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Star Trek: Deep Space Nine – The Alternate (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.

Well, at least the second season of Star Trek: Deep Space Nine is experimental. It might not always pay-off, but there’s a clear sense that the show is trying new things, bending various genres to make them fit within the broad outline of a Star Trek show. Necessary Evil was a fascinating attempt to construct a noir episode, while Rivals was a less-than-successful sit-com in space. The Alternate is very much doing “Star Trek as monster movie”, which is surprisingly fun.

To be fair, it’s not a subgenre new to the franchise. Indeed, the first episode of the original show to air, The Man Trap, was essentially a monster horror in space. Still, The Alternate feels a bit more sinister and dark than  anything that Star Trek: The Next Generation might attempt. (Schisms probably comes closest, but – even then – there’s no sense that the monsters are stalking the starship. They have to abduct their victims to experiment on them.)

More than that, though, The Alternate is also a fascinating exploration of Odo as a character, looking at the relationship that Odo has with his co-workers and how that is rooted in his relationship with the man who claims to be his “father.”

Melting! Melting! Oh what a world!

Melting! Melting! Oh what a world!

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Star Trek: Deep Space Nine – Rivals (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.

Rivals doesn’t work. However, while the second season has produced a string of noble failures, Rivals fails for a very simple reason. It’s a comedy episode without any comedy. It’s a guest-star focused episode which centres on a hopelessly miscast Chris Sarandon. Sarandon is an Oscar-nominated actor, and he should be something of a casting coup for the show. This second season has already featured Louise Fletcher, Frank Langella and John Glover – so it seems fair to acknowledge that the casting people were on a bit of a roll.

However, due to a reheated script and Sarandon’s lack of interest or engagement, Rivals winds up feeling stale. There is potential here, but it’s squandered as the writers forget the first rule of a good comedy episode. They forgot to bring the laughs.

I feel a similar way...

I feel a similar way…

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Star Trek: Deep Space Nine – Sanctuary (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.

Sanctuary is a very weird little episode, a nice concept with too much padding, reserving its best hook and twist for the final ten minutes, but capping it off with an attempt to soften the harsh blow somewhat. It’s another of those “shows we could only do on Star Trek: Deep Space Nine from the series’ second season, and it’s certainly more interesting and ambitious than Second Sight. However, for all the clever stuff that it does, it feels somewhat oddly structured and paced, as if the writing staff knew there were good ideas wrapped up inside here, but weren’t exactly sure how to get them out.

A blip on the radar...

A blip on the radar…

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Star Trek: Deep Space Nine – Second Sight (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.

You know, this the first real Sisko-heavy episode we’ve had since Emissary. He’s the lead, so he’s never too far from the heart of the story, and episodes like Dramatis Personae and Invasive Procedures gave Avery Brooks an opportunity to demonstrate his acting chops (and ability to be just as bad-ass, albeit in a different way, as Kirk and Picard). However, Sisko never really dominates or towers over Star Trek: Deep Space Nine in the same way that Kirk and Picard seemed to anchor their shows. Deep Space Nine is closer to an ensemble show than any other Star Trek series, and characters like Odo and Kira (and even Quark) have received as much (if not more) definition than Sisko, despite the fact he is the lead.

That’s not a bad thing. Over the run of the series, Deep Space Nine would produce a number of classic hours of television centred around Sisko as a character. The Visitor, Far Beyond the Stars, and In the Pale Moonlight are all hours that lean heavily on Brooks and can all be counted among the very best episodes of Star Trek ever produced.

Second Sight, on the other hand, is not.

Burning passion...

Burning passion…

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Agents of S.H.I.E.L.D – Pilot (Review)

Agents of S.H.I.E.L.D. is a very competent production. It looks lavish. It connects the dots. It reminds the audience that it’s connected to a string of blockbuster movies without being pushy about it. It introduces a diverse ensemble. It sets up long-running mysteries and story arcs. It’s a tight and focused, and controlled piece of television.

Perhaps too controlled. There’s something oddly restrained and oddly refined about Agents of S.H.I.E.L.D., feeling a little smoother and a little more polished than a pilot really should. There’s not a hair out of place, but only because everything has been so meticulously styled. This isn’t a bad thing – the pilot plays remarkably well – but it just feels a bit limp, a bit lifeless.

It’s as if we’ve tuned into a Life Model Decoy of a Joss Whedon show.

Phil us in...

Phil us in…

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Star Trek: Deep Space Nine – Necessary Evil (Review)

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

Commence Station Security log. Stardate 47282.5. At the request of Commander Sisko, I will hereafter be recording a daily log of law enforcement affairs. The reason for this exercise is beyond my comprehension, except perhaps that humans have a compulsion to keep records and lists and files. So many, in fact, that they have to invent new ways to store them microscopically, otherwise their records would overrun all known civilisation. My own very adequate memory not being good enough for Starfleet, I am pleased to put my voice to this official record of this day. Everything’s under control. End log.

Necessary Evil continues to deliver on the promise of “things you can’t do anywhere but Star Trek: Deep Space Nine that Michael Piller made at the start of the show’s second season. It’s a genuinely ambitious piece of Star Trek, all the stronger for the fact that it’s idea that could go horribly and spectacularly wrong. Movies like Blade Runner demonstrated that it is possible to blend the aesthetics of science-fiction and film noir, but it seems like a mix that would sit rather uncomfortably in the bright utopian future of Star Trek.

However, Deep Space Nine was never afraid to experiment with its format. This wasn’t always successful, but it did give the show a unique flavour. And when it did work, as it does here, it offered something new and exciting to the franchise’s playbook.

Time for a Changeling...

Time for a Changeling…

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Star Trek: Deep Space Nine – Terok Nor #0 (Review)

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

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

Terok Nor might be the best of Malibu Comics’ Star Trek: Deep Space Nine range, a one-shot written by Mark A. Altman and illustrated by Trevor Goring. It isn’t so much the plot that makes Terok Nor so distinctive – there is a lot of running around, some betrayals, some action sequences – but rather the execution of Altman’s story and the atmosphere provided by Goring’s pencils. The origin story of the space station Terok Nor, Altman very shrewdly frames the story as something of an oral history. It’s almost mythic and grand and epic, drawn in broad strokes rather than finer detail.

It serves quite well as the story of the construction of the central hub of the Star Trek show most concerned with legacy and history.

A monument to the Bajoran people...

A monument to the Bajoran people…

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Star Trek: Deep Space Nine – Rules of Acquisition (Review)

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

The Nagus was a surprising high-point of the first season of Star Trek: Deep Space Nine. It represented a conscious effort to rehabilitate and reappraise the Ferengi, the aliens introduced as potentially major adversaries in the first season of Star Trek: The Next Generation, only to wind up as mostly unfunny comic relief. The Nagus dared to suggest that the Ferengi might not be the monsters the Federation considers them to be, suggesting that their culture – while different – was no less worthy of respect or consideration than that of the Klingons.

Rules of Acquisition is a clear follow-up, right down to the way that it includes Grand Nagus Zek. However, it’s nowhere near as charming and successful as The Nagus, because it feels like it’s just treading water. It teases potential developments down the line, but the story seems locked in a familiar holding pattern – right down to the rather convenient ending that inevitably sees Quark snatching defeat from the jaws of victory.

It’s not quite a bad episode, certainly not on the scale of the colossal misfire that was Melora, but it’s also not a particularly good one.

Nothing to see here...

Nothing to see here…

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Star Trek: Deep Space Nine – Melora (Review)

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

It’s hard to believe, based on what we’ve witnessed so far, but one day viewers will be able to think “oh, a Bashir episode!” without an involuntary shudder. There will come a time when the writing staff figure out how to write a Bashir-centric episode. In fact, they’ll even revisit this central premise in the show’s final season, in a way that is much less creepy because at least it acknowledges the creepiness. However, we’re a long way from that.

It’s not that Bashir is a bad character. In fact, I’m very fond of him. I think that this version of the character works very well as part of an ensemble, or even teamed up with another major character to carry a story. However, I don’t think that the show has quite figured out how to tell a Bashir-centric story yet. Most notably because – like The Passenger before it – Melora isn’t really about Bashir. At least not in a way that isn’t creepy and disturbing and unnerving.

Instead, Bashir is mostly a vehicle for the guest character of the week, who lends the episode her name and serves as the focal point of some incredibly condescending and patronising writing which doesn’t make the optimistic future of Star Trek look particularly bright.

Floating in a most peculiar way...

Floating in a most peculiar way…

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Star Trek: Deep Space Nine – The Never-Ending Sacrifice by Una McCormack (Review)

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

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

More than any of the other Star Trek spin-offs, Star Trek: Deep Space Nine lends itself to narratives running in parallel to the main plot. Part of this is due to the conscious world-building the show engaged in, creating an expansive supporting cast populated by citizens of countless different worlds that were developed into more than just “planets of the week.”

There’s also the rather epic scale of events depicted in the show, with only The Best of Both Worlds offering a glimpse of events on a scale similar to those of Deep Space Nine. The show’s setting helps as well; even with the Defiant and occasional trips to other worlds, most of the show was focused on life on the station, suggesting a maelstrom of activity in the wider universe.

The Never-Ending Sacrifice takes advantage of these factors to offer a compelling narrative running in parallel to the events of Deep Space Nine, spanning from Cardassians through to the Pocket Books relaunch. It’s a rich and expansive tale which feels like a genuine epic, taking the opportunity to glimpse events of the season through a set of alien eyes.

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