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Star Trek: Deep Space Nine – Let He Who Is Without Sin… (Review)

It would be tempting to treat Let He Who Is Without Sin… as an anomaly.

After all, it is very much the worst episode of the fifth season. There is a very strong argument to be made that it is the worst episode between Meridian and Profit and Lace, which makes it easier to forgive. After all, it is not as though Star Trek: Deep Space Nine has been regularly churning out episodes like Twisted, Tattoo, Alliances, Threshold and Investigations. The second worst episode of the fifth season is The Assignment, and the biggest problem with that episode is that it is both painfully generic and ground zero for a set of major future problems.

This episode is pants.

This episode is pants.

Still, it is important not to gloss over just how terrible Let He Who Is Without Sin… actually is and the very specific ways in which it is terrible. While these sorts of misfires are quite rare in the context of the series’ fourth and fifth seasons, Let He Who Is Without Sin… is not a fluke. The episode did not materialise from nowhere. It is very much the result of a number of creative impulses within Deep Space Nine firing in the worst possible ways. Unlike The Assignment, this episode does not fail because the concept and execution is an awkward fit for Deep Space Nine.

Let Who Is Without Sin… fails in ways that are very specifically tied to Deep Space Nine.

"It's okay, Worf. The writers promised that was only the first draft they sent through."

“It’s okay, Worf. The writers promised that was only the first draft they sent through.”

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Star Trek – Dagger of the Mind (Review)

To celebrate the release of Star Trek: Into Darkness this month, we’ll be running through the first season of the classic Star Trek all this month. Check back daily to get ready to boldly go. It’s only logical.

I knew we were due a nice Shakespearean title soon. And The Conscience of a King is just around the corner, to boot. Seriously though, I have to admit a massive fondness for these wonderfully lofty and high-minded episode titles. It’s something that links the original Star Trek and Star Trek: Deep Space Nine quite firmly, and was sadly never enthusiastically taken up by any of the other spin-offs. It’s a shame, because – regardless of the quality of the episodes in question – there’s something undeniably endearing about forty-five minutes of television given a pretentious name like For the World is Hollow and I Have Touched the Sky, The City on the Edge of Forever or Wrongs Darker Than Death or Night.

A scream...

A scream…

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