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Star Trek: Deep Space Nine – Accession (Review)

This February and March, we’re taking a look at the 1995 to 1996 season of Star Trek, including Star Trek: Deep Space Nine and Star Trek: Voyager. Check back daily Tuesday through Friday for the latest review.

In its third and fourth seasons, Star Trek: Deep Space Nine is undergoing something of a transformation; a metamorphosis.

This is only natural. Shows evolve and grow as they go on. The production team discovers what works and what doesn’t, allowing them to play the strengths of the premise and the ensemble. It happens to most shows, if they live long enough. It happened to Star Trek: The Next Generation when Michael Piller came on board in its third season. It will happen to Star Trek: Voyager when Michael Piller departs in its third season. Change and transformation is inevitable, for television shows as much as for people.

That healthy orb-experience glow...

That healthy orb-experience glow…

The third and fourth seasons of Deep Space Nine saw a change taking place. Ira Steven Behr had taken more and more control of the show since the late second season, starting with The Maquis, Part II. Michael Piller had stepped back from the show in its third season, completely ceding control with Life Support. The show was changing in a material sense. The Dominion came to the fore, Bajor faded to the background; Worf joined the cast, Odo found his people, the Klingons were an on-going concern again.

By this point in the fourth season, the transformation is almost complete. Deep Space Nine is very close to its final form, standing on the edge of its biggest departures from the established Star Trek canon. Part of those changes involves a reconfiguring of what Bajor means to the series. Accession begins the process of drawing down the curtain on the Bajor arc as it began with Emissary all those years ago, allowing Sisko to find some peace in his position and a sense of closure in his appointment before the show’s emphasis on Bajor changes dramatically.

Gotta have faith...

Gotta have faith…

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Star Trek: Myriad Universes – Echoes and Refractions: Brave New World by Chris Roberson (Review)

This January and February, we’ll be finishing up our look at the second season of Star Trek: The Next Generation and moving on to the third year of the show, both recently and lovingly remastered for high definition. Check back daily for the latest review.

We’ll be supplementing our coverage of the episodes with some additional materials – mainly novels and comics and films. This is one such entry.

Quite a few of the Myriad Universe stories feel like “for want of a nail” stories. Changing one little detail of Star Trek history and the entire universe comes apart at the seams. In the Echoes and Refractions collection alone, The Chimes at Midnight offers a nightmare glimpse of a universe where Spock died in childhood, while A Gutted World explores what might have happened if the Cardassians had never left Bajor. Neither alternate universe represented a sustainable alternative to the Star Trek we know and love. The subtitles might as well have been “… and then things got worse.”

With the final story in the collection, Chris Roberson takes another tack. Brave New World isn’t a story about how removing one vital thread of the Star Trek tapestry causes the whole thing to unravel. Instead, it’s something quite a bit bolder. It’s a genuine alternate universe, one boldly different – not inherently better or worse, but just an example how things might have unfolded if just one little thing had been different.

st-myriaduniverses

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Star Trek: Deep Space Nine – The Jem’Hadar (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

In terms of sheer quality of execution, The Jem’Hadar is probably the weakest of Star Trek: Deep Space Nine‘s season finalés. It lacks the gut punch of A Call to Arms, the shock twist of Broken Link, the atmosphere of The Adversary or even the timeliness of In the Hands of the Prophets. It is, at its most basic level, a story about a disastrous first contact that occurs during a father-son bonding trip that goes horribly wrong, ending with precious little actually advanced.

However, in terms of conceptual ideas, The Jem’Hadar is a game-changer. It is the cornerstone upon which Deep Space Nine would construct its most iconic narrative arc. It caps off two years of trying to develop the Ferengi as more than one-note jokes. It’s a bold statement about the freedom that Deep Space Nine would enjoy with Star Trek: The Next Generation retiring from the airwaves. It cemented the notion that Deep Space Nine never really dealt in two-part episodes to bridge seasons.

For Deep Space Nine, season finalés did not exist simply as pieces of Lego designed to snugly fit those other pieces at the start of the following season, crafting some illusion of continuity flow between two different seasons of television. Instead, cliffhangers on Deep Space Nine changed the rules, shook up the status quo, and teased the changing face of things to come.

A Jem?

A Jem?

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Star Trek: Deep Space Nine – Tribunal (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

Tribunal is probably the weakest episode of Star Trek: Deep Space Nine in quite some time, hampered by the fact that it never seems too ambitious and the fact that the episode ends because we’re three minutes away from the closing credits rather than because it feels like the story has been told. Tribunal is hardly the deepest or most sophisticated episode of the show’s second season, spending most of its time riffing on Kafka and Orwell, but it’s still solidly entertaining – a rare example of black comedy on Star Trek that works surprisingly well.

I suspect the biggest problem with Tribunal is where it’s placed. The second season of Deep Space Nine has been hitting it out of the park since around Blood Oath, giving us the strongest run of episodes we’d see until the start of the fourth season. Indeed, had the show found its groove a little bit earlier, the second season of Deep Space Nine could have been on par with the third season of Star Trek: The Next Generation as “that season the show found its groove.”

However, it remains an impressive run of episodes, a rallying of the show in the last third of the season, showing just what Deep Space Nine was capable of. Most of the episodes in that run felt very different from anything done on The Next Generation and most offered some major insight into how the world of Deep Space Nine works as distinct from the rest of the franchise.

A broad cast of characters...

A broad cast of characters…

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Star Trek: Deep Space Nine – The Collaborator (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

It’s surprising how long we’ve had since a solid Bajoran episode of Star Trek: Deep Space Nine. Barring the dark reflection of Bajor as a power-broker (and brief allusion to a colony in the Gamma Quadrant) in Crossover, the last episode to really explore the planet’s political and religious structure was probably Sanctuary, which aired more than half a season earlier. After a reasonably high concentration of Bajoran political adventures in the first season and the first half of the second, it seems that further explorations will be more broadly spaced.

Indeed, the first season ended (and the second season began) with a five-episode run that was heavily anchored in the show’s Bajoran surroundings. However, as of late, it feels we’ve been strangely disengaged from the show’s stated objective of welcoming Bajor to the Federation. With episodes like The Maquis, it seems like the show is making a conscious effort to disentangle Cardassian politics from those of Bajor.

In a way, this probably represents Deep Space Nine growing into the form that it will take for the rest of its run. The second season has really been about Deep Space Nine figuring out what it wants to be, and what it doesn’t want to be. With The Collaborator‘s focus on Bajoran politics feeling conspicuous by the lack of other Bajor-centric episodes in this half of the season, it seems like Deep Space Nine doesn’t want to be a show about Bajor.

Enough rope to hang himself...

Enough rope to hang himself…

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Star Trek: Deep Space Nine – Crossover (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

At the time, Crossover must have seemed like a very odd choice for a late-second-season episode of Star Trek: Deep Space Nine. Of course, the mirror universe episodes would become a quasi-annual occurrence on the show, similar to the “O’Brien must suffer” adventures. However, in May 1994, it must have seemed like a really strange choice to do an entire episode as a sequel to a much-loved second-season installment of the original Star Trek.

Still, Crossover remains the strongest of Deep Space Nine‘s mirror universe episodes, most notably because it treats the rather absurd premise with a certain amount of weight and integrity, but also because it feels so delightfully weird.

Half the cast has been waiting two years to do that...

Half the cast has been waiting two years to do that…

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Star Trek: Deep Space Nine – The Maquis, Part II (Review)

Star Trek: Deep Space Nine is twenty years old this year. To celebrate, I’m taking a look at the first and second seasons. Check back daily for the latest review or retrospective.

Oddly enough, for an episode designed to serve as a launching pad for Star Trek: Voyager, The Maquis, Part II really feels like the point where Star Trek: Deep Space Nine becomes Ira Steven Behr’s show. Deep Space Nine had been created by Michael Piller and Rick Berman. While Berman oversaw the franchise as a whole, Piller had been a guiding influence during the first two seasons of Deep Space Nine. However, his attention would wander to both Voyager and the pending films based on the Star Trek: The Next Generation film franchise.

As a result, producer Ira Steven Behr would be left in the driving seat of Deep Space Nine. Behr had some experience with the franchise. he was part of the wonderful writers’ room responsible for the massive upswing in the quality of The Next Generation, but left after a year on that show – describing it as “the Connecticut of Star Trek.” Years later, he was aggressively pursued by Piller to work on Deep Space Nine, where Piller felt his philosophy might be more at home.

The Maquis, Part II is far from Behr’s first writing credit on the show, and it’s certainly not the first time his influence has been felt. It is, however, the point at which it feels like Behr’s creative vision is firmly cemented the show’s outlook. Piller would move further away over the course of the next year, and Behr’s influence would grow even stronger, but this is the point where Behr’s vision of Deep Space Nine really takes hold.

Burning bridges...

Burning bridges…

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