense with paranoid tension levels, a tug of war over Clark's secret and how much who knows what, all topped off with a man in a suit, blood trickling down his face, chasing Lana with a ceremonial axe! It always comes down to Lana being chased in fear of her life and it couldn't be more 'Smallville' than that. In what other ways could this be called traditional? Well, the main one would be that the villain turns out not to be a raving lunatic from outside Lana's world, but a raving lunatic from inside - they say most murders are committed by someone the victim knows so there's some reality in the situation, but whether the security guy (did he even get named?), was a normal person is up for debate as he seemed obsessed with Lana. This has happened many times before and as soon as the two guards were in it for more than one scene I guessed it was going to be one of them. Going by past performance it was always going to be the quiet one that didn't take the limelight and seemed overly professional; the innocent background character. The trouble is, we always know when this is going to happen because of the series' appalling lack of development for minor characters - if someone who's basically an extra gets more than a scene or two and grows in prominence through the course of the episode you can guarantee it's for a reason.
So I guessed the identity of the villain of the piece, but the enjoyment in one of these threatening drama stories is in how Clark will save Lana and the twists and turns of action. It's not that there was a whole lot of action, but the tension bubbles along nicely, the angle of Lana keeping what she thinks is Clark's secret (and is, though so far unconfirmed for her), adding another dimension that appears to put him at risk as much as her. It turns out that the spy didn't take a photo of her because she was holding the bent chisel which Lex stabbed Clark with, that was beside the point - he wanted to fulfil his fantasy of supposedly saving her from the photographer so she'd be undyingly grateful to him. Interestingly, he does speak some truth, Lana has become more like Lex and did used to be a much softer, nicer person. The way the teaser has Lex within a few metres of the door when she runs out of her room is another aspect that piques the interest, suggesting it may have been him watching her. When a disguised voice talks on the phone it always sounds like Lex, and it happens again in this episode. I wonder if they get Michael Rosenbaum to record the lines just to add confusion? In the end it wasn't anything to do with Lex who just happens to have to go away on business at Lana's time of need, leading her to head off to the Kents. This might have been a test from Lex, so no wonder he wasn't thrilled about her choice.
Does Lex know all about Clark's secret? If he doesn't, he's not using the usual cunning and tricks he's shown to use with everyone else, and in the scene at the end in which he comes to Clark's barn, seemingly to cause trouble, I half expected him to admit he knows all about Clark, and it wasn't going to make any difference to him and Lana, but there was no indication of that line of thinking. Seeing the two alone together has become an uncommon occurrence, almost recalling the early days, though now there's definite enmity between them. Despite this, for a few seconds I thought Lex was doing Clark a kindness when he reveals his true reason for coming was to deliver the wedding invitation, but that doesn't last long, and it was only for Lana's benefit he did so, as well as to have a crack at Clark, reminding him (and us, since this is such a different feel of episode compared to the previous one), that he'd kidnapped Lana and dragged her to the barn after threatening his life. The series can veer wildly between the uncharacteristic behaviour of certain people and some well-judged character work as seen in this one - as always, consistency has been the key missing ingredient. At least when there are poor episodes there's a chance they can be followed by better ones as happened with this following 'Crimson.'
The only real mystery of the episode is what happened to the incriminating chisel which is now missing from Lana's drawer. Did Lex take it? I still feel that he secretly knows and is just waiting for the right moment to let Clark know he knows. Who knows? Lionel has been a bit of a mute member of the triangle in recent episodes, but in a way it makes things easier without having to follow his shifting motives too. The negative result is that the 'adult' characters (technically they're all adult now) continue to get short shrift. Why Martha allowed Lana to stay in Clark's bedroom when there could be the possibility of her finding something that would expose Clark, is ridiculous, especially as Lois used to stay in the house so there must be a spare bedroom! It was a lovely moment when she discovers the old ex-Kryptonite-infused necklace of the early seasons, a nod to viewers who had watched from the beginning, without needing any explanation. If Lana eventually chooses Clark over Lex it will be for one reason only, I think: he has a much nicer computer! I ask you, what's the likelihood of a farm boy having a top of the range Mac in his bedroom, while multimillionaire Lex makes do with some rubbish little Dell or whatever laptop it is - maybe after all the damage his office has seen over the years he secretly keeps his favourite Mac in his bedroom and doesn't care so much about the PC downstairs…
The soapy aspects didn't conspire to cloud the issue, in fact creating some good moments, such as Jimmy threatening Clark if he hurts Chloe in any way. It's nice that Clark's recent erratic behaviour hasn't put Jimmy off him - as he says, he thinks Clark's a decent sort (he must have forgotten when he gatecrashed Lex' last episode), and the make up with Chloe didn't last long. I don't now why they bothered with the break up in the first place! The episode retains the good looks of the series, this time with a lot of dark, moody and snowy scenes, which I didn't understand at first, until it became apparent the security guy used the threat of the snowstorm to send the mansion staff home so he could be alone with Lana. Poor Kristin Kreuk was definitely looking older and sounded quite ill in parts of the episode, so maybe being chased around by a madman wasn't her worst trial of the episode.
As always in these scary situations when the prudent thing would be to lock yourself in and phone or call for help, Lana goes off with a knife into dark corners. I felt it would have been more effective if she'd been shipped over to the abandoned wing of the Medical Centre without us seeing the dialogue between security guy and the doc, as then it would have been more frightening. The one moment in the episode that came close to making me jump was when she's in that dark, empty wing, turns and is suddenly caught in the flash of a camera. It was directed really well, pictures cutting with the live action as she flees in panic, the scary, hairy photographer continually capturing her image - it's unnerving because it's unnatural for someone to chase after apparently threatening to kill, but madly just keeps taking photos.
Clark is there to save Lana when she needs him (even finding time to do his chores at regular speed in the episode in case he's caught on camera, something he hasn't had to worry about for a long time), not once, but twice. The room full of medical stands, like a forest of metal in which to catch Lana, was perfect, and this is where Clark comes in, throwing the photographer against a wall with one hand. Okay, assuming Lana can accept that (he's a big lad after all), can she accept that he caught her falling from a roof? When she and security guy fall through the glass I thought it a shame Clark wasn't there to break her fall, but then we see his boots and trousers, an effective reveal that he's caught her. I hoped early in the episode that her finding out of Clark's eternal secret shouldn't be wasted on the balance of a dented chisel, but it's still open for a big revelation which I hope lives up to the importance and gravity of such a long-awaited moment.
***
Monday, 14 November 2011
Rules of Engagement
DVD, DS9 S4 (Rules of Engagement)
It hasn't been an easy season for Worf. Not only has he had to adjust to a new life and career aboard an old Cardassian station, he's become an outcast from his people once again, has had difficulties fitting in with his new crew and had to wipe his brother's mind to cast away the dishonour that was causing his brother to be suicidal. But through it all he always had Starfleet as his solid base, the thing that kept him going and gave him a purpose. Now even that is questioned when he's brought up for an extradition hearing by the Klingons and a particularly scheming advocate in Ch'Pok. We haven't seen many Klingons who take their non-military jobs as seriously as the way of the warrior, so Ch'Pok is an intriguing anomaly. Ron Canada (who could be seen in other Trek), infuses the man with intelligence and gall, someone that could tell a good story, I think, but through all his machinations he's still fully Klingon with the skew of that race upon his deliberations. General Chang of 'Star Trek VI' springs to mind.
The question of the Federation and Klingon's relationship comes up again, and is really the central theme running through the story. The Klingons are described as not being at war and not being at peace with the potential for either. The way they've been acting has been most unlike them, perhaps inspired by the changeling influence upon Gowron, they've become much more like the Romulans in the way they do business. Though they're unquestionably at war with the Cardassians, things are a little trickier to define when it comes to the Federation. Gowron stood down from the attack on DS9 when Sisko explained that that was what the Dominion wanted and since then his race have been much more careful in their dealings. They've become devious, laying a minefield around the Bajoran sector, setting up this plot against Worf to use him as a tool to discredit the Federation, but they've kept away from open warfare with their former allies. It's like Kurn said recently, the Federation is stronger than they like to admit. But it is fascinating that I've never thought before about the changeling influence on the Klingons at this stage of the series, yet the change in their behaviour is noticeable!
The thing this courtroom drama is best known for is the device through which the testimonies of Worf's colleagues is played out as flashbacks. The first time it happens Dax is on the stand and we see her memory of fighting with Worf in the Holosuite. At first it could have been footage taken from one of the recent episodes in which they've fought and trained together, but then Dax begins speaking as if she were still in the courtroom and even looks directly at the camera while in the scene. Levar Burton must have been thrilled to get the chance to use such a device in his directing of the episode as it's something that just doesn't happen in Trek. It shows that 'DS9' could push the envelope in terms of story and character, as it did throughout its run, but it also allowed the writing and direction to boldly go further than any of the other series' did.
All the flashbacks have their moments, whether it's the way O'Brien's eyes follow the camera as it sweeps slowly round his circular conn station and back, the jerky, unreliable testimony of Quark (who first claims it was Bashir to talking to a Dabo girl, no it was another Dabo girl, or was it that Dabo girl…? No, it was Morn talking to the Dabo girl! A good thing really, as Leeta wouldn't have been too happy about Bashir chatting up one of her co-workers), which leads to the funniest moment when Morn is about to speak… and then we break off and return to the courtroom! But my favourite is the one where Worf is on the stand (and I couldn't help noticing what a comfortable-looking chair it was, as Kurn would have pointed out). He's immediately talking to camera on the bridge of the Defiant, then they come under attack and he finishes what he's saying quickly as if he has to rush off and do his duty. It's a moment that makes no sense because Worf is saying this in the courtroom, yet his counterpart in the flashback wants to dash off and defend the ship, but it makes no sense in a good way, a bizarre and brilliant merging of the two realities.
I would have liked to see the scene with Kira on the stand which was originally part of the story (I don't know whether they filmed it or it was only scripted and cut out), because everyone that has to speak in the hearing has their own connection with Worf, helping to further define his place on DS9. He may not have fitted in at first, but this episode shows how many friends he really has and that he's respected and part of the crew now. Even Odo, who got off on the wrong foot with him, is happy to do his job and investigate any possible avenues to support Worf's actions. Worf had better keep out of Odo's way for a bit as he already owes the constable for giving Kurn a job, and now he's saved his Starfleet career by gathering the evidence that swayed the case in Worf's favour, and he always collects on his debts. I would like to know how Odo ended up getting Klingon contacts in the first place. I can understand Cardassian and Bajoran ones, but when did he have time to go off gallivanting round the Quadrant to make all these contacts? Maybe it happened in a little known period of his life during the Occupation - I like to think he's got all kinds of links to various races spread throughout the Alpha Quadrant.
The episode starts dramatically with the nightmare of Worf as he lives out his recent experiences, but all set on the Defiant which has become his home. He runs through the corridors in slow motion, Klingons laughing over the dead bodies of his crew and Klingon children lying slain on the bridge. Though the flashbacks are what make the episode special, and the drama of the courtroom keeps things burning, Worf is never really a great part of the story and it becomes a battle of wits between Ch'Pok and Sisko, Worf only making things worse when he strikes the advocate after being goaded. It's well structured so that the case starts badly and only gets worse, until it seems to be at rock bottom only for an unexpected reveal to turn the tide of Worf's fortunes, but it is unfortunate that Worf, who usually does the talking with his fists, doesn't have much of a chance to do the talking and stand up for himself.
At the same time it's great to see people like O'Brien and Dax doing their best to support Worf in his difficulty. Sisko is the most powerful ally however, and like a teacher that sees the potential in a student, he ascertains at the end whether Worf has realised the mistakes he made. He'd never have brought those points up at the hearing as it would have damaged Worf's case, but it's important as his superior to know that Worf understands where he went wrong. Because he does it's all been worthwhile and leads to a nice conversation between the two, almost as equals discussing the nature of command - not often possible because of differences in rank. Sisko standing up wholeheartedly for his officer was a fine thing to behold, even complimenting Worf at the end that he could be a fine captain one day - a real shame that 'Nemesis' came along and destroyed all the good work by showing that he'd regressed into his old position as if 'DS9' had never happened! The episode was lacking a little in tension though, and needed a bit more dynamism such as the battle scenes, which could have been longer, perhaps some of the flashbacks could have had more lead in time before switching to acknowledgment of the camera.
To add to the growing background alien list of the Promenade I noticed a Yridian, and what looked like an extra who'd taken a wrong turn and walked off the 'Alien Nation' set: a bald woman with mottled skin very visible in some scenes. It's good to have a Vulcan as the Judge Advocate since the race is so rarely used on the series and it's entirely logical to have such a balanced Admiral to decide the case, though I do wonder if she'd have found in the Klingon's favour even if the new evidence hadn't been presented. When the hypothetical sequence occurs, O'Brien in command and a guy in the conn seat, I at first thought it was Michael Dorn out of makeup as a little in-joke (as they did later with Morn in 'Who Mourns For Morn'), but I soon realised it wasn't him and his voice sounded completely different anyway. It must have been Christopher Michael who is credited as 'Helm Officer.' Once again the cast look great in their dress uniforms, Dax strangely similar to her Season 1 look for some reason, making a link back to her courtroom drama (cunningly called 'Dax'). What comes out of the episode as the most important thing is that Worf learned from his mistakes and fortunately, as Sisko notes, no one really got hurt so the valuable experience came only at the cost of short term discomfort.
***
It hasn't been an easy season for Worf. Not only has he had to adjust to a new life and career aboard an old Cardassian station, he's become an outcast from his people once again, has had difficulties fitting in with his new crew and had to wipe his brother's mind to cast away the dishonour that was causing his brother to be suicidal. But through it all he always had Starfleet as his solid base, the thing that kept him going and gave him a purpose. Now even that is questioned when he's brought up for an extradition hearing by the Klingons and a particularly scheming advocate in Ch'Pok. We haven't seen many Klingons who take their non-military jobs as seriously as the way of the warrior, so Ch'Pok is an intriguing anomaly. Ron Canada (who could be seen in other Trek), infuses the man with intelligence and gall, someone that could tell a good story, I think, but through all his machinations he's still fully Klingon with the skew of that race upon his deliberations. General Chang of 'Star Trek VI' springs to mind.
The question of the Federation and Klingon's relationship comes up again, and is really the central theme running through the story. The Klingons are described as not being at war and not being at peace with the potential for either. The way they've been acting has been most unlike them, perhaps inspired by the changeling influence upon Gowron, they've become much more like the Romulans in the way they do business. Though they're unquestionably at war with the Cardassians, things are a little trickier to define when it comes to the Federation. Gowron stood down from the attack on DS9 when Sisko explained that that was what the Dominion wanted and since then his race have been much more careful in their dealings. They've become devious, laying a minefield around the Bajoran sector, setting up this plot against Worf to use him as a tool to discredit the Federation, but they've kept away from open warfare with their former allies. It's like Kurn said recently, the Federation is stronger than they like to admit. But it is fascinating that I've never thought before about the changeling influence on the Klingons at this stage of the series, yet the change in their behaviour is noticeable!
The thing this courtroom drama is best known for is the device through which the testimonies of Worf's colleagues is played out as flashbacks. The first time it happens Dax is on the stand and we see her memory of fighting with Worf in the Holosuite. At first it could have been footage taken from one of the recent episodes in which they've fought and trained together, but then Dax begins speaking as if she were still in the courtroom and even looks directly at the camera while in the scene. Levar Burton must have been thrilled to get the chance to use such a device in his directing of the episode as it's something that just doesn't happen in Trek. It shows that 'DS9' could push the envelope in terms of story and character, as it did throughout its run, but it also allowed the writing and direction to boldly go further than any of the other series' did.
All the flashbacks have their moments, whether it's the way O'Brien's eyes follow the camera as it sweeps slowly round his circular conn station and back, the jerky, unreliable testimony of Quark (who first claims it was Bashir to talking to a Dabo girl, no it was another Dabo girl, or was it that Dabo girl…? No, it was Morn talking to the Dabo girl! A good thing really, as Leeta wouldn't have been too happy about Bashir chatting up one of her co-workers), which leads to the funniest moment when Morn is about to speak… and then we break off and return to the courtroom! But my favourite is the one where Worf is on the stand (and I couldn't help noticing what a comfortable-looking chair it was, as Kurn would have pointed out). He's immediately talking to camera on the bridge of the Defiant, then they come under attack and he finishes what he's saying quickly as if he has to rush off and do his duty. It's a moment that makes no sense because Worf is saying this in the courtroom, yet his counterpart in the flashback wants to dash off and defend the ship, but it makes no sense in a good way, a bizarre and brilliant merging of the two realities.
I would have liked to see the scene with Kira on the stand which was originally part of the story (I don't know whether they filmed it or it was only scripted and cut out), because everyone that has to speak in the hearing has their own connection with Worf, helping to further define his place on DS9. He may not have fitted in at first, but this episode shows how many friends he really has and that he's respected and part of the crew now. Even Odo, who got off on the wrong foot with him, is happy to do his job and investigate any possible avenues to support Worf's actions. Worf had better keep out of Odo's way for a bit as he already owes the constable for giving Kurn a job, and now he's saved his Starfleet career by gathering the evidence that swayed the case in Worf's favour, and he always collects on his debts. I would like to know how Odo ended up getting Klingon contacts in the first place. I can understand Cardassian and Bajoran ones, but when did he have time to go off gallivanting round the Quadrant to make all these contacts? Maybe it happened in a little known period of his life during the Occupation - I like to think he's got all kinds of links to various races spread throughout the Alpha Quadrant.
The episode starts dramatically with the nightmare of Worf as he lives out his recent experiences, but all set on the Defiant which has become his home. He runs through the corridors in slow motion, Klingons laughing over the dead bodies of his crew and Klingon children lying slain on the bridge. Though the flashbacks are what make the episode special, and the drama of the courtroom keeps things burning, Worf is never really a great part of the story and it becomes a battle of wits between Ch'Pok and Sisko, Worf only making things worse when he strikes the advocate after being goaded. It's well structured so that the case starts badly and only gets worse, until it seems to be at rock bottom only for an unexpected reveal to turn the tide of Worf's fortunes, but it is unfortunate that Worf, who usually does the talking with his fists, doesn't have much of a chance to do the talking and stand up for himself.
At the same time it's great to see people like O'Brien and Dax doing their best to support Worf in his difficulty. Sisko is the most powerful ally however, and like a teacher that sees the potential in a student, he ascertains at the end whether Worf has realised the mistakes he made. He'd never have brought those points up at the hearing as it would have damaged Worf's case, but it's important as his superior to know that Worf understands where he went wrong. Because he does it's all been worthwhile and leads to a nice conversation between the two, almost as equals discussing the nature of command - not often possible because of differences in rank. Sisko standing up wholeheartedly for his officer was a fine thing to behold, even complimenting Worf at the end that he could be a fine captain one day - a real shame that 'Nemesis' came along and destroyed all the good work by showing that he'd regressed into his old position as if 'DS9' had never happened! The episode was lacking a little in tension though, and needed a bit more dynamism such as the battle scenes, which could have been longer, perhaps some of the flashbacks could have had more lead in time before switching to acknowledgment of the camera.
To add to the growing background alien list of the Promenade I noticed a Yridian, and what looked like an extra who'd taken a wrong turn and walked off the 'Alien Nation' set: a bald woman with mottled skin very visible in some scenes. It's good to have a Vulcan as the Judge Advocate since the race is so rarely used on the series and it's entirely logical to have such a balanced Admiral to decide the case, though I do wonder if she'd have found in the Klingon's favour even if the new evidence hadn't been presented. When the hypothetical sequence occurs, O'Brien in command and a guy in the conn seat, I at first thought it was Michael Dorn out of makeup as a little in-joke (as they did later with Morn in 'Who Mourns For Morn'), but I soon realised it wasn't him and his voice sounded completely different anyway. It must have been Christopher Michael who is credited as 'Helm Officer.' Once again the cast look great in their dress uniforms, Dax strangely similar to her Season 1 look for some reason, making a link back to her courtroom drama (cunningly called 'Dax'). What comes out of the episode as the most important thing is that Worf learned from his mistakes and fortunately, as Sisko notes, no one really got hurt so the valuable experience came only at the cost of short term discomfort.
***
Birthright, part II
DVD, TNG S6 (Birthright, part II)
An episode devoted almost exclusively to Worf with only the briefest of appearances from most of the rest of the main cast. At first it is a bit of a disappointment if you were expecting DS9 to still be a part of the story or Data's dreams to continue, and the slow start doesn't do it any favours - it's basically a prisoner of war story, with Worf trapped within the compound, but it turns into something much more as we discover he's about the only person who isn't a prisoner: his mind is free while the other Klingons don't even know they are captive.
Worf's mind is not completely unbounded as he displays in his prejudices against the Romulans. Though the camp began as a prison for Klingon POW's, it developed into something of an experiment for the Romulan in charge, Tokath, who gave up his military career, took a Klingon wife and built a community around his own people and the Klingons, even going as far as taking a Klingon wife and having a child with her. In many ways he was a visionary and his dream of the two blood enemies living peacefully together is a great achievement. Then Worf comes along, also with strong ideas and ones that the Klingon blood is awakened by. Tokath and Worf are both men with strong ideals, and also, interestingly, both have strong prejudice. Ultimately it is Worf's way that wins over the young people because Klingon genes are strong and it's not in their nature to live without conflict or struggle. To be given food, to obey the rules and remain within boundaries was stifling them without their knowledge and Worf's fiery spirit woke theirs up.
The episode builds slowly as Worf gains the trust of some of the other Klingons, turning them towards the ways of their people and letting their hearts take over and guide them. Production values mean that we don't get to experience the hunt and they just melt off into the studio's jungle flora, but Toq's 'conversion' is very satisfying and a real coup for Worf as the young man was initially sceptical and buried in the ways he'd been taught, even preventing Worf from escaping. But Worf is an intelligent guide and one that knows exactly the right buttons to press to open the young man's eyes. By the time Toq's exhorting the others to sing a warrior's song and all the Klingons add their voice it's become truly uplifting. The story may have dragged to begin with, but it flourishes into a strong conclusion, showing Worf off as the great man he is. Not without flaws, his racial prejudice against Ba'el in what is a punchy reveal of her dual lineage, marks Worf as imperfect, struggling to overcome the hate he feels for the species that killed his Father. As in the two-parter of 'DS9' Season 5, where he went up against Jem'Hadar soldier after Jem'Hadar soldier in hand to hand combat, he will never yield or be defeated, he can only be killed.
The question remains whether Worf should have interfered. It was a successful attempt at peace between Romulans and Klingons and it's a tragedy that it had to remain a secret to preserve itself. There's no honour in lying and yet Worf tells Picard a huge porky pie when he says those that came back with him were from a crashed ship and that no one survived the Khitomer Massacre. He knows that Picard would understand what's going on, after all, the captain is someone that appreciates the Klingon ways better than most, so his formal report was just that, meant as the 'official' news to preserve the camp and avoid anyone else interfering.
It was a real surprise to see Dan Curry's name in the director's slot as I never realised he was a director, better known for his matte paintings and various other creative roles on the Trek series'. Alan Scarfe is suitably aloof as Tokath, his words tinged with menace and voice restrained, but powerful - a worthy adversary to fight over ideologies for Worf to contend with. He'd also been a baddie in 'Voyager' and possibly 'Enterprise' too. He was more than just an enemy because of his belief in the system he'd worked to create. He'd have made a fascinating study as a recurring character, someone like Garak who might reveal all kinds of secrets and depth. James Cromwell sadly doesn't get used properly, only appearing once in the background, other scenes featuring him cut.
The struggle with Ba'el trying to get Worf to accept her and knowing for the first time the life of a half-caste, just like many Trek characters, be they half-Borg, half-Cardassian or just caught between two cultures, was well played and gave the story added dimension. It's going to be tricky hiding her Romulan lineage if she wanted to fit in with other Klingons, but then again her ears weren't shown until that fateful moment. Either way, Worf has inspired her and the others to stand up for themselves and fight their battles, not to run and hide away from them, a valuable lesson for anyone to learn.
***
An episode devoted almost exclusively to Worf with only the briefest of appearances from most of the rest of the main cast. At first it is a bit of a disappointment if you were expecting DS9 to still be a part of the story or Data's dreams to continue, and the slow start doesn't do it any favours - it's basically a prisoner of war story, with Worf trapped within the compound, but it turns into something much more as we discover he's about the only person who isn't a prisoner: his mind is free while the other Klingons don't even know they are captive.
Worf's mind is not completely unbounded as he displays in his prejudices against the Romulans. Though the camp began as a prison for Klingon POW's, it developed into something of an experiment for the Romulan in charge, Tokath, who gave up his military career, took a Klingon wife and built a community around his own people and the Klingons, even going as far as taking a Klingon wife and having a child with her. In many ways he was a visionary and his dream of the two blood enemies living peacefully together is a great achievement. Then Worf comes along, also with strong ideas and ones that the Klingon blood is awakened by. Tokath and Worf are both men with strong ideals, and also, interestingly, both have strong prejudice. Ultimately it is Worf's way that wins over the young people because Klingon genes are strong and it's not in their nature to live without conflict or struggle. To be given food, to obey the rules and remain within boundaries was stifling them without their knowledge and Worf's fiery spirit woke theirs up.
The episode builds slowly as Worf gains the trust of some of the other Klingons, turning them towards the ways of their people and letting their hearts take over and guide them. Production values mean that we don't get to experience the hunt and they just melt off into the studio's jungle flora, but Toq's 'conversion' is very satisfying and a real coup for Worf as the young man was initially sceptical and buried in the ways he'd been taught, even preventing Worf from escaping. But Worf is an intelligent guide and one that knows exactly the right buttons to press to open the young man's eyes. By the time Toq's exhorting the others to sing a warrior's song and all the Klingons add their voice it's become truly uplifting. The story may have dragged to begin with, but it flourishes into a strong conclusion, showing Worf off as the great man he is. Not without flaws, his racial prejudice against Ba'el in what is a punchy reveal of her dual lineage, marks Worf as imperfect, struggling to overcome the hate he feels for the species that killed his Father. As in the two-parter of 'DS9' Season 5, where he went up against Jem'Hadar soldier after Jem'Hadar soldier in hand to hand combat, he will never yield or be defeated, he can only be killed.
The question remains whether Worf should have interfered. It was a successful attempt at peace between Romulans and Klingons and it's a tragedy that it had to remain a secret to preserve itself. There's no honour in lying and yet Worf tells Picard a huge porky pie when he says those that came back with him were from a crashed ship and that no one survived the Khitomer Massacre. He knows that Picard would understand what's going on, after all, the captain is someone that appreciates the Klingon ways better than most, so his formal report was just that, meant as the 'official' news to preserve the camp and avoid anyone else interfering.
It was a real surprise to see Dan Curry's name in the director's slot as I never realised he was a director, better known for his matte paintings and various other creative roles on the Trek series'. Alan Scarfe is suitably aloof as Tokath, his words tinged with menace and voice restrained, but powerful - a worthy adversary to fight over ideologies for Worf to contend with. He'd also been a baddie in 'Voyager' and possibly 'Enterprise' too. He was more than just an enemy because of his belief in the system he'd worked to create. He'd have made a fascinating study as a recurring character, someone like Garak who might reveal all kinds of secrets and depth. James Cromwell sadly doesn't get used properly, only appearing once in the background, other scenes featuring him cut.
The struggle with Ba'el trying to get Worf to accept her and knowing for the first time the life of a half-caste, just like many Trek characters, be they half-Borg, half-Cardassian or just caught between two cultures, was well played and gave the story added dimension. It's going to be tricky hiding her Romulan lineage if she wanted to fit in with other Klingons, but then again her ears weren't shown until that fateful moment. Either way, Worf has inspired her and the others to stand up for themselves and fight their battles, not to run and hide away from them, a valuable lesson for anyone to learn.
***
Birthright, Part I
DVD, TNG S6 (Birthright, Part I)
Another two-parter that didn't need to telegraph that it was going to end on a cliffhanger as it would have been a good surprise. It's not shy with the good surprises elsewhere: if this was tuned into from the beginning some people may have thought they'd got the wrong series as it opens with a lovely shot of Deep Space Nine and an iteration of the main part of the station's theme, until an upper pylon is swept past to reveal the Enterprise docked at the station. I'm so glad they had a crossover while both series' were going, but as ever it's never enough! The big surprise is that the crossover happened in 'DS9's first season, and though 'TNG' may not have known for sure it was going to get a seventh season it must have been likely so you'd think they'd have waited until the new show became established. Then again, this was probably a ploy to help it do just that - if viewers were reluctant to tune in to a rusty old Cardassian station they were forced to do so here!
It's great to see Beverly and Picard walking down the Promenade, though the differences can be seen in the set as compared with later seasons. I'd have loved Avery Brooks to make a cameo to welcome the Captain aboard, but seeing as the previous reception Picard received was rather frosty they might just have kept out of each other's way. Perhaps there was more discomfort in Picard than the dullness of Bajoran aqueducts? I'd forgotten Dr. Crusher goes aboard because it's such a brief scene, but we also get Geordi and Worf eating at the Replimat, years before the Klingon moved to the station permanently. I don't think they referenced that he'd been on the station before when he joined 'DS9,' but it's all a satisfying link-up.
Bashir's the fortunate one to be seen aboard the Enterprise, and again, it would have been even better for O'Brien to be there to show him round the place, but he soon hits it off with Data in a charming sequence, constantly fascinated by the synthetic lifeform. It's quite fun to go back and see the more energetic, uninhibited version of Julian from Season 1, but the biggest kick is of course his interaction with those two 'TNG' castmembers. Quark would be another one to make the crossover, though much briefer, the following season (and not counting his excised scene from 'Star Trek: Insurrection' - he made up for it by also being in the 'Voyager' pilot), but Bashir has the ability to fit right in with his excitable curiosity. We can only wish that it had been Dr. Crusher who found him meddling in her sickbay…
The thing about this two-parter is that the second part is almost a self-contained story, Worf's adventure in the secret Klingon camp the focus, whereas here the main story is Data's newfound ability to dream thanks to some Gamma Quadrant tech. These sequences are among the best of the episode with Brannon Braga's palm print all over the ethereal dream sequences in which Data meets his creator, and for the first time we see that he looked just like his creation. Seeing Dr. Soong at all was a brilliant idea, but having him as his younger self topped it all off nicely. The most fantastic scene is Data's ability to soar like a bird at his Father's instruction, sweeping through the corridors and out into open space in a charming evocation of liberation. This late in the series they could still come up with ways to stretch Data's character.
The cast are like a shopping list of Trek actors: we have James Cromwell in his second 'TNG' role, as the Yridian (with no thumbs, so how does that species hold anything?), as the shady and worryingly tall, yet mouse-like faced Jaglom Shrek - unfortunate his name has come to mean something much different and a whole lot greener since then. There's Siddig El Fadil before his Season 4 name change to Alexander Siddig. Then there's Jennifer Gatti, probably better known for wearing less makeup (but about the same amount of clothing) in 'Voyager' as Harry Kim's girlfriend Libby. Finally we have Richard Herd, William Shatner's boss on 'TJ Hooker' and later Admiral Paris on 'Voyager.' Oh, and don't forget the lumbering Morn, who's being fawned over by a Bolian woman on the Promenade.
How many glass tables got smashed in the entirety of 'Star Trek'? I'm not sure, but Worf adds another one to the total when he angrily does his martial arts moves in the tightly contained space of his quarters. The relaxed station life must have been getting to him as he just goes off duty without asking permission from anyone. It may be that the rules are relaxed, officers encouraged to get a bit of shore leave if they want it when docked at the station, but that doesn't excuse his gruff anger at Riker, on the verge of insubordination. His scenes creeping through the jungle make me think of 'Change of Heart' - the greenery is pretty good, the set's obviously had a lot of work, though I never like it when people hide behind a plant with a bright light shining on them and yet aren't seen. The cliffhanger ending would, as I said at the top of this review, have been more effective had it been unexpected, but Data's discovery of dreams and interaction with Bashir make up for that. Data's inspired art is something special too, and I bet those pictures fetch a lot of money now, almost as much as if they were done by a famous artist.
There's some nice symmetry between the two storylines in the most vaguest sense: the distant sound of an anvil clanging is otherworldly and mysterious, drawing Data in, as is the Klingon singing as Worf comes closer to the truth of the place he's found. There's no real connection except for the moment Data touchingly goes to Worf for advice on his 'vision' experience leading Worf to come to a decision about his own quest. On the whole the two stories could have been separate episodes in themselves, but at least Worf gets to wear his black ops gear again, even if he was about as successful as the last time he donned such getup. Whatever holes can be picked it is undeniably compelling to see two series' interact, even if more characters would have been better. These things are rare enough that you have to enjoy every minute.
****
Another two-parter that didn't need to telegraph that it was going to end on a cliffhanger as it would have been a good surprise. It's not shy with the good surprises elsewhere: if this was tuned into from the beginning some people may have thought they'd got the wrong series as it opens with a lovely shot of Deep Space Nine and an iteration of the main part of the station's theme, until an upper pylon is swept past to reveal the Enterprise docked at the station. I'm so glad they had a crossover while both series' were going, but as ever it's never enough! The big surprise is that the crossover happened in 'DS9's first season, and though 'TNG' may not have known for sure it was going to get a seventh season it must have been likely so you'd think they'd have waited until the new show became established. Then again, this was probably a ploy to help it do just that - if viewers were reluctant to tune in to a rusty old Cardassian station they were forced to do so here!
It's great to see Beverly and Picard walking down the Promenade, though the differences can be seen in the set as compared with later seasons. I'd have loved Avery Brooks to make a cameo to welcome the Captain aboard, but seeing as the previous reception Picard received was rather frosty they might just have kept out of each other's way. Perhaps there was more discomfort in Picard than the dullness of Bajoran aqueducts? I'd forgotten Dr. Crusher goes aboard because it's such a brief scene, but we also get Geordi and Worf eating at the Replimat, years before the Klingon moved to the station permanently. I don't think they referenced that he'd been on the station before when he joined 'DS9,' but it's all a satisfying link-up.
Bashir's the fortunate one to be seen aboard the Enterprise, and again, it would have been even better for O'Brien to be there to show him round the place, but he soon hits it off with Data in a charming sequence, constantly fascinated by the synthetic lifeform. It's quite fun to go back and see the more energetic, uninhibited version of Julian from Season 1, but the biggest kick is of course his interaction with those two 'TNG' castmembers. Quark would be another one to make the crossover, though much briefer, the following season (and not counting his excised scene from 'Star Trek: Insurrection' - he made up for it by also being in the 'Voyager' pilot), but Bashir has the ability to fit right in with his excitable curiosity. We can only wish that it had been Dr. Crusher who found him meddling in her sickbay…
The thing about this two-parter is that the second part is almost a self-contained story, Worf's adventure in the secret Klingon camp the focus, whereas here the main story is Data's newfound ability to dream thanks to some Gamma Quadrant tech. These sequences are among the best of the episode with Brannon Braga's palm print all over the ethereal dream sequences in which Data meets his creator, and for the first time we see that he looked just like his creation. Seeing Dr. Soong at all was a brilliant idea, but having him as his younger self topped it all off nicely. The most fantastic scene is Data's ability to soar like a bird at his Father's instruction, sweeping through the corridors and out into open space in a charming evocation of liberation. This late in the series they could still come up with ways to stretch Data's character.
The cast are like a shopping list of Trek actors: we have James Cromwell in his second 'TNG' role, as the Yridian (with no thumbs, so how does that species hold anything?), as the shady and worryingly tall, yet mouse-like faced Jaglom Shrek - unfortunate his name has come to mean something much different and a whole lot greener since then. There's Siddig El Fadil before his Season 4 name change to Alexander Siddig. Then there's Jennifer Gatti, probably better known for wearing less makeup (but about the same amount of clothing) in 'Voyager' as Harry Kim's girlfriend Libby. Finally we have Richard Herd, William Shatner's boss on 'TJ Hooker' and later Admiral Paris on 'Voyager.' Oh, and don't forget the lumbering Morn, who's being fawned over by a Bolian woman on the Promenade.
How many glass tables got smashed in the entirety of 'Star Trek'? I'm not sure, but Worf adds another one to the total when he angrily does his martial arts moves in the tightly contained space of his quarters. The relaxed station life must have been getting to him as he just goes off duty without asking permission from anyone. It may be that the rules are relaxed, officers encouraged to get a bit of shore leave if they want it when docked at the station, but that doesn't excuse his gruff anger at Riker, on the verge of insubordination. His scenes creeping through the jungle make me think of 'Change of Heart' - the greenery is pretty good, the set's obviously had a lot of work, though I never like it when people hide behind a plant with a bright light shining on them and yet aren't seen. The cliffhanger ending would, as I said at the top of this review, have been more effective had it been unexpected, but Data's discovery of dreams and interaction with Bashir make up for that. Data's inspired art is something special too, and I bet those pictures fetch a lot of money now, almost as much as if they were done by a famous artist.
There's some nice symmetry between the two storylines in the most vaguest sense: the distant sound of an anvil clanging is otherworldly and mysterious, drawing Data in, as is the Klingon singing as Worf comes closer to the truth of the place he's found. There's no real connection except for the moment Data touchingly goes to Worf for advice on his 'vision' experience leading Worf to come to a decision about his own quest. On the whole the two stories could have been separate episodes in themselves, but at least Worf gets to wear his black ops gear again, even if he was about as successful as the last time he donned such getup. Whatever holes can be picked it is undeniably compelling to see two series' interact, even if more characters would have been better. These things are rare enough that you have to enjoy every minute.
****
Accession
DVD, DS9 S4 (Accession)
This is a better episode than you might remember. Not much better, but a good, solid, enjoyable story provoking far-reaching ramifications that would play out through the rest of the series. I know that could be said for many 'DS9' episodes, but this is important because it concerns the core premise of the series that was set up in the pilot, 'Emissary' - the title bestowed upon Sisko that has been left to hang, very occasionally causing trouble for the Captain, but rarely more than a passing mention. The Bajorans had taken a back seat from Season 3 onwards as chasing the ratings meant more action and sci-fi plots took over from politics and religion, but they were always going to be integral to the greater picture of the series and episodes like this carried the flame through the asteroid field of other subplots that came to dominate. And it was a satisfyingly mysterious way to end the teaser by having Akorem claim to be the Emissary!
Akorem Laan isn't a bad guy in the Kai Winn vein, he's not a bad sort at all, proving his wisdom in the way he never raises his voice, expecting everyone to come round to his 'enlightened' way of thinking eventually. He remains calm in the face of Sisko's increasingly forceful opposition to his policy of returning to the d'jarra's, carefully intent on what he believes is the Prophets desire for Bajor. He's a quiet man, a poet, and a devout follower of the Prophets, his only fault is in not recognising that the change away from the ways he knew, has benefitted Bajor. He wants to erase the memory of the Occupation by wiping it out in a return to the values in place before the changes wrought by that conflict. It's as if someone from the 19th Century came forward post World War I and World War II and proposed returning to the ways of his time to try and banish the wars from memory. The important thing was for Bajor to remember and learn from the Occupation so that good could come out of it, as they had, rather than returning to a past that had no meaning in their modern world.
Last episode saw a couple of characters return and this one does too: Keiko and Molly O'Brien, coming with the news that O'Brien's going to be a Dad again. It's really nice to see his family back where it belongs as, although the holo-adventures and general socialising with Julian have made for some good scenes, I missed the family life that made the Chief's days a little bit sweeter and a little bit harder. The pregnancy would go on to become a major sci-fi plot so the storm clouds were gathering for O'Brien - he hadn't yet been through a properly torturous episode yet this season and since there's at least one 'torture O'Brien' episode every season he should have been worried (especially with 'Hard Time' on the way!).
The subtext of O'Brien's longing for a good time is played so well between him and Keiko, either staring meaningfully at his big old barbarian cloak (which makes me wonder where they store all these costumes everyone seems to have - maybe they recycle them in the Replicator and replicate them again when the need arises?), or sighing away in the background as Keiko tries to get on with her work. A couple of great moments come when he and Bashir are together - the Worf scene where he shows great concern at Keiko having another baby (since he delivered Molly in an emergency on the Enterprise), is the obvious one, but I also loved the image of Morn in a Spitfire which came from O'Brien having to go home, leaving only the Lurian for Bashir to play with. "He probably doesn't even know where England is," may well be my favourite line of the episode!
When you've seen the episodes as many times as I have you have the luxury of being able to notice more details that you might have missed when full attention was on the story and main characters. I enjoy the unique situation that DS9 affords for background aliens to wander into frame, something that happened very rarely in the other series' because they were in a Federation environment, whereas on the station anyone can be walking through. The long-faced alien behind Kira and Odo during Akorem's speech stood out to me (I'm sure he's been seen before), and I was also taken with the bald, conical-headed guy at the bar who had bright colouring on the back of his saurian head. I thought I saw another Paradan on the Promenade so relations with them must be pretty good at the moment since they keep popping up, unless they just look similar to that race.
It's a shame Captain Archer never went to Bajor on 'Star Trek: Enterprise' as he might well have run into Akorem since he also was from the 22nd Century. I don't think Starfleet even knew about the Bajorans in those days so I can understand why they never featured them or the Cardassians, but that never stopped the Ferengi or the Borg so I'd have liked one episode on that series to deal with those races. Perhaps if the series had gone the full stretch we might have had episodes like that, but we'll never know. I did wonder where Akorem might have been going to or coming from in his solar sailing ship, seen for the second and final time in the series after the design debuted in last season's 'Explorers.' It's possible he went out into space for some poetic inspiration, I suppose, and the ships had been known to be in use for about a thousand years, I think, so by his time interstellar travel was well-established.
The other major returning characters are the Prophets and Kai Opaka. The Prophets hadn't been seen since Season 3's 'Prophet Motive,' and this was only their third involvement of the series. I always love the way scenes from the episode, taken fresh from the participant's minds, are used as the setting in which the Prophets communicate. In this case we return to the Wardroom at the moment Sisko follows Akorem and Vedek Porta to the door, the Infirmary where Bashir checked he was okay, and the Promenade where he made his speech (although Sisko wasn't actually there for the speech, watching it on a monitor in his office). The beautiful soft focus effect which blurs the edges and makes the visuals dreamlike enhance the surreal nature of the moment. There was one scene in which Sisko stares vacantly at Akorem when standing by his shoulder that made me wonder if it was a Prophet taking on his form for Akorem's point of view, but all the rest of the time they were both in the scenes so maybe it was Sisko. It must be difficult to act so loosely for those portraying Prophets as they're dressed as their characters in the familiar station environment and they don't have the assistance of seeing it all hazy to get into alternative character.
There was a really nice shot of four Prophets standing in a row outside the Bajoran temple, and the episode was noticeably directed elegantly, with smooth motions throughout that made watching a real pleasure and an antidote to the fast cutting and jiggling camera of most dramas post-20th Century. The scene in Sisko's office when he's viewing the speech is a small, but pertinent example: the camera slowly circles the back of his screen as he watches. It goes on for several seconds, and would probably be seen as indulgent nowadays, but it tells you everything you need to know about his mood as Akorem advocates returning to the caste system that had been abandoned. For the first time Sisko begins to realise the influence for good he had with the Bajorans so when he gets the nod from the Prophets at the end he's actually pleased that the status quo has returned. He's quickly accepted again, shown by a visit from a Bajoran with his daughter - I didn't realise Bajorans had the same regional accents as America: this one speaks in a twanging Southern kind of voice which was quite funny to hear coming from a Bajoran face.
Kai Opaka, or simply Opaka as she should be known, is one of the most important pieces of the episode. Her message to Sisko that their (at this point I must say I never worked out whether she said 'paghs' or 'paths') would cross again one day. This is that long-awaited moment set in place way back in Season 1 when she was stranded on the planet where the inhabitants fought unendingly and could never die. She'd made one other appearance, in Season 2 during Bareil's vision, but this was the direct contact with Sisko that was promised. I can understand if it had been considered a let down by some as she only has one brief scene in Sisko's vision as he walks down the Promenade at night, and then as a Prophet towards the end, but its simplicity belied the connotations of her words, a turning point for Sisko in accepting his identity as the Emissary.
Sure, it would have been great if the real Opaka actually came to him, but her message asking who he is and later telling him he is of Bajor was instrumental in where the story would go right up to the last episode. Like Wesley's encounters with the Traveller, these things happened early in the first season, practically in the middle of the series, and ended at the end of the last season and that is poetic in itself. And perhaps Opaka had been shown this moment in an Orb experience which may have been why she told Sisko they'd meet again - her role had always been to recognise and encourage the Emissary, after all, and that's what she did.
The device of the Promenade shifting from lighted and welcoming to dark and sinister had been used before at least once, when Dax experienced strange visions in 'Equilibrium.' The way the transition happens is very nicely done, with Sisko walking past a pillar so that we lose sight of him, then the camera comes out the other side and the lights have dimmed with dark corners everywhere. A very effective use of the sets and lighting to create a mood. The words Opaka says later in the episode, "You are of Bajor" didn't have an exact meaning at the time because the writers were pretty much making things up from season to season, but they were savvy enough to leave these little threads and story points to be picked up at a later date, and if they didn't pick them up or forgot about them then the audience probably did to (I'm thinking of Chalan Aroya from the last episode of this season who never returned after her brief appearance).
Although they don't appear, we hear mention of Nog, Kai Winn and First Minister Shakaar. Nog is talked of by Quark in an uncharacteristically nostalgic mood (influenced by both Nog and Rom leaving him in recent episodes?), as being a cute baby, though the thing with babies is they're always stuffing things in their ears (a good play on alien culture as opposed to human); Shakaar as being a potential ally for Sisko when Starfleet isn't happy with the way things have transpired (never happy those Admirals - complaining when he's the Emissary and again when he's not! Though actually it's more Sisko reading between the lines); and Kai Winn, who seizes the opportunity of a new Emissary to side with him against Sisko on the subject of d'jarras. No surprise there, but it might have made for a more interesting episode if she'd been actively involved.
The Bajoran history revealed through all this was a treat. We'd only really gone as far back as their struggle against the Cardassians, or very ancient achievements in art and culture (shame it never rubbed off on Kira!), so this was all fascinating stuff. Vedek Porta was quite stunning as the friendly little old man who seems so pleasant and kindly, then later reveals his true nature by pushing another Vedek off the Promenade because he was of a lesser d'jarra! The actor did well as a Prophet too, but the way he calmly asserted the facts as if that was all Sisko needed to hear to understand why this man had been killed was chilling in its understatement.
Akorem was quite likeable, if misguided. It's clear he wasn't a power-hungry individual, but one that wanted to do the Prophets will, whatever that was. He's quick to accept the judgement that Sisko is their choice, but I wonder if any cynical Bajorans thought it a bit suspicious that Sisko goes off into the Wormhole then comes back with an empty Runabout claiming the other guy had been sent back in time by the Prophets. He could have chucked Akorem out an airlock or murdered him and then made up the story - maybe he even added the extra bit on the end of one of the poems! But there's been enough common experiences between him and the Bajorans for them to know he's an honourable man.
The thrilling twist at the end is the revelation that the whole appearance of Akorem was for Sisko's benefit, and one of the earliest inklings that the Prophets understand Sisko's doubts and troubles and wish to aid him. Importantly it's another happy ending, but one that would have far-reaching connotations for Sisko. He's satisfied that things are back to normal, but he's forgotten the hardships. He almost lost Kira when she sadly explains her intention to step down as First Officer to pursue her d'jarra, which had considerably more resonance than when she actually did at the beginning of Season 2 because they've built up such a rapport. It's a nice scene that shows how far the various denizens of DS9 have become attached to each other, proving those that complained the cast weren't a family, very wrong.
***
This is a better episode than you might remember. Not much better, but a good, solid, enjoyable story provoking far-reaching ramifications that would play out through the rest of the series. I know that could be said for many 'DS9' episodes, but this is important because it concerns the core premise of the series that was set up in the pilot, 'Emissary' - the title bestowed upon Sisko that has been left to hang, very occasionally causing trouble for the Captain, but rarely more than a passing mention. The Bajorans had taken a back seat from Season 3 onwards as chasing the ratings meant more action and sci-fi plots took over from politics and religion, but they were always going to be integral to the greater picture of the series and episodes like this carried the flame through the asteroid field of other subplots that came to dominate. And it was a satisfyingly mysterious way to end the teaser by having Akorem claim to be the Emissary!
Akorem Laan isn't a bad guy in the Kai Winn vein, he's not a bad sort at all, proving his wisdom in the way he never raises his voice, expecting everyone to come round to his 'enlightened' way of thinking eventually. He remains calm in the face of Sisko's increasingly forceful opposition to his policy of returning to the d'jarra's, carefully intent on what he believes is the Prophets desire for Bajor. He's a quiet man, a poet, and a devout follower of the Prophets, his only fault is in not recognising that the change away from the ways he knew, has benefitted Bajor. He wants to erase the memory of the Occupation by wiping it out in a return to the values in place before the changes wrought by that conflict. It's as if someone from the 19th Century came forward post World War I and World War II and proposed returning to the ways of his time to try and banish the wars from memory. The important thing was for Bajor to remember and learn from the Occupation so that good could come out of it, as they had, rather than returning to a past that had no meaning in their modern world.
Last episode saw a couple of characters return and this one does too: Keiko and Molly O'Brien, coming with the news that O'Brien's going to be a Dad again. It's really nice to see his family back where it belongs as, although the holo-adventures and general socialising with Julian have made for some good scenes, I missed the family life that made the Chief's days a little bit sweeter and a little bit harder. The pregnancy would go on to become a major sci-fi plot so the storm clouds were gathering for O'Brien - he hadn't yet been through a properly torturous episode yet this season and since there's at least one 'torture O'Brien' episode every season he should have been worried (especially with 'Hard Time' on the way!).
The subtext of O'Brien's longing for a good time is played so well between him and Keiko, either staring meaningfully at his big old barbarian cloak (which makes me wonder where they store all these costumes everyone seems to have - maybe they recycle them in the Replicator and replicate them again when the need arises?), or sighing away in the background as Keiko tries to get on with her work. A couple of great moments come when he and Bashir are together - the Worf scene where he shows great concern at Keiko having another baby (since he delivered Molly in an emergency on the Enterprise), is the obvious one, but I also loved the image of Morn in a Spitfire which came from O'Brien having to go home, leaving only the Lurian for Bashir to play with. "He probably doesn't even know where England is," may well be my favourite line of the episode!
When you've seen the episodes as many times as I have you have the luxury of being able to notice more details that you might have missed when full attention was on the story and main characters. I enjoy the unique situation that DS9 affords for background aliens to wander into frame, something that happened very rarely in the other series' because they were in a Federation environment, whereas on the station anyone can be walking through. The long-faced alien behind Kira and Odo during Akorem's speech stood out to me (I'm sure he's been seen before), and I was also taken with the bald, conical-headed guy at the bar who had bright colouring on the back of his saurian head. I thought I saw another Paradan on the Promenade so relations with them must be pretty good at the moment since they keep popping up, unless they just look similar to that race.
It's a shame Captain Archer never went to Bajor on 'Star Trek: Enterprise' as he might well have run into Akorem since he also was from the 22nd Century. I don't think Starfleet even knew about the Bajorans in those days so I can understand why they never featured them or the Cardassians, but that never stopped the Ferengi or the Borg so I'd have liked one episode on that series to deal with those races. Perhaps if the series had gone the full stretch we might have had episodes like that, but we'll never know. I did wonder where Akorem might have been going to or coming from in his solar sailing ship, seen for the second and final time in the series after the design debuted in last season's 'Explorers.' It's possible he went out into space for some poetic inspiration, I suppose, and the ships had been known to be in use for about a thousand years, I think, so by his time interstellar travel was well-established.
The other major returning characters are the Prophets and Kai Opaka. The Prophets hadn't been seen since Season 3's 'Prophet Motive,' and this was only their third involvement of the series. I always love the way scenes from the episode, taken fresh from the participant's minds, are used as the setting in which the Prophets communicate. In this case we return to the Wardroom at the moment Sisko follows Akorem and Vedek Porta to the door, the Infirmary where Bashir checked he was okay, and the Promenade where he made his speech (although Sisko wasn't actually there for the speech, watching it on a monitor in his office). The beautiful soft focus effect which blurs the edges and makes the visuals dreamlike enhance the surreal nature of the moment. There was one scene in which Sisko stares vacantly at Akorem when standing by his shoulder that made me wonder if it was a Prophet taking on his form for Akorem's point of view, but all the rest of the time they were both in the scenes so maybe it was Sisko. It must be difficult to act so loosely for those portraying Prophets as they're dressed as their characters in the familiar station environment and they don't have the assistance of seeing it all hazy to get into alternative character.
There was a really nice shot of four Prophets standing in a row outside the Bajoran temple, and the episode was noticeably directed elegantly, with smooth motions throughout that made watching a real pleasure and an antidote to the fast cutting and jiggling camera of most dramas post-20th Century. The scene in Sisko's office when he's viewing the speech is a small, but pertinent example: the camera slowly circles the back of his screen as he watches. It goes on for several seconds, and would probably be seen as indulgent nowadays, but it tells you everything you need to know about his mood as Akorem advocates returning to the caste system that had been abandoned. For the first time Sisko begins to realise the influence for good he had with the Bajorans so when he gets the nod from the Prophets at the end he's actually pleased that the status quo has returned. He's quickly accepted again, shown by a visit from a Bajoran with his daughter - I didn't realise Bajorans had the same regional accents as America: this one speaks in a twanging Southern kind of voice which was quite funny to hear coming from a Bajoran face.
Kai Opaka, or simply Opaka as she should be known, is one of the most important pieces of the episode. Her message to Sisko that their (at this point I must say I never worked out whether she said 'paghs' or 'paths') would cross again one day. This is that long-awaited moment set in place way back in Season 1 when she was stranded on the planet where the inhabitants fought unendingly and could never die. She'd made one other appearance, in Season 2 during Bareil's vision, but this was the direct contact with Sisko that was promised. I can understand if it had been considered a let down by some as she only has one brief scene in Sisko's vision as he walks down the Promenade at night, and then as a Prophet towards the end, but its simplicity belied the connotations of her words, a turning point for Sisko in accepting his identity as the Emissary.
Sure, it would have been great if the real Opaka actually came to him, but her message asking who he is and later telling him he is of Bajor was instrumental in where the story would go right up to the last episode. Like Wesley's encounters with the Traveller, these things happened early in the first season, practically in the middle of the series, and ended at the end of the last season and that is poetic in itself. And perhaps Opaka had been shown this moment in an Orb experience which may have been why she told Sisko they'd meet again - her role had always been to recognise and encourage the Emissary, after all, and that's what she did.
The device of the Promenade shifting from lighted and welcoming to dark and sinister had been used before at least once, when Dax experienced strange visions in 'Equilibrium.' The way the transition happens is very nicely done, with Sisko walking past a pillar so that we lose sight of him, then the camera comes out the other side and the lights have dimmed with dark corners everywhere. A very effective use of the sets and lighting to create a mood. The words Opaka says later in the episode, "You are of Bajor" didn't have an exact meaning at the time because the writers were pretty much making things up from season to season, but they were savvy enough to leave these little threads and story points to be picked up at a later date, and if they didn't pick them up or forgot about them then the audience probably did to (I'm thinking of Chalan Aroya from the last episode of this season who never returned after her brief appearance).
Although they don't appear, we hear mention of Nog, Kai Winn and First Minister Shakaar. Nog is talked of by Quark in an uncharacteristically nostalgic mood (influenced by both Nog and Rom leaving him in recent episodes?), as being a cute baby, though the thing with babies is they're always stuffing things in their ears (a good play on alien culture as opposed to human); Shakaar as being a potential ally for Sisko when Starfleet isn't happy with the way things have transpired (never happy those Admirals - complaining when he's the Emissary and again when he's not! Though actually it's more Sisko reading between the lines); and Kai Winn, who seizes the opportunity of a new Emissary to side with him against Sisko on the subject of d'jarras. No surprise there, but it might have made for a more interesting episode if she'd been actively involved.
The Bajoran history revealed through all this was a treat. We'd only really gone as far back as their struggle against the Cardassians, or very ancient achievements in art and culture (shame it never rubbed off on Kira!), so this was all fascinating stuff. Vedek Porta was quite stunning as the friendly little old man who seems so pleasant and kindly, then later reveals his true nature by pushing another Vedek off the Promenade because he was of a lesser d'jarra! The actor did well as a Prophet too, but the way he calmly asserted the facts as if that was all Sisko needed to hear to understand why this man had been killed was chilling in its understatement.
Akorem was quite likeable, if misguided. It's clear he wasn't a power-hungry individual, but one that wanted to do the Prophets will, whatever that was. He's quick to accept the judgement that Sisko is their choice, but I wonder if any cynical Bajorans thought it a bit suspicious that Sisko goes off into the Wormhole then comes back with an empty Runabout claiming the other guy had been sent back in time by the Prophets. He could have chucked Akorem out an airlock or murdered him and then made up the story - maybe he even added the extra bit on the end of one of the poems! But there's been enough common experiences between him and the Bajorans for them to know he's an honourable man.
The thrilling twist at the end is the revelation that the whole appearance of Akorem was for Sisko's benefit, and one of the earliest inklings that the Prophets understand Sisko's doubts and troubles and wish to aid him. Importantly it's another happy ending, but one that would have far-reaching connotations for Sisko. He's satisfied that things are back to normal, but he's forgotten the hardships. He almost lost Kira when she sadly explains her intention to step down as First Officer to pursue her d'jarra, which had considerably more resonance than when she actually did at the beginning of Season 2 because they've built up such a rapport. It's a nice scene that shows how far the various denizens of DS9 have become attached to each other, proving those that complained the cast weren't a family, very wrong.
***
Monday, 31 October 2011
Crimson
DVD, Smallville S6 (Crimson)
An example of the worst excesses of the series that I had vainly hoped had been left in the past. We've had Halloween- and Christmas-themed episodes and this time it's a Valentine's-themed one. All kinds of things happen, some major revelations come out, but most of the time it doesn't matter that it feels like some weird alternate universe because most of the people that experience the events are either in the know about the cause or, helpfully, don't remember. At first it seemed like it could have promise even though I did groan internally at the template that had been used so many times before. This time it's Lois who comes under the influence of Kryptonite, it just happens to be the red variety, it just happens to be lipstick that makes her fall in love with the first man she sees, and it just happens that Clark strays into vision despite the place being full of other blokes (and that he had already stomped off as if leaving - so he comes back just to wander around a bit before he leaves properly? It doesn't make sense!).
So Lois wears girly clothes and acts all girly and infatuated with Clark and he doesn't immediately suspect something's up? There have been little moments played in recent episodes that suggest that the inevitable Lois and Clark attraction could happen, even on this series where the USP was that the Superman friendships/enmities were not as expected with Lex initially a good mate and Lois finding Clark an idiot while he finds her irritating in return. Once she stopped living on top of the Kent's they became more friendly, but even at this stage it's hard to envision the expected course of events and Clark's destiny to fall for Lois. So there's some fun in that idea, especially as it seemed to be that Clark was going to reveal his true self, which he did. The leap across from one building to another wasn't the best way of him showing off his powers, I felt, and didn't look as good as the first time he did it way back in Season 2. Also, I had no expectations that the writing would be brave enough for Lois to learn Clark's secret at this point and not forget everything in the usual get-out clause, and in a way I was glad the episode didn't go in that direction because it would have been a waste of what should eventually be a defining moment.
Someone who did get closer to discovering Clark's secret was Lana, surprisingly. She's already onto the fact that Chloe's protecting him in some way and he would never tell her, and they leave it hanging when she confronts Chloe about just giving her a confirmation that she's protecting a secret for Clark. So did Chloe answer the question? I thought she was going to say "we all have secrets, Lana" and leave it at that, but we never heard her answer. Lana must be pretty dim not to have put all the pieces together long ago, so the 'shocking' revelation that she's in the possession of the bent screwdriver that Lex tried to stab Clark with isn't the huge twist of anticipation it should be. Maybe if it had been done back in Season 3, but it's been so long that if she didn't suspect anything I worry about her. The more important question is whether Lex realises the screwdriver bent against Clark, though Mrs. Kent arrives, Green Kryptonite in hand in the nick of time to make Clark seem hurt. But it's another of those things that make no sense. Lex should be pressing charges, not pulling a gun, and why would he just leave the barn when Mrs. Kent asks him to? It's all ludicrous.
Red Kryptonite, when used in the right way can be a good source for a story, but too many times it's been Clark revealing his 'true feelings' about people, causing trouble and then trying to explain it all away and apologise. You can get away with doing that once or twice, but they went back to the Red K mine one to many times beyond the ability of anyone to satisfactorily explain his actions away. It's fortunate that most of the guests at Lex and Lana's engagement party were grey-haired old people that looked as if they'd come from hire-a-posh-guest.com - Clark even makes the point (after kidnapping Lana), that she didn't know most of the people there. She didn't seem too impressed with the garishly designed baby room presented by Lex, but it looked more extravagant in a disturbing way, than cute. That she's this prize between them is a bizarre turn of events and I really couldn't care less about who loves who by this time as it's all meaningless.
At least Jimmy's along for the ride, but even he goes uncharacteristically emotional at the end, accusing Chloe of always loving Clark more than him, a fine example of the scenes that permeated the episode with extreme soap sensibilities. It's bad enough that Lex and Lana's 'love' and wedding is dragging on for so long (I don't care by now if they do or don't get married so long as it doesn't take up so much time), but if all the characters are going to be whinging and crying it makes me wonder if the standard set this season is slipping again. I thought that Green Arrow's exit might start a decline and while it's too early to know, this was certainly the low point of the season so far. I suppose I should be grateful that Lionel wasn't around to smooth talk Mrs. Kent, but there was no mention made for why he didn't attend the engagement of his son. Since he's become almost a mentor to Clark this season it's strange he hasn't had scenes like that recently.
Just to remind us that this is a fantasy series and not a teen soap (and I really needed reminding), Lex has a disconcerting conversation with a doctor that checked Lana was okay after Clark's rough handling - it sounds like the pregnancy may be some kind of experiment the way they were talking, which adds a sinister layer to that storyline. Could it be a Kryptonite-infused baby Lex wants to use against the world/for himself? I didn't appreciate the addition of the weird girl who first started the trouble by giving Lois the lipstick. She never got any comeuppance and seemed removed from the story as if she was going to have more to do in the future. Somehow she knows about Clark and Lois' future together (as it should be in Superman lore), so unless she's an avid comic fan she's a bit of an enigma. Could she be from the Phantom Zone, just another freak-of-the-week or something else entirely? Only Jimmy actually meets her, when he gets the antidote to the lipstick. I hope she's not the shape of things to come.
This fell into the same category as the vampires and witches, it was just a crazy story where all this silly stuff happens. With the more intelligent stories of Green Arrow and Clark's missions together so fresh in the memory it's hard to go back to the kinds of story which don't make sense or have much basis in the reality of the series, stretching too far beyond what's credible. And I'm not talking about Red K lipstick or people leaping tall buildings in a single bound! It's the awful soap aspects that strangle the performances and narrow the breadth of story potential along with the lack of continuity with massive resets while continuing detail-heavy storylines. But that's often been the series' problem.
**
An example of the worst excesses of the series that I had vainly hoped had been left in the past. We've had Halloween- and Christmas-themed episodes and this time it's a Valentine's-themed one. All kinds of things happen, some major revelations come out, but most of the time it doesn't matter that it feels like some weird alternate universe because most of the people that experience the events are either in the know about the cause or, helpfully, don't remember. At first it seemed like it could have promise even though I did groan internally at the template that had been used so many times before. This time it's Lois who comes under the influence of Kryptonite, it just happens to be the red variety, it just happens to be lipstick that makes her fall in love with the first man she sees, and it just happens that Clark strays into vision despite the place being full of other blokes (and that he had already stomped off as if leaving - so he comes back just to wander around a bit before he leaves properly? It doesn't make sense!).
So Lois wears girly clothes and acts all girly and infatuated with Clark and he doesn't immediately suspect something's up? There have been little moments played in recent episodes that suggest that the inevitable Lois and Clark attraction could happen, even on this series where the USP was that the Superman friendships/enmities were not as expected with Lex initially a good mate and Lois finding Clark an idiot while he finds her irritating in return. Once she stopped living on top of the Kent's they became more friendly, but even at this stage it's hard to envision the expected course of events and Clark's destiny to fall for Lois. So there's some fun in that idea, especially as it seemed to be that Clark was going to reveal his true self, which he did. The leap across from one building to another wasn't the best way of him showing off his powers, I felt, and didn't look as good as the first time he did it way back in Season 2. Also, I had no expectations that the writing would be brave enough for Lois to learn Clark's secret at this point and not forget everything in the usual get-out clause, and in a way I was glad the episode didn't go in that direction because it would have been a waste of what should eventually be a defining moment.
Someone who did get closer to discovering Clark's secret was Lana, surprisingly. She's already onto the fact that Chloe's protecting him in some way and he would never tell her, and they leave it hanging when she confronts Chloe about just giving her a confirmation that she's protecting a secret for Clark. So did Chloe answer the question? I thought she was going to say "we all have secrets, Lana" and leave it at that, but we never heard her answer. Lana must be pretty dim not to have put all the pieces together long ago, so the 'shocking' revelation that she's in the possession of the bent screwdriver that Lex tried to stab Clark with isn't the huge twist of anticipation it should be. Maybe if it had been done back in Season 3, but it's been so long that if she didn't suspect anything I worry about her. The more important question is whether Lex realises the screwdriver bent against Clark, though Mrs. Kent arrives, Green Kryptonite in hand in the nick of time to make Clark seem hurt. But it's another of those things that make no sense. Lex should be pressing charges, not pulling a gun, and why would he just leave the barn when Mrs. Kent asks him to? It's all ludicrous.
Red Kryptonite, when used in the right way can be a good source for a story, but too many times it's been Clark revealing his 'true feelings' about people, causing trouble and then trying to explain it all away and apologise. You can get away with doing that once or twice, but they went back to the Red K mine one to many times beyond the ability of anyone to satisfactorily explain his actions away. It's fortunate that most of the guests at Lex and Lana's engagement party were grey-haired old people that looked as if they'd come from hire-a-posh-guest.com - Clark even makes the point (after kidnapping Lana), that she didn't know most of the people there. She didn't seem too impressed with the garishly designed baby room presented by Lex, but it looked more extravagant in a disturbing way, than cute. That she's this prize between them is a bizarre turn of events and I really couldn't care less about who loves who by this time as it's all meaningless.
At least Jimmy's along for the ride, but even he goes uncharacteristically emotional at the end, accusing Chloe of always loving Clark more than him, a fine example of the scenes that permeated the episode with extreme soap sensibilities. It's bad enough that Lex and Lana's 'love' and wedding is dragging on for so long (I don't care by now if they do or don't get married so long as it doesn't take up so much time), but if all the characters are going to be whinging and crying it makes me wonder if the standard set this season is slipping again. I thought that Green Arrow's exit might start a decline and while it's too early to know, this was certainly the low point of the season so far. I suppose I should be grateful that Lionel wasn't around to smooth talk Mrs. Kent, but there was no mention made for why he didn't attend the engagement of his son. Since he's become almost a mentor to Clark this season it's strange he hasn't had scenes like that recently.
Just to remind us that this is a fantasy series and not a teen soap (and I really needed reminding), Lex has a disconcerting conversation with a doctor that checked Lana was okay after Clark's rough handling - it sounds like the pregnancy may be some kind of experiment the way they were talking, which adds a sinister layer to that storyline. Could it be a Kryptonite-infused baby Lex wants to use against the world/for himself? I didn't appreciate the addition of the weird girl who first started the trouble by giving Lois the lipstick. She never got any comeuppance and seemed removed from the story as if she was going to have more to do in the future. Somehow she knows about Clark and Lois' future together (as it should be in Superman lore), so unless she's an avid comic fan she's a bit of an enigma. Could she be from the Phantom Zone, just another freak-of-the-week or something else entirely? Only Jimmy actually meets her, when he gets the antidote to the lipstick. I hope she's not the shape of things to come.
This fell into the same category as the vampires and witches, it was just a crazy story where all this silly stuff happens. With the more intelligent stories of Green Arrow and Clark's missions together so fresh in the memory it's hard to go back to the kinds of story which don't make sense or have much basis in the reality of the series, stretching too far beyond what's credible. And I'm not talking about Red K lipstick or people leaping tall buildings in a single bound! It's the awful soap aspects that strangle the performances and narrow the breadth of story potential along with the lack of continuity with massive resets while continuing detail-heavy storylines. But that's often been the series' problem.
**
Bar Association
DVD, DS9 S4 (Bar Association)
The old Quark returns after seemingly becoming softened by the Federation (cloying and bubbly and if you get enough of it you begin to like it!), but to be fair he was in a very bad mood due to having no customers thanks to the Bajoran Time of Cleansing - then again, last episode he was complaining about his customers so he can't have it both ways. It was an important episode in the scheme of things, a turning point for Rom, but I don't think it's one of the better Ferengi-centred stories. It's not that there aren't moments of comedy (Quark's Ferengi employees grovelling to Brunt or the Nausicaan heavies throwing darts into each other), but it's certainly a more serious Ferengi episode than usual, especially seeing Quark with his broken eye socket.
Rom is often funny just by dint of who he is and the way he speaks, but it's not laughs he gets this time, it's respect, in himself and for himself, so much in fact, that he leaves Quark's employ to strike out on his own. But only as far as the station's diagnostic and repair team, night shift. It's still a big move for a guy that only had ambitions to take over the bar when Quark died. And he doesn't want him dead, not any more anyway. Back in Season 1, before we knew Rom he came across as another typical nasty Ferengi, harsh, cruel and totally out for himself, willing to try and kill Quark by pushing him out of an airlock (the threat Quark suggests is the action Brunt will take against them), but since then he's been allowed to grow into a sweeter more varied person who cares about his family - one reason to leave the bar is so Rom can get on better with Quark. I suspect it was Nog's belief in himself and controversial decision to join Starfleet that inspired Rom to stop putting up with Quark's exploitation and began his first step towards the atypical Ferengi he would become. With such extraordinarily different choices made by he and Nog it makes me wonder what Mrs. Rom was like.
It doesn't stop Quark from being devious as usual, but this time he's concerned not only with profit, but how far the FCA will go to stop Rom's illegal union, working with Brunt at the same time as appearing to hear Rom's demands. His solution to the problem, using holographic versions of himself is a fun image, but does that mean he has holo-emitters in the bar itself, not just the Holosuites? Brunt's second appearance doesn't have the weight of the first one in which Jeffrey Combs was given the space to excel himself. This time Brunt is a threat, especially packing two mean-looking Nausicaans, but he doesn't have the range of 'Family Business.' Not that it mattered as he'd have many more chances to prove what an invaluable recurring character he was. The other important comeback was for Dabo girl Leeta, made clear that she and Bashir are still together after half a season of no mention. She'd only been in it a couple of times, but with Rom leaving the bar it was a prudent move to remind us of another semi-regular that would be there to interact with Quark. As it turned out Rom still had plenty of interaction with Quark and Leeta didn't show up again until next season, but it was good to have her back.
Another change that was less easy to see in good or bad light was Worf's move to the Defiant as his place of residence. It may have seemed as if the Klingon was symbolically moving away from DS9 as if he wasn't going to be around for long, but that turned out not to be the case and actually it made perfect sense for him to want the environs of a starship around him. You just wonder what would happen if he overslept, had duties on DS9 and realised the Defiant had been taken off to the Gamma Quadrant for a mission! Not that that was likely as Worf was beginning to be the main commander of the Defiant - he'd found his place. After many happy years on the Enterprise it was good that he had another ship to suit him, and it does suit him. Formidable, manoeuvrable, powerful and fast, he and the ship had a lot in common.
His love of fighting is turned into another scene with Jadzia, carrying on from 'Sons of Mogh' they continue to debate the comparative merits of the mek'leth to the bat'leth. Dennis Madalone is the man to bring back the Dopterian race, one of several (along with Lissepians and Kobheerians which also get mentioned) which were commonly seen or talked about in the first couple of seasons. If you look in the background it's often possible to see these kinds of aliens wandering the Promenade - this time I thought I saw a Paradan (one of the aliens from 'Whispers'), and another in a recent episode. The Pakleds are noted as is the rare appearance (for 'DS9') of a Vulcan, whose ethics Bashir guesses won't allow her to cross the picket line and enter Quark's. He and O'Brien have some friendly scenes together, happily they seem to have patched up any differences they had in 'Hippocratic Oath' and are best of friends again, watching the people pass or enter Quark's, joking about a cyst on the back of O'Brien's neck, and taking part in another epic Holosuite adventure, this time a Celtic battle of some kind. Look out for O'Brien as he crosses the camera towards the stairs wearing his bulky period garb - the shadow of a boom mike flits across!
It would be churlish of me to wish the bar staff were as well rounded as the recurring characters of the series, it was groundbreaking enough that they had recurring characters that were built up so much, but even so it would have been nice to get to know them so they were more than background or extras - Broik even gets a rare mention of his name. There shouldn't be any complaints when they were willing to push the envelope as much as to allow Rom, not one of the main cast, to carry the episode. Quark shoves him up against a wall just as he did to Quark last season when Nog's wellbeing was at stake. This time it's Rom's wellbeing as well as Quark's. It often strikes me that the corridors of the station are so dark they resemble back alleys and I'm always expecting someone to jump out of one. It should be reassuring that Odo keeps watch on most of them, but he can't scour every centimetre of the station all the time as Worf came to realise.
The brawl between Worf and O'Brien, in which Bashir ended up getting shoved across a table is one of the more comical scenes of the episode and it has nothing to do with Ferengi. It would have been nice to see it happen, but the imagination fills in the gap very nicely. Although it was based on a scene from 'Fort Apache' it certainly is reminiscent of the 'TOS' classic 'The Trouble With Tribbles' in which Chekov, Scotty and others are lined up for a telling off by Kirk after a similar bar fight. The other connection is that both Bashir and O'Brien, who were getting an earful from Sisko, would later appear in the line-up being shouted at by Kirk! Sisko knows how to handle his men and certainly knows how to handle the Ferengi, Quark in particular. He originally got him to stay by using blackmail and now the Captain hangs the backdated rent and power supply costs above him as incentive to sort out the union quickly, something I'm sure he's used before and probably would again.
Although Quark may have lost out to Rom and the union, as well as being pushed around by the bully Brunt, at least something good comes out of the ordeal: Rom becomes his own man leaving Quark to concentrate on his business. Though he probably didn't see it at first, having Rom as part of the official station personnel could be lucrative… His encounters with Brunt weren't over for the season, but that wasn't until the end. Another good episode, and another one about two brothers, although it was more of a functional episode that was also enjoyable, but not much more, it shows the pieces that would be key to the last three seasons were slowly being moved into place and the dynamo winding up throughout the season that would power the following one at full speed.
***
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