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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: Voyager – Lifesigns (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.

Lifesigns is a fascinating piece of television.

In hindsight, it seems a shame that the production team decided to focus on the Kazon during the first two seasons of Star Trek: Voyager. The Kazon are perhaps the most unfortunate and misguided recurring alien species to appear across the entire Star Trek franchise, never quite afforded the redemption that turned the Klingons and Ferengi from two-dimensional caricatures into fully-formed and well-realised species. The Kazon were a misguided creation in Caretaker; they remained so in Basics, Part II. Shattered offers no redemption.

The face of the frenemy...

The face of the frenemy…

In contrast, the Vidiians are much more interesting. To be fair, it is possible that the Vidiians are so interesting precisely because they are underused; their appearances tend to be motivated by the demands of individual episodes rather than by some grand desire to create an iconic Star Trek species. At the same time, it is perhaps too much to suggest that the Vidiians are fully-formed or multi-faceted; the show never offers them the same opportunity for development afforded to species like the Kazon or the Borg or the Hirogen.

Despite all this, Lifesigns demonstrates the Vidiians can be used in an interesting and creative way. Even as the episode dedicates considerable space to demonstrating that Kazon are a much less interesting new species.

Starin' at the stars...

Starin’ at the stars…

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Star Trek: Deep Space Nine – Bar Association (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.

The politics of Star Trek can occasionally be difficult to pin down.

There are obvious reasons for this, of course. Television is a collaborative medium, the result of lots of different creative voices. It is hard to argue that Star Trek has an consistent set of politics, because those creative voices have very different politics. Even on the original show, episodes like Errand of Mercy and The Omega Glory suggested that Gene L. Coon and Gene Roddenberry had very different perspectives on the Vietnam War. Certainly, Star Trek: The Next Generation and Star Trek: Deep Space Nine have very different viewpoints.

Don't beat yourself up, Quark...

Don’t beat yourself up, Quark. We have some Nausicaans to do it for you.

However, it is also the case that the franchise has always been quite careful when engaging with political discourse, particularly in the context of its nineties incarnation. The myth of Star Trek paints the show as progressive and liberal, but the truth is that the series rarely broke new ground in the nineties and into the new millennium. Episodes like Rejoined and Judgment were very much the exception rather than the rule, engaging with big political and social issues in a very clear manner. A lot of the time, the franchise played it fairly safe.

That is part of what makes Bar Association such an interesting episode of television. As with Rejoined, there is a sense that the Star Trek franchise should take the liberal politics of Bar Association for granted. After all, while there is some ambiguity as to exactly what form of economic theory is employed by the Federation, it certainly isn’t capitalism. However, it is interesting to hear the franchise (perhaps literally in this case) put its money where its mouth is, allowing a major character to quote Marx and Engels.

Strike while the bar is hot...

Strike while the bar is hot…

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Star Trek: Deep Space Nine – Sons of Mogh (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.

Moving Worf over from Star Trek: The Next Generation to Star Trek: Deep Space Nine could be seen as a cynical move.

In fact, it was a bit of a cynical move, a rare example of executive meddling in the basic plot of Deep Space Nine. Although there is some disagreement as to precisely how much give and take was involved in the decision-making process by the production team and the studio, it was clear that the writing staff had not originally envisaged Worf joining the show and that the addition of Michael Dorn to the show’s cast was an attempt to shore up the show’s ratings and profile. These are the realities of network television production.

As the world Kurns...

As the world Kurns…

At the same time, moving Worf over to Deep Space Nine from The Next Generation afforded the production team unique opportunities and storytelling possibilities. With Star Trek: Voyager unfolding in the distant Delta Quadrant, Deep Space Nine had been largely free to reinvent and rework the franchise’s status quo for its own purpose. Deep Space Nine was allowed to play with toys that would have been off limits while The Next Generation was on the air; war with the Klingons, Federation civil war, Dominion invasion.

However, actually transitioning a character from The Next Generation to Deep Space Nine allowed the production team even more freedom and even greater contrast. Although very clearly the same character, Worf changes between The Next Generation and Deep Space Nine. There is a sense that Deep Space Nine is a lot more willing to carry certain aspects of the character to their logical conclusion, in a way that was simply not feasible on The Next Generation. This is clear in Sons of Mogh, when Worf attempts to murder his own brother.

Flirty!

Flirty!

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Star Trek: Deep Space Nine – Return to Grace (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.

More than any other character in the ensemble, Gul Dukat is an embodiment of the relative strengths and weaknesses of Star Trek: Deep Space Nine.

There are plenty of other great characters on Deep Space Nine. More than the characters on any other Star Trek show, the lead and supporting characters on Deep Space Nine are afforded the chance to change and grow over the course of the run. In fact, Return to Grace even introduces the character of Damar in a fairly thankless supporting role; over the remaining three-and-a-half seasons of the show, Damar will grow into a well-developed and multi-faceted character in his own right.

He looks like Dukat that got the cream...

He looks like Dukat that got the cream…

Nevertheless, it is Dukat who exemplifies the approach to character and storytelling that make Deep Space Nine such an interesting show. Large swathes of the character’s arc feel improvised and unpredictable. It would be next to impossible to chart Dukat’s character arc from Emissary to What You Leave Behind in a way that makes sense. As with a lot of Deep Space Nine, it seems like the production team just threw the character into the air, allowing the story to take him where it may.

With Return to Grace, it seems that the story takes Dukat into the role of “space pirate.”

The freight stuff...

The freight stuff…

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Star Trek: Voyager – Meld (Review)

This September and October, 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 for the latest review.

Meld is a masterpiece. It is the best episode of Star Trek: Voyager to date. There is perhaps a reasonable argument to be made that it is one of the best episodes that the series ever produced. It is, in many respects, one of the strongest and most compelling exploration of themes that have been bubbling around in the background since Caretaker, offering a more thoughtful and insightful exploration of the nineties culture of fear and anxiety than anything involving the Kazon. It is certainly the best use of Tuvok that the show managed in its seven year run.

Meld is an episode about violence, in its many forms. It is a story about the horrors and arbitrariness of unprovoked violence, but also about the cycles of violence that such actions can create. In many respects, Meld is a more scathing criticism of the death penalty than Repentance, the seventh season episode explicitly written as a death penalty allegory. Unlike many of the surrounding episodes, Meld actually manages to make good use of the show’s Delta Quadrant setting to heighten the dramatic stakes.

"Where's your head at?"

“Where’s your head at?”

In a way, Meld represents a collision of the franchise’s past and future. Meld may be the last truly great Star Trek script written by Michael Piller, the writer who helped to define the modern iteration of the franchise with his work on the third season of Star Trek: The Next Generation. At the same time, it is also Mike Sussman’s first story credit on the franchise; Sussman would go on to join the show’s writing staff in its final season and would be one of the few writers to serve a full four seasons on Star Trek: Enterprise.

While the script for Meld is exceptionally well-written, the episode is elevated by a combination of factors. Cliff Bole does great work in bringing a very unconventional Star Trek episode to life. Meld could be seen as a continuation of the second season’s b-movie charms. Following on from the robot wars of Prototype and the body horror of Threshold, Meld plays like a Star Trek serial killer thriller. Bole’s directorial choices are consciously stylised, with delightful little touches like the band of light across Tuvok’s eyes when the body is discovered.

"Funny. I though Braga murdered Darwin last week."

“Funny. I thought Braga murdered Darwin last week.”

The episode also benefits from two mesmerising central performances from guest star Brad Dourif and Tim Russ. Russ was always one of the more under-utilised members of the Voyager ensemble, particularly when his “obligatory emotionally detached character” role was usurped by Seven of Nine in the fourth season. It is a shame, as Russ has a great deal of fun channeling Nimoy in his portrayal of the franchise’s first full-blooded Vulcan regular. Tuvok (and Russ) deserved more attention than the show afforded him.

That said, it is Brad Dourif who steals the show here. Lon Suder is one of the most fascinating guest characters in the history of the Star Trek franchise, and perhaps the only recurring character member of the Voyager crew who made any impression. A lot of that is down to the novelty of a fundamentally violent character in a Starfleet uniform, but Dourif is absolutely brilliant in the part. Dourif might just be the best guest star ever to appear in Voyager, and one of the franchise’s all-time greats.

Beta(zoid) male.

Beta(zoid) male.

However, perhaps the most striking aspect of Meld is the way that it feels very much of its time; it is an episode that firmly engages with a cultural context around Voyager. So much of Voyager seems lost in some sort of weird science-fiction neverland where the fifties and sixties never ended that a well-produced episode that feels of its time is a rarity. Meld is an episode that would feel strange ten years earlier or ten years later, but one which aligns perfectly with the wider context of 1996.

It is a overdue triumph from the Voyager team.

Smile!

Smile!

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Star Trek: Voyager – Threshold (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.

Threshold is hated by fandom.

Veteran reviewer Jamahl Epsicokhan described it as “one of the all-time worst episodes of Star Trek ever filmed.” He is far from the only voice raised in protest. Winston O’Boogie remarked that, watching the episode, “you can’t help but think that something has gone terribly, terribly wrong with the world that allowed this to happen.” Assessing writer Brannon Braga’s contributions to the larger franchise, Jim Wright reflected, “Whatever else he may accomplish, he’s as forever shackled to Threshold as George Lucas to Jar-Jar.”

It's not even the worst episode of the season...

It’s not even the worst episode of the season…

Threshold is terrible. There is no way around that. It is a very stupid episode that is never entirely sure what it is trying to say from one moment to the next. More than that, positioning it as an important Tom Paris arc in the middle of the second season serves to sabotage the already confused character arc running between Alliances and Investigations. There is absolutely no context in which Threshold could be described as a “good” (or even “competent”) hour of television.

At the same time, it is not one of the worst episodes of the franchise ever produced; it is not even one of the worst episodes of the series. Surrounded by episodes like Tattoo or Alliances, the episode cannot even make a particularly confident claim to being the worst instalment of the season. None of this should be confused as an endorsement of Threshold. It is condemnation of everything that exists around Threshold.

The great mutato!

The great mutato!

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Star Trek: Deep Space Nine – Crossfire (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 many ways, Star Trek: Deep Space Nine has aged remarkably well.

Episodes like Homefront and Paradise Lost arguably have greater resonance now than they did on initial broadcast, their commentary on state authority and the erosion of civil liberties packing more punch during the War on Terror than it did during the long nineties. The Way of the Warrior even invites comparison to the invasion of Iraq, despite the fact that the episode aired eight years before the invasion took place. In many respects, Deep Space Nine has aged considerably better than its siblings.

Odo's attempts at redecorating were not going well...

Odo’s attempts at redecorating were not going well…

On the other hand, there are some aspects that have not aged particularly well. There are certain elements of Deep Space Nine that feel ill-judged or ill-advised in hindsight; for example, the thinly-veiled (and awkward) racial politics inherent in the exploration of the Jem’Hadar in The Abandoned. The relationship between Odo and Kira is another such example, the show’s central “will they?”/“won’t they?” dynamic seeded in Necessary Evil and brought to fruition in Heart of Stone.

Taken on its own merits, Crossfire is a spectacular piece of television. It is skilfully written and directed, with a superb central performance from Rene Auberjonois as Odo. The plot of the episode seems to focus on Odo working through his long-simmering crush on Kira, suffering a near breakdown and eventually deciding to work through it. It is, in many ways, the best possible story that could be told using the relationship. However, the problem is that Crossfire is not the end of this particular thread. It is just a hurdle for Odo to pass.

Quark serves some unpalatable truths...

Quark serves some unpalatable truths…

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Star Trek: Voyager – Alliances (Review)

This September and October, 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 for the latest review.

One of the more persistent and convincing criticisms of Star Trek: Voyager is the idea that it was very narrative conservative; that the show got comfortable playing out the familiar formula that had been established by Star Trek: The Next Generation, and so never attempted to innovate or experiment in the way that Star Trek: Deep Space Nine (or eventually Star Trek: Enterprise) did. This is a perfectly valid criticism of the show as a whole, but it does ignore some of the weird tensions that played out across the first two seasons.

It is fair to say that Voyager never truly experimented. However, there are several moments in the first two seasons where it looks like the show was considering doing something unique or unprecedented. The show walked up to the edge, looking up and down; it never quite made the leap, but it seemed to weigh the possibility of jumping headlong into uncharted territory. However, it ultimately only dipped its toes in the water before getting cold feet and returning to the comfort of the familiar.

"Everyone liked Godfather III, right?"

“Everyone liked Godfather III, right?”

The sad truth about the second season of Voyager is that the show made a number of attempts to do something different or unique, only to botch each and every one of those attempts so completely that the production team learned not to even try. The second season’s more adventurous creative decisions all ended in humiliation and farce, explaining why the show desperately sought the warm blanket of a familiar format and an established template. After all, it was the more conventional episodes of the second season that had been (relatively) well received.

The second season of Voyager turned the process of trying something moderately ambitious and failing spectacularly into something of an artform. Of course, given the simmering tensions behind the scenes, it often seemed like the show wanted to fail. Michael Piller desperately wanted to do new things, only to meet resistance from his fellow producers and writing staff. Writers like Kenneth Biller would publicly criticise assignments they had been handed, offering a sense of just how much faith the staff had in these ideas.

"You wouldn't like me when I'm angry..."

“You wouldn’t like me when I’m angry…”

Alliances marks perhaps the most ambitious element (and most spectacular failure) of the second season of Voyager. It is the centrepiece of Michael Piller’s attempts to develop the Kazon into a credible (and convincing) alien threat, while also setting up a recurring arc that will allow Piller to push Tom Paris into the role of “lovable rogue” of which Piller was so fond. These were elements that excited Piller a great deal, but left most of the rest of the production team relatively cold.

So there is a great deal of irony in the fact that Alliances is ultimately written by Jeri Taylor, who was increasingly at loggerheads with Piller over the direction of Voyager. In light of that context, it makes sense that Alliances is an episode that aggressively critiques its own existence. Janeway spends most of the episode frustrated at the fact that the story is happening at all, and Alliances builds towards a climax that seems designed to convince the viewer that this whole idea is misconceived on just about every possible level.

Blooming disaster...

Blooming disaster…

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Star Trek: Voyager – Prototype (Review)

This September and October, 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 for the latest review.

In what is becoming a recurring theme for the second season of Star Trek: Voyager, Prototype is a mess.

As with a lot of the surrounding episodes, its production was fraught and tense; tensions seemed to be building among the production team as the season progressed. Prototype was an episode that was largely driven by Michael Piller, and one opposed by Jeri Taylor. Kenneth Biller was responsible for tweaking and rewriting Nicholas Corea’s script, but he does not seem particularly fond of the episode. These tensions and disagreements would build to a climax in the second half of the year.

Bride of 4739...

Bride of 3947…

Prototype is not a good episode, by any measure. There are a lot of elements that are interesting on their own terms, but there is also something quite nasty and uncomfortable sitting at the heart of the hour. It is a story about motherhood, but one which suggests that unconventional motherhood must be monstrous and grotesque. Even beyond the awkward subtext of the episode, there are problems. Despite Piller’s attempts to energise storytelling on Voyager, the pacing of Prototype is atrocious.

Prototype is not the biggest misfire of the season. Given the season around it, this should not be misconstrued as an endorsement.

(Warp) core values...

(Warp) core values…

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