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Star Trek: Deep Space Nine – Sacrifice of Angels (Review)

Sacrifice of Angels goes like the clappers.

If Favour the Bold worked so well because it took its time and invested in character dynamics in the shadows this epic confrontation, then Sacrifice of Angels works so well because it just powers through to the end of the story. Sacrifice of Angels is an immaculately paced piece of science-fiction television, an episode that kicks into gear that the spectacular effects shot of the Starfleet fighters swooping down over those Galor-class destroyers in a haze of phaser fire and chaos. The episode doesn’t let up, powering through the plot to get back to the familiar status quo.

Fields of fire.

Fields of fire.

Sacrifice of Angels is also a meticulously constructed piece of television, with all of the dominoes aligned over the previous five episodes dropping at just the right point in a way that seems organic and natural, allowing for moments that are both surprising and inevitable. It is a very clean and sleek episode of television, one built to a singular purpose with a minimum of superfluous material. It really is a triumphant conclusion to an ambitious six-episode opening arc, one of the most daring narrative experiments in the entire history of the Star Trek franchise.

More striking is the sense that Sacrifice of Angels is very pointedly not the end of the larger arc. The Dominion War that began with Call to Arms does not end in Sacrifice of Angels, even though Sisko retakes the station and the characters return home. The Female Changeling even acknowledges as much in her dialogue, “Contact our forces in the Alpha Quadrant. Tell them to fall back to Cardassian territory. It appears this war is going to take longer than expected.” This is not over, despite the assurances that the writing staff gave Rick Berman on launching the arc.

The whole damn ballgame.

The whole damn ballgame.

Then again, this makes perfect sense. Star Trek: Deep Space Nine was constantly and continuously reinventing itself over the course of its run, with several of the show’s season premieres serving as de facto pilots for a new and improved version of the show and several season-enders serving as de facto series finales bookending a particularly iteration of the series. The Way of the Warrior and Call to Arms are a great example, the fourth and fifth seasons bookended by the First and Second Battles of Deep Space Nine.

As such, it is probably more satisfying to look at Sacrifice of Angels as the end of another new beginning for the series, the end of an extended opening arc that is setting up themes and ideas that might hope to pay off over the following two seasons. In some ways, Sacrifice of Angels brings the show back to the end of Emissary. Once again, the Cardassian Occupation has come to an end. Sisko finds himself affirmed as the Emissary of the Prophets and the Commander of Deep Space Nine. This is the order of things.

Going for gold.

Going for gold.

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Star Trek: Deep Space Nine – Indiscretion (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.

Much like Hippocratic Oath before it, Indiscretion serves to set the baseline of quality for the fourth season of Star Trek: Deep Space Nine. While The Way of the Warrior and The Visitor were ambitious deviations from form, Hippocratic Oath and Indiscretion offer a much clearer vision of what the show will look like from this point forward. As with Hippocratic Oath, a heavy two-hander a-plot is paired with a lighter b-plot that explores the day-to-day life on the eponymous space station, a structure that allows for world-building with sacrificing momentum.

Indiscretion works very well on its own terms. It throws together two of the show’s more fascinating a well-defined characters, putting Major Kira and Gul Dukat on a road trip from hell that inevitably throws them headfirst into conflict with one another. Watching Nana Visitor and Marc Alaimo interact is worth the price of admission alone, and Indiscretion throws a fairly heated personal conflict into the mix to create some tense and compelling drama. Indiscretion works very well as forty-five minutes of television.

Road trip!

Road trip!

However, it also works quite well as an exercise in setting up a longer game. As with most of the episodes that end up rippling through the continuity of Deep Space Nine, it is hard to be sure if the writers knew exactly where they wanted to go with the plot threads stemming from this instalment. Some of the difficulties dealing with the episode’s biggest legacy suggest that more thought might have gone into it. Nevertheless, Indiscretion is an episode that is clearly written with one eye on the future of the show.

As much as it stands on its own two feet, the episode is clearly written with a view to drama that it might enable further down the line. It is a story that seems to be written so that its consequences might fuel further storytelling opportunity. Deep Space Nine had toyed with the idea of serialised storytelling before, but this marks the point where the show just rolls up its sleeves and jumps right on in.

"You know, I think she likes me."

“You know, I think she likes me.”

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