Current Events > Star Trek watchthrough part whatever Spoilers from TNG season 7 on

(+) Yeah! (+)

Priorities can be a bitch, can't they? I had every intention of bumping the last topic, but by the time I got to it last Friday, it had already purged. For those of you mildly invested in my real life, exams went well and I now have no more ever (unless I'm mad enough to pursue another degree or my Masters'). Which means this series has no excuse not to be smooth from now on.

Episode 16: Thine Own Self

Fortunately, you can strip the irony out of that quote if your truest self happens to be pure.

Picard shows up, eventually.

Riker should never be allowed near a trombone. He turns into a complete manchild. Nothing but supportive, as he should be, at first. I like to think him justifying the cancellation is as close to a clue as he can offer. Otherwise, he's just being a dick.

La Forge and Worf lend their likenesses to a couple of NPCs.

Crusher really does like being the boss for a bit. Can't fault her for ambition.

Troi's facial expressions suggest that the reunion was a somewhat awkward affair. Manages to dodge the elephant in the room for a bit, but just has to ask why Crusher's in that chair. Plays along with Riker's silliness and lightly bullies him for it. Feel her frustration with the dodgy test. I like that one of thoughts is that it might be a Kobayashi Maru situation. Not sure I like her beating herself up once she passes.

Well, Data's clearly having quite a day from the cold open alone. Spiner's excellent, as expected, at playing Data as a dishevelled, imitating zombie, before turning him into a confused and fearful amnesiac. Aspects of Data's more familiar personality, particularly in his eloquent vocabulary, leak out more and more as time passes. Nonplussed by his examination. Manages to be even more innocent than usual. He's mentioned before that having a faith of sorts is what allowed to begin his quest for humanity, so, being unwavering in his belief of a sort of heaven is brilliant. Can't help but be pedantic and clever during science lessons. Has a warning tone to his voice when accosted by the local idiots. Goes full identity crisis when his skin is removed.

Garvin is perfectly decent. Painful as it should be to watch him gradually degrade.

Gia is a sweet and curious kid. Bit rude to declare his new name is Jayden, but it avoids Radioactive, so, I'll let her off.

The doctor and the blacksmith (especially the doctor) are fun parts.

I really liked that opening shot of the Enterprise lowering. I also like the subtle lighting of the night shift. I might just be a slave for the Bechdel test, but it really is nice, especially given this franchise's history, to just have two female characters discuss their occupations and recent events. Standard, but nice enough, medieval look to the planet. Like with the cold open conversation, its completely enthralling, just having Data and Garvin talk for an entire act. Masterful tension in having the obviously dangerous radioactive container casually handled like a bit of luggage. Especially as the typical tension making techniques are deliberately omitted. That shot of Data's slightly ethereal reflection as he looks at the moon is gorgeous. In true engineering fashion, the test is an exercise in if it can go wrong, it will go wrong. Interesting to have a knockoff of the "theory" of classical elements. Quite effective for Garvin's hair to begin falling out. Some brilliant shots of the exposed side of Data's face.

I'm glad that Troi got her promotion. I'm not so happy about why she gets it. This nonsense about wanting the character to be taken seriously wouldn't be an issue if the show itself had consistently treated her (and the other female characters) decently from the start. The how is a little problematic, too, since the solution to the test is to potentially send someone to their death. I may disagree with a lot of things involving the military, including the cavalier attitude to the value of a life, but it's not exactly a secret that dying in the line of duty is occasionally something that happens, so, its a bit nasty to portray Troi as someone who needs a hint after several tries before she realises something this basic. Then she beats herself up over it. Few steps forward, few steps back.

Luckily, Data's story is great. For all the importance we place on them, it's very hard for me to accept that memories make up the lion's share of who we really are. I prefer to imagine that our most fundamental selves are more intrinsic and axiomatic than that. Our most basic emotions, ethical drives, preferences ect don't have an obvious causal explanation in quite the same fashion that memories work in. There's no spiritual underpinning necessarily, but in practical terms, we might as well have a soul. So, allowing Data and Jayden to pretty much be the exact same person is not only the most optimistic answer to this question of personal identity, but it, and this plays along with his and Gia's talk about heaven, justifies the faith Data has had in himself from the moment he was first activated and declares emphatically that he is as valid as any human. Which I suppose is the point behind most Data stories, but it's a new enough approach that I felt pretty satisfied at the end of it.

A few niggles with Troi's story aside, this was a great start to my return.

Masks is next.

splodeymissile posted...

exams went well

yay!

i just thought about you and this topic a few hours ago. also too late to save the last topic. sorry =/

glad to see you back. I don't have much to say about the remaining episodes of The Next Generation. When you reach Deep Space 9 again, then my commentary shall continue

Episode 17: Masks

My favourite role has always been the First Lobster.

Picard is in awe of the machine and very curious about its culture. Immediately gets to work on archeology and corrects Riker on his assumptions. Very tolerant and compassionate to the new personalities. That's some self control to whisper instead of scream after being grabbed so tightly. Figures out the plot and I admire just winging the role of Korgano.

Riker makes a wry comment about the comet's long journey. Predictably, gets quite annoyed with the random symbols. A little amused by Picard's hoard.

La Forge shows a lot of concern for Data.

Worf does his job.

Crusher teases Troi about where the obelisk may have come from.

Troi makes for a good teacher. Appreciate her lack of deference to realism (its really overrated) and how elegantly she encourages Eric's creativity whilst dodging overtly disagreeing with the other teacher. Not sure about her reaction to Data's music note. Aside from knowing he has a problem with imagination and seeing how hes demonstrated an awareness of the abstract link between sound and symbols, there's a potentially interesting conversation about why he'd settle on that particular note rather than any other. I'd consider it a success. Despite what she says, isn't really interested in her potential admirer. Surely she knows Data wouldn't be the type to "cheat" at art.

Strictly speaking, given how precise we know Data to be, wouldn't only being accurate to within a percentage of the real dimensions count as artistic licence? Like with the note, I'd consider it a potential success. I understand his confusion. Its a very strange accusation. Spiner must have loved playing all those different personalities.

Ihat is a delightful man child. Absolutely no reason to get up just so he can lie on the table. Interesting how the most lucid of the bunch can be the most unnerving. The other personalities are a little one note, but they're all played to perfection.

Being away for a while, it's nice to return to cold opens that primarily focus on daily life. Kind of cozy. The comet's beautiful. The obelisk looks nice, as do the other bits and bobs. A very dramatic and tense scene, to have Data rattle off the meanings of symbols. Melting the core is quite gorgeous, too. Giving Data some forehead markings helps with the creep factor. Dimming the lights is always appreciated. Seeing Masaka's symbol everywhere is surprisingly powerful and spooky. The sequence of Picard and Ihat et al by the fire is very eerie, especially with the music. It's like it's not just the ship becoming something else, but the very genre of the show. It didn't take too long to figure out that the personalities are characters from a religious epic. Fortunately, Picard gets to and through his explanation before too long.

This is another one that apparently has a dubious reputation among fans, but which I quite liked. It's similar to The Inner Light in that a long dead civilisation forces someone to live through their stories. Whereas Picard got to retain his personality as he went through the tale, Data is completely subsumed into his many roles. Much like how many cultures attempt to actually invoke and briefly become spiritual beings through their performances of ancient stories. Which makes for a somewhat bleak contrast with nativity plays (which never pretend to be anything other than a flat reenactment) and the like, now that i think about it. And whereas its reasonable to believe that The Inner Light features a legitimate historical record, here we have a story from mythology that maybe links to some actual truth. So, they're opposites in a sense, too, and the points behind them are equally somewhat opposite. The Inner Light offered Picard a unique treat for an archaeologist: the ability to legitimately live as a member of a dead society and feel the fullness of their culture for decades. Here, while the basic gist eventually gets picked up, there are a lot of vagueries in what the actual mythology is and what it means to its people. Is Ihat meant to be a shooting star, a second moon that eventually drifted away or perhaps nothing of astronomical importance at all? Why is Masaka so feared? Was the planet so close to the sun that life could only thrive in the dark? Was it always that way? When they say Korgano no longer chases her, does that imply a tidally locked planet endlessly burning? The cast spends most of their time mostly in the dark and Picard admits he's pretty much guessing at the answer. Thousands of personalities inside Data, each of which could correspond to a god or a monster, a hero or an ordinary person, but we only see six and even the most clear inadvertently talk in riddles to an extent. If The Inner Light stands for the archaeological ideal, then this episode seems to be the archaeological reality: a struggle to get even the most vague of answers, with no guarantee of being correct in what little you do figure out, that's nevertheless still astonishingly beautiful for what little insights you do get into a people.

Far better than its dodgy reputation would suggest, but then I'm always happy to welcome a bit of spirituality into my Sci-fi.

Next is Eye of the Beholder. Well, if you want to go from 2d to 3d it helps to have two.

Tag. I do wish CE retained topics longer before deleting them. Made sense years ago when the board moved super fast but not these days.

Episode 18: Eye of the Beholder

Gotta love psychometry.

Picard considers this suicide to completely inexplicable. Open minded about weird stuff, as you'd hope by this stage.

Riker approaches Kwan with a mixture of gentleness and urgency. Rages at being unable to save him. Very vulnerable afterwards. But he bounces back and gets on with flirting. See through Worf near immediately and teases him for it.

La Forge is annoyed at his ship being fucked with. Doesn't really have an easy answer to Data's suicide question. Attentive and concerned that Data briefly considered it himself. Has the right reaction to seeing bones in the wall.

Worf handles this whole thing quite delicately. I guess it makes sense, since he wanted to die once. Shows genuine interest in Troi as a person and considers her feelings, as evidenced by him buggering off when she's tired. Riker's right, asking for permission from him is daft. Very awkward, but he finally gets with Troi. Absolute sweetheart afterwards. Clearly more confident, too, judging by how hes able to talk with Calloway. Reassures his lover. Seeing Dorn go full mockingly maniacal is a fun treat. Gets the message at the end and is appropriately terrified.

Crusher looks after Troi.

Troi gets up to some fine detective work. Quite distressed at suddenly contemplating her own suicide. Has a lovely story about her grandfather. Much more comfortable than Worf. I wouldn't ordinarily like her getting jealous just because her powers are temporarily gone, but since she's really Pierce in that moment, it's not too bad. Actually seems almost proud for "killing" Worf, which is kind of funny.

Data doesn't fully get suicide, though hes able to somewhat analogise it. Imitating La Forge for some reason. Once had issues of his own.

Right into the action with this one. Good angle for Kwan's suicide. They at least treat suicide with severity and give it the time it needs. Some nice filters for Troi's visions of Pierce. The universe apparently doesn't want Worf and Troi to have a moment together. The directing gets madder as Troi's mental state does the same. The explanation is a bit of a graceless technobabble dump.

While I appreciate taking the time to seriously and compassionately explore suicide and its potential causes, Data's thoughts on the subject are a bit problematic to me. While his reasons for considering the android equivalent are something that a great many people could relate (including, at one particularly bleak stage at my life where I suffered a few too many failures in a short space of time, myself), his reasoning of seeing life as challenges rather than obstacles is more than a bit off. Similarly, La Forge agreeing with this and Calloway having a moment of all but calling Kwan selfish for leaving her speak to an episode that has its heart in the right place, but not much else.

The second part (which is almost a different episode in its own right) takes us to a particular form of ghost story. What Kwan and Troi experience is basically a very powerful form of psychometry (or whatever the equivalent for history of places is). Rather than a specific individual, who's trapped in one emotion and semi intentionally rages at anyone who ventures into their haunting ground, which is what most ghosts are purported to be, this is the ghost of the Nacelle tube itself and its trauma at suffering a dreadful tragedy at the moment of its "birth". Instead of Piece directly menacing them out of unresolved jealousy, the full gamut of his emotions during that event influence people into feeling all that he felt, including the guilt and fear. So, while Piece is a villain and a ghost of sorts, he's not quite the traditional spectre and, if any peace was ever to await him, he's long since found it. Even the use of the tube seems deliberate, since its the closest thing to a dark alleyway the ship has.

Has some good moments, particularly in the second half, but it's focus is a little divided.

Genesis is next.

Episode 19: Genesis

The alcohol virus seems like it'd be more fun.

Picard doesn't really care for the weapons tests. Annoyed by Riker smothering him. Seems to guess that the grumpy soul in his ready room is Riker before he properly enters and braces himself for it. Has the correct reaction to spider-Barclay and can be seen chewing his nails afterwards. Full of panic and fear for the rest of the episode.

Apparently, Riker's happy to get it on regardless of venue. Does the whole protective spiel, but seemingly only so he can annoy Picard. More forgiving of Worf's attitude than I'd expect. Doubt the Lower Decks crew would get a break. Has the confusion of an early stage dementia patient and has to defer to others. Looks very grumpy when trashing the office.

La Forge can't keep up with Barclay and quickly becomes the only sane man for a bit.

Worf has such a note of pride when mentioning he designed the system. Stressed to fuck by everything and is generally an arse. Loads of fun to be had in watching Dorn snarl and scurry in a feral rage. Irritated by the temperature, gets a bit rapey and then goes blanker than Riker until its time to hiss and spray.

Crusher's annoyance with Barclay quickly turns to sarcasm. Excited over the many pregnancies. Worried by everyone's condition and has some proper convincing screaming after getting spat at. Nearly dooms everyone.

Troi's got a remarkable level of tolerance for Worf's shit mood. Deadpans her way through the fiasco. Absolutely love the blunt delivery of "live with it". Mad lass takes a bath fully clothed and is far more concerned by the cold than a Klingon hassling her. Seems to be in constant pain or at least discomfort as an amphibian. Dreading the inevitable therapy sessions with Barclay.

Data continues to be a good cat dad and decides to be surprised. Little note of despair in his voice when explaining that Spot likes nearly no one. Stern tone of voice when warning Picard away from luring the horny Klingon.

Ogawa continues to live her best life. Her reactions to basically everything are adorable. Like La Forge, maintains her sanity longer than most.

Barclay still has some confidence in how he speaks, but he's also still a panicky hypochondriac. Treats having dodgy genes as a personal failure. Would make a good cat dad himself and couldn't be happier. Like a toddler after 5 bags of skittles and has the motor mouth to match. Schultz gives him such an exaggerated spring in his step, it's like watching an oddly graceful drunk. Can't have enjoyed being a spider.

Worf's attitude, awful manners and mild paranoia are some fun clues that something's up, especially as certain behaviours are not too far from his portrayal in less flattering episodes. The red lighting in his room helps with the whole primal thing. Some nice heartbeats in the soundtrack. The suddenness of Worf spewing acid is actually quite shocking despite the obvious set up. We get a spooky walk through the ship. A lizard in a collar is kind of cute.

Yep, the science makes no sense. But I never really expect it to in fiction, so, I can't say I care. Turning most of the crew into animalistic monsters is just too fun an idea to let reality get in the way. And there is something quite horror movie esque in the directing (which is apparently McFadden's work and her one contribution from behind the camera), so, it does what it sets out to quite well. Nowt else to say.

Sometimes you just need a fun romp. Can't fault something too much for being entertaining, even if that is all its trying for.

Journey's End is closer than it should be.

Episode 20: Journey's End

In all of fiction, I have found prescious few characters I hate as much.

Appreciate Picard being the bigger man and extending an olive branch to Nechayev. Sees the disturbing politics immediately and has the decency to consider how the settlers will feel about it. A little offended by the insinuation that he's laughing about their beliefs. A part of me likes to believe he's given up on Wesley and is just offering a feeble justification for leaving him alone. Quite shaky voiced when ordering Worf to get on with the displacement.

Riker has some fun subtly implying that Picard is an ass kisser. Doesn't see the point of being decent to Nechayev and gives the arrangement a second look before he leaves.

La Forge is friendly, if a bit awkward with Wesley. Very excited to show him his new toy, only to have the wind taken out of his sails. Mercifully, doesn't tolerate his attitude for long.

Worf has the decency to be try and be gentle with his job. Trusts the wrong shitstain.

The jokingly self pitying banter makes this one of the few times Crusher has actually felt like she could be Wesley's mother. Rightly reprimands him for being a git.

Troi does her job. At least, she has a good grasp of history.

Data actually cracks a decent joke. Sure, he spoils it by quickly explaining it, but still.

Wesley has mellowed out considerably. Little bit awkward and it seems to be from a mixture of unfamiliarity and guilt over The First Duty. Or so I hoped, but his attitude towards La Forge is some of the worst smugness and entitlement hes ever demonstrated. Between his appearance in Parallels and the cold open, i almost came close to liking him, but he insists on being a sneering little prick. No excuse for him blowing up at his mother like that. And what a "woe is me" rant it is, especially coming from a little runt so overprivileged he not only got into a prestigious school earlier than most, he got to stay there after killing a man. Treats his guide with contempt and blunders around like an ignorant tourist. He's right about it being wrong to displacement them, but for the wrong reasons and it shouldn't be him saying it anyways.

Nechayev is more personable than usual, recognises Picard's gesture and has the basic decency to feel bad about what theyre doing.

That final shot in the cold open is a good way of demonstrating how closed in and trapped Wesley feels. Any time something involving native Americans shows up in media, I brace for the worst. Anthwara just about manages to be dignified in places, but every scene Wesley has with the natives is the height of cringe and not just because the little shit is stinking up the place. It's not enough that he's such a special little boy that he gets to enter their most sacred place, but he gets to be the white saviour too. But they up it, by allowing him to be so extraordinary that he becomes the Traveller's companion. The last couple of scenes between Wesley and his mum are nearly insufferable to sit through.

I don't even really want to discuss the natives because they're made up of the standard thoughtless caricatures. Besides, the attempt to criticise (or I suppose noncommittedly "discuss") manifest destiny falls flat, given that the colonisation of the Americas boils down to selfishness, greed and entitlement, whereas there's at least a veneer of legitimate pragmatism to the Federation's decision.

No, it's all about Wesley (I mean, the universe near literally revolves around him) and, for two beautifully naive moments, I honestly thought there might be a respectable attempt to redeem the character or at least repeat The First Duty and shit on him a little, which would at least be fun. Instead, I get a white saviour narrative that would horrify Allan Quatermain. And he gets rewarded for his attitude and gets seen off with a smile. I suppose a part of me is grateful that I'll hopefully never see him again.

An episode that would make for a staggeringly poor TOS romp and which only cements how much I loathe Wesley fucking Crusher.

I'd be shocked if Firstborn wasn't an improvement on this filth.

Wesley Crusher had a cameo in the movie Nemesis, but it was cut from the theatrical version. You might be able to find it on the DVD

Now that you are finished with Wesley Crusher, you can look forward to a more likeable lad in Jake Sisko on Deep Space 9

Masks is one of my favorites from Season 7. Glad to hear you liked it!

Given the Cardassian's portrayal on DS9, I just cannot imagine this little colony survived very long.

Episode 21: Firstborn

Picard takes a slow work day as a perfectly fine excuse to bunk off and do some archeology. Sweetly gives Worf a pseudo holiday, too.

Riker is quite amused by Quark's antics. Can't wipe the smugness from his face when carrying out the magnesite plan.

La Forge cowardly refuses some Klingon snacks. Cuts a deal with some randomer, with the lightest touch of threats.

Both Worf's rehearsal and performance got away from him a bit. Still not a fan of him being a dodgy dad, but at least he begrudgingly recognises free will. Rather clever of him, the way he encourages Alexander to get involved. Good nose for scams. Rebukes K'mtar for his rudeness and is somewhat honest about his troubles, but is a little too deferential. Good on him for still respecting his mate and putting his son above nonsense like family honour. Seems to get the hint about letting his kid live his own life.

Crusher shows an interest in Klingon culture.

Troi didn't need to be an empath to sense Riker's scheme.

Data does his job.

Alexander makes the right choice at the start. Love how he immediately reaches for his dad's recently bought sweets without even looking. Bit too easy a mark for his (nebulously defined) age. Unwilling to kill the defenceless, which is a fine virtue. Good on him for refusing K'mtar.

K'mtar is definitely loyal and has a nice way of snarling at people. Astonishingly good with children, at first, though with a sinister note of manipulation and it dies when he doesn't get his own way. He's right to question Worf's capability as a parent, but for the wrong reasons. Overplayed his hand with Alexander. One hell of a guilt complex.

Quark puts in an appearance and is as fun as ever. Between him and Riker, it's hard to tell who enjoyed their banter more.

Gorta does alright for a one scene wonder. Seems to lust over the sisters, which is almost, but not quite, understandable.

The sisters are themselves.

There's a lot of fun in seeing a Klingon party in full swing, especially with the theatrical recreations of Kahless' story. The conversation at Alexander's bedside is beautifully done. The time travel twist kind of comes out of nowhere, but it helps give the episode its point.

It's nice for the episode to point out how stupid conceptions of family honour are. To care more for politics, tradition or how you are seen by society over the wellbeing and happiness of your children is a flatly evil mindset, so, much as I feel that the twist comes a little out of nowhere, it's great seeing future Alexander as a man who's broken by his perceived failure to be who he's apparently meant to be, who's so obsessive about correcting a tragedy he blames himself for that he desires to completely destroy himself. Given how much of a grim figure Worf has been as a father, its a nice sobering reminder that all he's going to amount to, if he doesn't change, is being a bleak spectre forever haunting his son's life.

Still can't get over the suddenness of that twist, but it's a decent Worf episode with an actually pretty good point to it.

Onto Bloodlines.

I actually meant to bump it but it was gone by the time I thought I should lol.

Also, I think this is Part 5?

Firstborn was the final Klingon or Worf episode of The Next Generation. Alexander does not appear again in The Next Generation

The remaining episodes are pretty good save for one.

Episode 22: Bloodlines

Well, it's marginally better than killing him off.

Picard is certainly shocked to see Bok again (as am i) and even more so to learn he has a son. Reminisces about Miranda and respects Riker enough to let him know. Makes some awkward small talk with his son. Puts in a substantial amount of effort to start a relationship with his boy. And I think he makes the right call in considering keeping his distance. Tries to be reasonable with Bok. Blames himself for his son's criminal antics, which is completely wrong. Incredibly compassionate and understanding during the rock climbing talk. Pretty good joke about his hairline.

Riker seems amused by the Ferengi debate. Treats Picard's situation delicately. Immediately understands why Picard would like Miranda.

La Forge does his job.

Worf does his job.

Crusher drags out the suspense a bit. Guilt trips Picard into being an annoyance. Gives the standard "parenting is hard" speech, which has to be one of the laziest writing tropes around.

Troi's quite cheerful. Shuts down the godawful flirting attempt near immediately.

Data does his job.

Bok has lost none of his bitterness and bile. Its been so long that I didn't even notice the change in actor.

Jason is literally every long lost son ever. Arrogant to the point of stupidity and a little bit shirtless. At least, he gets on with things without fuss. Rude as shit to Picard trying to share his interests. Has the pathetic angst that nearly every example of this character needs to have. An astonishingly creepy flirt. Has the slimiest, leering smile ive ever seen. Complete dick to Rhodes for no reason and isn't any nicer to Picard. I may not like the archetype, but the anger when discussing his mother is played well.

For a complete nothing of a role, it's shocking that Rhodes actually sticks in my mind a bit.

Yeah, Picard's interactions with Jason manage to be appropriately awkward. As someone with an epileptic sister, it's never fun to see seizures. I have little else to comment on.

Does anyone actually like this kind of character? I see Jason Vigos in a great many works of fiction and they never seem to be the most popular individual from their world. Everything about this guy is so paint by numbers that I'm shocked (and I probably shouldn't be) that the only mildly interesting wrinkle they saw fit to write in is rather hilariously mocking the concept of long lost relatives by revealing the whole thing to be a sham. And even that is handled about as weirdly as K'mtar's identity. Apart from that, we have the miserable "just muddle through" school of parenting advertised which would never be my preferred moment in any story. Here, it only manages to be as lazy as everything else.

An unlikeable guest star and a soulless plot are not a good combination.

There may be an Emergence later.

hexa posted...

Wesley Crusher had a cameo in the movie Nemesis, but it was cut from the theatrical version. You might be able to find it on the DVD

Now that you are finished with Wesley Crusher, you can look forward to a more likeable lad in Jake Sisko on Deep Space 9

I would actually say that [REDACTED CHARACTER] is Wesley done right.

Episode 23: Emergence

It's life, Jean, but not as we know it.

Thanks to Picard, we know the lighting is intentional. Pouting over the darkness. Has a fine interpretation of Prospero. Spends some time gradually trailing off as he tries to find what Data's noticed. Naturally, impatient over the weirdness. Still holds absolute respect for life. Mostly optimistic about the new life.

Riker isn't optimistic about potential colony sites. Tries to bluff his way through the train drama.

La Forge isnt willing to take credit for something he didn't do. As puzzled as everyone.

Worf is predictably shit at going along with Riker's lie. Develops a mild sarcasm when around Troi.

Appreciate Crusher's love for the orient express.

Troi tries to engage the characters as actual people and generally approaches this as a psychological exercise.

Data approaches his role with suitable bombast. His dedication to realism is almost admirable and probably a worthy creative endeavour in its own right. Perplexed by the sudden train and gives a confused shrug after it passes. Almost casually stops a crazy taxi. Using Miranda at the end is actually quite thoughtful.

The characters on the train are a fun group of vaguely sinister weirdos.

I'm probably one of the few people mad and pretentious enough to enjoy Data's original artistic vision. Darkness has its uses. A sudden train is a beautiful image and the still quite low light level gives it an extra ominous flavour as it moves in from the background. The train is a lush set (if an obvious pun) and the crew of anachronisms are an amusing image. It's nice seeing the nodes being done by jigsaw and card games. The mostly empty city has a dreamlike quality to it.

One of those facts that is so obvious that it's nearly ignored and, therefore, sometimes forgotten is that the Enterprise is literally just a story vehicle. While some fans probably have fun going over fictional schematics, attempting to make consistent maps of the various decks and trying to figure out precisely how fast a given warp factor, the reality will always be that it acts in whatever manner best serves that particular episode's writer. So, its as fast as the plot requires, for instance. Equally, the holodeck is also a story vehicle, one that's necessary since Star Trek has to pay some lip service to being serious Sci-fi, which unfortunately means certain story ideas and even genres aren't feasible without resorting to the planet of hats style of TOS. But the holodeck is in universe fakery, so, it also a reliable source of meta stories. So, if you're going to allow the Enterprise to come alive (and there's no reason not to), the holodeck being the seat of imagination makes perfect sense. Even better, its meta nature allows it to act as a representation of the creative process itself.

As we are reaching the close of TNG (there's also the small matter of this being intended as the writer's last hurrah, as well), starting with Prospero and Picard's interpretation of his character makes perfect sense. One last creative endeavour. The ship comes alive and its mind takes the form of a who's who of character archetypes that the show couldn't normally get away with using. And the final act is for it to produce offspring. Obviously, the daughter shows of DS9 and Voyager. And Data and Picard close it in a similar manner to how they started it: by using a character from The Tempest to comment on what's going on and how they feel about it. As this is Star Trek, hopeful is the answer.

Meta plots will always have a place in my heart and this is no exception. Pretty great.

Preemptive Strike may come early.

Episode 24: Preemptive Strike

Who betrayed whom?

What a sweetheart Picard is to rescue Ro. Continues to show his absolute faith and trust in her. Frantically tries to end the skirmish peacefully. Bites back a little at Evek. Still friendly ish with Nechayev and has picked up a bit of banter with her. Plays along with Ro's lie. The convoy plan is an oddly dark move from him. Literally threatening Ro isn't great, either. Stews in fury at the end.

Riker is in disbelief over having to fire at their own people. Full of sarcastic comments today. Takes Ro's defection decently.

La Forge seems to be the happiest to see Ro, which makes sense given what they've been through together.

For once, Worf plays his part in a bullshit production to perfection.

Crusher's quite affectionate to Ro. Appreciates personal space.

Troi shares some mutual congratulations with Ro.

Data gives Ro a lingering look of recognition when she first takes the conn.

Ro is predictably overwhelmed by being the talk of the ship, but tries to tolerate the attention. Briefly looked betrayed when Picard walked off. Nothing but grateful to the man. Doesn't enjoy having to help the Cardassians, but does it out of loyalty to Picard. Deliberately overplays her nervousness in the bar, snogs a randomer and didn't seem to mind him that much. Responds to the Maquis' aggression in kind and pulls a ballsy move with the Enterprise heist. Plays Kalita like a fiddle. Has a lovely moment of remembering her dad's music. Frankly, I think she picked the right team in the end.

Nechayev continues her turn towards being vague sweet.

Unfortunately, I don't find any of the Maquis characters all that interesting. Macias snags half a point for his food obsession and unwavering optimism, but that's about it.

Some nice battle scenes. I'm a little surprised by what adult female Cardassians look like. Maybe we've seen one or two before, but she's really kept in view for a fair while. Love a dingy bar. Ro's casual outfit is quite nice. The aggressive interrogation scene is a bit too standard. Seen it before so many times. Shield penetration looks nice. Picard and Ro are shot in darker lighting than usual during the convoy scheming. The three hooded Cardassians are some decent five second foreshadowing.

Apparently, this is another case where it may have been better for me to weave between two shows. When I started this little journey, I did intend on doing so, but I realised as I got closer that such a thing would probably annoy me. So, I'll get around to the full context later, I guess. Anyways, Ro is in the right and Picard is in the wrong, as far as I'm concerned. Frankly, it's incredibly rich for Picard to address the Maquis as Federation citizens when the Federation literally abandoned them for the sake of treaty negotiations. Sure, pragmatism might rule the day in matters of tense politics, but that's of little comfort to the people who are now expected to go elsewhere or else they'll be ignored by one government and outright oppressed by the other. In light of that, making a third faction opposed to both is the only sensible choice if you actually want to live anything approximating a decent standard of life.

Picard actually accredits himself well, at first, acting like a man who's trying to make the best of a bad situation. The first warning sign is his statement about sympathy having its limits, which goes against literally everything we've seen of him over the past 6.9 seasons. Then, he literally schemes to lure Federation citizens, as he himself put it, into a death trap and threatens a woman who has demonstrated nothing but unconditional love and gratitude towards him with ruining her life if she doesn't march a bunch of people with a pretty legitimate grievance to their death. Considering the animosity between the two, its baffling how Riker ends the episode looking like a better friend to Ro than Picard ever was. I'm left wanting to follow Ro's adventures more than seeing how Picard's end. The Enterprise crew are on the wrong side.

Probably the perfect ending for Ro's character, that loses all merits because it insists on assassinating Picard's along the way.

All Good Things...

Episode 25: All Good Things...

Should it have happened at all?

Picard has an understandable reaction to randomly moving through time. Confused and at the breaking point over how vivid, yet intangible it all is. Warmly greets La Forge like the old friend he is and hasn't lost his cantankerous edge just because he's got a condition. Recognises Yar with a grim sadness. About ready to cry when he returns to the present. Resents the insinuation that he's delusional and senile. Seems to trust Data more than anyone. Panics over his persistent visions and calls for red alert. Decides to avoid changing history, but his familiarity with people shines through. Acts like each new revelation for the audience is a sudden reminder for him. Demands Q's prescence and an explanation. Guilt trips Worf, but is astonishingly honest about it. Very clever to steal Data's idea. Gets maddeningly desperate with Riker. Becomes increasingly rambly. Is actually grateful to Q. Finally joins his friends at poker.

Riker doesn't enjoy disappointing his captain. Takes the time travel business with severity. Seems to stew over Worf and Troi's relationship, which isnt right. Isn't very helpful with procuring a ship. Irritated that no one took his advice and has a particular beef with Worf. And it's a stupid beef since both he and Troi have only ever demonstrated that it ended well.

La Forge seems to be living his best life. No visor means that Burton is able to use his eyes in his acting, allowing him to show fondness and confusion much easier. It's not Leah Brahms, is it? Because that would be slightly weird. Treats Picard a bit too gently and comes off as patronising. Doesn't get Data's hair. Comes close to the limits of his patience with Picard, but always pulls through.

Yar was quite eager to please, apparently and takes implied disapproval like a grievous wound. Practically pleading when she thought Picard had given her Worf's job.

Worf is a bit too stoic for his own good. It's both sweet and a little pathetic that he's thinking of Riker. A little argumentative with Picard. Too good a man to refuse him passage.

Crusher is more worried that Picard predicted his potential condition than that its possibly going to happen, though that does obviously bother her as well. Nice that she gets a tender moment with him. Seems to have had a slightly tense history with him, but is still fond and willing to go on one last mission. Indulges him with the captain's chair. I'm not happy with her explicitly mentioning him as her ex husband. Conflict for conflict's sake that.

Troi's wanting just a touch more emotional intimacy. Snarks her way through Worf's mentions of Riker and its pretty glorious. Tries to play peacemaker over Picard's erratic behaviour.

Data still enjoys going through the motions of whatever role hes playing. Has become a crazy cat man. Apparently, has the capacity to laugh now. Through honesty, comes off as the most decent to Picard. Has an argument with O'Brien. Quite fascinated by his own ideas. Amused by Riker choosing his own ship.

Ogawa gets one last hurrah.

Nice seeing O'Brien again. Quite moved that Picard knows about his childhood. Barely tolerates Data's literal mindedness.

Q is his wonderful self and greatly enjoys playing up the childishness and mockery for his conjured peanut gallery. The old man routine is fun. Makes sure to dress his most important lines in ominous seriousness. Has fun guiding Picard to the right answer. Is actually stunned by his gratitude.

Tomalak has gone full panto villain and I love it.

It's nice that they made Worf and Troi sort of official at the end. Sudden jump cuts into different time periods are a fine choice. There's something very peaceful and pleasant about the future farm. The randomers constantly jeering at Picard are very spooky. The shuttle scene begins with ominous music to highlight how concerning this situation is, but it builds to a grand crescendo with a few hints of the main theme when we get our "first" look at the Enterprise. Future Cambridge looks nice. It's a fun treat seeing the old uniforms again. Of course, Q's court appears via jump cut. The makeup effects for the older crew are quite decent. Anti-time looks and sounds ominous. Both the Pasteur and the upgraded Enterprise are lovely designs. How else would you end, but on everyone at the poker game?

Nostalgia is a truly dangerous thing. There's a temptation, one which I myself fell into for a few too many years, to obsessively cling to the past at the expense of anything truly novel. During those years I would incessantly rewatch the same films and shows, replay the same games and on the rare occasion I allowed something new to enter my memory, I'd beat it into there just as repetitively. Even life events were treated with a sense of trepidation, including positive ones. I simply did not want time to move and the ending of things, even seemingly trivial matters like a TV show having a break between seasons or ending outright, left me vaguely hollow. I'm far better now, of course and genuinely feel like I'm living my best life.

I think the paradox at the heart of this episode comes from a similar place. 25 years have passed, yet Picard eventually gathers all his old crew on a mission to repeat what he's already done in two other time periods. But you can't get the same effect on a rewatch as you did the first time. You know what's coming and you can comment on it. So, his past self, taken from before the series began, derails the first episode because he already knows when Q is supposed to appear. Predictably, Q alters his entrance. Retreating into memories runs the risk not only of killing any chance of a future, but of eroding the joy you felt the first time. History itself gets replaced by a dull vacancy. Hence, anti-time.

Q's trial wasn't really about humanity in general. It was about whether the show itself could live up to its lofty ambitions of taking the idealism of TOS and doing it better and more consistently. Picard was attempting to justify being allowed to have a first episode at all. What exactly can this new show do that might be worthwhile? And, now that 7 seasons have passed, has it done anything worthwhile? Q's criticisms, particularly the mention of Riker's career, are about pointing out that not everything this show has aimed at was good. Given the choice between TNG and literally any other show that may have occupied its place, can TNG make a case for it being in the best timeline, where it has actually helped people become more idealistic and utopian? Or has it amounted to little more than vapid comfort food, a balm that helps no one, but traps them in endless reruns as they frantically cling to the past to avoid the present and especially the future?

Picard's chicken and egg analogy may be confused, but it's spot on about the cause of anti-time. There isn't really an obvious cause at all, but a manifestation of a poisonous idea that could easily erase any good the show did do. Picard both did and didn't cause it and it barely matters, at any rate. The solution is to move forward in all three time periods and physically prevent backwards thinking from invading the march of ideas. Which means the past and present Enterprises have to die. Their time was beautiful and that beauty can be carried on to what comes next. But there must be something that comes next. Picard justifies TNG's right to have existed by allowing it to end. But this brings one final complication. In universe, there will be many more adventures, of course, but if Q is always slightly meta, maybe briefly seeing the world as he does makes you slightly meta, too. So, on some level, Picard knows this is his last chance. Time to join the poker game and show his friends how much they meant to him. Because if all good things must come to an end, they can at least end well.

And end well it did.

Rankings tomorrow.

RedLetterMedia summed up the finale well, I think. They said that other episodes were better, but it's a really good finale.

End of season 7 (similar problem to before where I've had a bit of a break. Those of you who remember my words better than I myself do may be scratching your heads a little)

Top 7:

Gambit (yep, both parts. I'm tempted to give it two slots. Either way, it's a fine pirate romp and among the more consistent multi parters)

Dark Page (Lwaxana is at her best when she's treated seriously)

Parallels (a really well done high concept exploration)

Sub Rosa (perhaps my most controversial inclusion. I understand the majority's problems with it, I just disagree that they actually are problems)

Masks (another controversy, perhaps, and recency bias may be in play, too, but it works brilliantly as nearly the exact opposite to The Inner Light. If you insist that Gambit should have two slots, bump this to runner up status)

Emergence (as good a metaphor for what coming next as you're likely to find)

All Good Things... (addresses both the beginning and the end, gives a satisfying answer to the show's main question and does it through an appropriately brain bending bit of technobabble)

Bottom 7:

Liaisons (wastes it's one good idea in favour of being a TOS reject)

Interface (its impressive how they made such an obviously interesting concept so boring. I think my opinion has soured even more with time)

Force of Nature (another one I've probably soured on over time, but it's a dreadful environmentalism parable)

Homeward (the guest stars should not be consistently more moral than our heroes, but that's all too often what a prime directive story becomes)

Journey's End (has precisely one good point: it's the last ill ever see of Wesley bloody Crusher)

Bloodlines (as cowardly as most stories of this type, with an unlikeable guest star to boot)

Preemptive Strike (almost avoided being here for Ro's arc alone, but I can't abide what they did to Picard's character)

Miscellaneous thoughts:

Descent, Part II (almost made the top 7)

Phantasms (almost made the top 7)

Attached (almost made the bottom 7 for the simple fact that I remember nearly nothing about it apart from the basic premise. Can't even recall if I broadly liked it, but I'm leaning towards no)

The Pegasus (I'm liking the revelations of Riker's character even less as time goes by. Was outfought by Preemptive Strike)

Lower Decks (no danger of the top 7, but I will give it praise for having a genuinely good idea. I just wish more was done with it)

Thine Own Self (just lost to Masks for the quasi runner up position)

Journey's End: The Saga of Star Trek: The Next Generation (doesn't really count for obvious reasons, so, I haven't watched it yet, but I may do so eventually)

Overall, its slightly more spotty than the golden age of seasons 3 - 6, but I think the quality was still mostly high. And I still maintain that 1 and 2 are better than their reputation suggests. Don't think we've had a single mostly bad season.

Returning to Deep Space Nine for The Homecoming.

Star Trek: Deep Space Nine

Season 2

Episode 1: The Homecoming

Long live emperor Jaro.

Sisko starts the day in a thoroughly ecstatic mood. Still warms my heart to see his excellent relationship with his son. Little inhibiting with his kid, but proud of this milestone. Makes Kira stew in impatience for a bit. Pretty much already made up his mind, but doesn't want to vocally disappoint her. Fiddles with his baseball out of stress. Relents and gives up the runabout out of pragmatism. Lightly accusatory over how much O'Brien has thought about things. Very severe when he insists that he accompany Kira. Has a cheeky smile after Dukat hangs up. Initially pleased to have Li around, his demeanour drops slightly during their talk in his quarters. Picks up that there's something off about him. Comforts his boy over the failed date. I disagree that Bajor needs a legend.

Odo jumps in as stern and rigid as ever. Doesn't enjoy admitting that Quark's tip was legit. Takes him a split second, but sees that some scheme is afoot and refuses to entertain a potential friendship. Love that head shake as he walks away. Contemptuous of The Circle.

Bashir respectfully ends his history discussion when it's clear Li isn't into it. Stern with Quark.

Dax dreads baseball discussions. Sees through Sisko's attempt at a trial balloon and states the simple solution. Has a sharp awareness of politics. Give Kira a truly beautiful affectionate gesture to confirm she's got a ship.

Jake continues to be a fine lad and braver than most blokes three times his age. Even in just one scene, he acts more like a teenager than Wesley ever did. Sadly, sometimes they can't make it and sometimes there isn't much of a reason, either.

O'Brien is pissed off at someone desecrating his station. Little sheepish when Sisko grills him over the runabout's proposed modifications. Has some rueful sarcasm. Incredulous over the Cardassians' offer of help. Amused by Kira's bluff. Meaney plays O'Brien's pimp persona as a lovely disgusting "wahey" type. Didn't like walking into a forcefield.

Quark does a good job at seeming sincere. Fucking with Odo's head for the sheer fun of it. Probably the best flirting we've had from a Ferengi, but that isn't saying much. Needles Kira for fun, too. Like a true businessman, scalps his employees, whether they're family or not. Immediately intends to sue. Takes Kira's compliment far too seriously.

Kira does some meditation. Has zero patience for Quark's existence and aggressively demands answers. Nervously and earnestly requests the runabout, already knowing what the answer is going to be. Has enough concern for the Federation to try and resist having help. Thinks fast and bluffs her way past security. Visitor delightfully overplays the bitchiness of Kira's prostitute act. Surprised by Dukat's message. Not happy about losing her job.

Rom doesn't get Quark's plan. Whines about unfair wages, then, when they're made even more unfair, whines some more. A true dog, this man.

Li is a bit off from the moment he steps on the station. Soft spoken to the point of manipulation and clearly cynical after his experiences. Sniffs a flower for far too long and highlights how hes a hero, which Sisko seems to find strange. Ultimately, feels he's an imposter and he's got a point. With little actual leadership experience, the most he can amount to is a figurehead.

Dukat isnt happy about his message.

Jaro is a fine political opportunist.

A very confident pan of the promenade starts us off. Kira's quarters are very dark and moody. Her casual outfit is nice. O'Brien's, less so. We get to soak in the misery of an alien rock quarry for a bit. They take their time with prostitute Kira's walk up to the guard. The usual crowd of thoughtless idiots hover around Li. Quite tense and awkward in his quarters. Quark getting attacked was obvious. I was surprised that it's a multi parter.

The government is facing teething troubles again. In fact, its a complete omnishambles and the central issue is what to do with it. I'll have to reserve some judgement until we get to the final part, but the solution hit upon in this episode is blatantly incorrect. Li is seized upon as a living folk hero who can unify the people and finally bring about some semblance of order. He's a walking representation of populism, he knows it and he bloody hates it because he's self aware enough to recognise that he's actually a poor fit for being a leader. But he's elected anyway and given a new title which might as well translate to "supreme dictator for life". Meanwhile, Jaro, being an actual politician, is able to piggyback off Li's popularity to aquire some of his own, which eventually allows him to install Li as what I predict is going to be a puppet ruler. He replaces Kira in the process because she's unpopular. The fact that she does in fact stand for honour, decency and has more than a shred of actual competence in her role is completely irrelevant. I'm hoping that Sisko's shock at the end is him realising how badly he's fucked up.

The Circle, meanwhile, are another group of populists, albeit more extreme, since there are few expressions of populism more complete than suggesting that a certain collection of people are the cause of all your ills and that things will immediately be better if they're simply removed. There's a dark humour to the fact that the one bit of praise given to the Circle is that they're well organised. Since all factions are using similar methods, this effectively means that Sisko's grand plan is to do what his enemies are doing, but deliberately less efficiently and hope that it will somehow work. It's quite naive of him to expect that a living legend can motivate an entire people to create a vaguely serious society. In reality, all it will do is make the people pliant and supplicant to the will and whims of whoever is controlling the legend. Li doesn't care, so, the crown falls on his handler.

How it ends may sour me on it, but it's a highly confident engaging reintroduction that sets up an interesting theme.

The Circle is next.

splodeymissile posted...

Star Trek: Deep Space Nine

Season 2

are you starting with season 2, or were you watching season 1 at the same time as TNG?

ROBANN_88 posted...

are you starting with season 2, or were you watching season 1 at the same time as TNG?

he is watching them in chronological order. he watched season 1 of deep space 9 before he watched the final season of The Next Generation

ah, i see
i didn't realise they were airing at the same time

Yeah, originally I was gonna weave between shows. Do an episode of TNG then one of DS9 in order of airing. Instead, I'm doing a full season at a time and whichever had its first episode earliest is what I'm starting with.

So, DS9 season 1 was done between TNG season 6 and 7. If the films came out mid season, I won't actually be watching them until the end of that season.

Episode 2: The Circle

Must be broken.

It doesn't take long for Sisko to see exactly what kind of man Jaro is and he has some grim fun in insulting him to his face. Goes to bat for Kira without hesitation and punctuates just how much she mattered as she leaves. Very noble to offer information for free. Decides to draw out the evacuation as long as possible.

Odo's in a complete fury at losing Kira and wants to fight against it. Admires her for her personal code, since he basically lives by similar. Backhandedly compliments her since its pretty much the only way he can show affection. Annoyed by the seeming lack of support. Forces Quark to help him, continuing his weirdly loveable fascist vibe.

Bashir politely wishes Kira well and sort of hangs on the edge of a conversation he doesn't quite get. Savvy enough to understand why the Cardassians would be involved.

Dax is much gentler in her suggestion that Kira find some way to fight.

Jake gives his dad some bad news.

O'Brien also wishes Kira well.

Quark tries to gregariously charm his way into the circle of friends and bringing free booze is as good a tactic as any. Clearly wanted a more private farewell, but doesn't lose his stride. Panics and tries to do a runner, but gets in a hearty laugh at being made a deputy.

Kira sees through Odo's insults and disarms him by admitting that she'll miss him. Flustered, bemused, annoyed and yet very grateful for the absolute circus around her. Rescuing a labour camp together has led to be more affectionate with O'Brien now. Warmly admits that the unexpected guests are her friends and you can see the tears welling up when Sisko praises her. Needs to be useful and has no artistic aptitude whatsoever. I know the feeling. Has some religious ecstasy. Quite optimistic about democracy, despite her grumbling. Love her defiance.

Jaro proves himself a master at double speak, effortlessly putting on the veneer of innocence, whilst idly playing with the baseball as a mocking power play. His adoption of Cardassian tactics prove him to be a self serving fascist.

Bareil is coming off as a bit sinister with his suggestion that Kira come with him. It's the monotone. He always sounds off and starring in a prophetic sex scene doesn't help.

Li's apologetic for stealing a job he'll never want. Tries to be somewhat helpful.

Winn continues to be a sickeningly sweet bitch.

Krim seems vaguely decent, if mildly unhelpful and respects Sisko's honour.

Could cut the tension in the opening conversation with a knife. The ad hoc party in Kira's quarters is an excellent farce. There's an effortlessness to the script. Bareil's garden continues to look nice. The vision is nicely trippy. Should've figured that Odo would hitch a ride. Nice shot going from window to window as Jaro and Winn scheme.

Not quite exactly as I predicted, but some of the gist was there. Still very critical of both populism and leaders in general. Li was basically kicked upstairs, so, that his legend could be brought out when convenient and the man himself hidden away when inconvenient. Even if means well, puts up a decent showing as first officer and owns up to his relative lack of use, he's still somewhat useless. Jaro proves himself a hypocrite, receiving goods from aliens despite his nationalist rhetoric and ultimately desired power because he wants to be a very special boy who the Prophets smile upon. Winn has already been established as a self serving moral guardian fascist. And while I may be reading him completely wrong, Bareil seems to be projecting a repressed sexuality onto Kira. Certainly, even his intentions are broadly decent, his methods are very creepy. Even Krim, despite his personal honour, is more interested in playing Kingmaker than anything else.

And, naturally, once populism takes over, the immediate next step is thoughtless belligerence based on fear and anger. Never mind that the Federation is likely all that stands against another Cardassian occupation. So long as Jaro can have some prestige, the whole planet can get fucked.

The only characters, apart from Li, who demonstrate any sort of morality at all, are the main cast. Kira is identified as someone who's always at odds with some authority or other because she insists on marching to the beat of her own drum. Sisko, meanwhile, has never been reluctant to disregard orders and he's deliberately taking his time with the evacuation so that he can be of some use in the coming conflict. (And it is profoundly stupid of the Federation to decide to fuck off given the existence of a one of a kind wormhole). Even the relationship between Odo and Quark, not that Odo would ever admit it, is borne out of them both having personal standards and values. Quark is a criminal with a conscience, whereas Odo is a law man who barely cares precisely who owns the station so long as his justice is meted out. It puts them on opposite sides more often than not, but they both disregard from authority whenever it doesn't suit them and they both see that in each other. All involved are against leaders

Of course, there's at least a third part to all this, so, I won't know if I'm remotely on the right track until tomorrow, but it's a tightly written continuation of the themes of the first part.

The Siege is next.

Episode 3: The Siege

That vision was astonishingly literal, wasn't it?

Sisko is nothing but a fair commander and gives his people a free choice to get out. Seems to actually like Bashir now. Righteously pissed off with Quark and enjoys his immediate comeuppance. Craves actual food and Brooks' has fun exaggerated his hand motions to that effect. Warns O'Brien away from being too honest about Li.

Odo takes care of the kids. Finds a new level of contempt for Quark. Turning into a tripwire is a surprising moment of whimsy from him.

Bashir murmurs some support for staying. Whines about "food" and brags about his own dish. Gives a surprisingly badass one liner.

Dax fondly reminisces about how boring Tobin was. Full of complaints during the search for and flight of the ship. Generally disgusted and irritated by that brief adventure.

Jake continues his friendship and offers to stick around.

O'Brien doesn't hesitate to stick around. Has the unenviable task of trying to juggle his family life around it. Loves the blandest of meals and seems to have a much better relationship with Bashir. Sees the holes in the legend but doesn't probe too deeply.

Quark let's no great crisis go to waste and succeeds in fucking things up again. Despite that, Shimerman's acting is so good that his desperation for a seat managed to move me. Left whining in an air vent.

Kira is very interested in Dax's prior hosts. Nostalgic for slumming it on a diet of insects and an arsenal of scrap. Has too much fun with that brief adventure. Takes the death of Li rather hard.

Rom has a self preservation instinct and ruthless streak a mile wide.

Nog really values his friendship with Jake and unfairly blames the French.

Keiko isn't thrilled with leaving Miles behind. I know I'd be following my family in that situation.

Li rises to his reputation and gives a good speech to convince the thoughtless idiots. Quite content with dying.

Krim has a bit of smug overconfidence, but quickly pegs that there's some scheme going on. Briefly interested in the baseball. Gives Li some genuine respect and bows out gracefully.

Day is a smarmy idiot. His lip rapidly twitching when his world comes crashing down is some fantastic acting.

Jaro is at least a fairly intelligent villain. Seems to genuinly believe that Li can be bought. Exits with dignity.

Winn and Jaro are definitely flirting with each other. A very affectionate pair of evil bastards. Seems to have a shred of decency, as she gives quite the betrayed look to Jaro at the end.

Bareil proves himself decent, but I still get a weird vibe from him.

There's an unmistakable mournful tone throughout everything. Even with the obvious fact that the status quo will inevitably return, they really manage to make the solemnity palpable. Odo does his best Q impression by hiding in a wall. The dogfight is certainly exciting, even if they disguise most of the action behind Dax and Kira's banter. The holosuite trap was fun. The heroic sacrifice is very obvious and, while it's far from the worst example in this franchise, it is a little too melodramatic for its own good.

Most of the thematic work was done in the previous two episodes, so, this one is mostly a series of very, very fun, very, very well made action and thriller set pieces. Well, Day gives us another example of an impotent idiot in search of personal glory. In a very optimistic move that has perhaps aged a little badly these days, Jaro's grasp of power and influence collapses once his rhetoric is revealed to be a bunch of lies. Li, meanwhile, dies, which, obvious as it is, is probably the only way his story could end. Dead, his legend belongs to everyone, as opposed to being some politician's pet propaganda piece. So, while someone probably could still use the idea of him for their own gain, going down as the man who fought against both Cardassian and Bajoran tyranny might make co-opting him a bit more difficult. I'm still dubious about whether keeping mum on the truth is actually the best solution to this situation, but perhaps its a mark of praise that I'm genuinely able to see the arguments rather than being left indignantly pointing out what I believe is the actual moral solution.

I'd probably prefer the first two episodes on rewatch, but this is a more than satisfactory ending to our first three parter.

Gawping at Invasive Procedures next.

Episode 4: Invasive Procedures

I coulda been a contender.

Sisko leads the charge on being defiant and indignant during the hostage situation. Understands Verad's cowardly plan from the start. Tries to use loss of identity as an argument. Plays on fond memories of wild times (seriously, I'd love to go drinking with this man) and Brooks makes the sudden transition to a stern acknowledgement of Jadzia dying incredibly powerful. Growls out the end of their friendship. Has truly mastered the warning tone of voice. Coldly shoots Verad and is correct to do so.

Odo's immediately annoyed when he hears a noise and his mood fails to improve on discovering Quark. Moving his head like the audience at a tennis match during O'Brien and Quark's back and forth. Gives a contemptuous arm fold at Quark's remark. Gets locked up to save O'Brien's life.

Bashir is full of optimism over the storm. Incredulous over the threat until he learns about Odo. Hesitates in such a way as to suggest he has a plan, but he doesn't. Gives many withering looks throughout the procedure. Shuts down the nonsense of Klingon philosophy and comforts Jadzia.

Dax is also happy about the storm. Gets the creep's meaning pretty quickly. Approaches her impending death with poise, dignity and maturity. I probably should be grateful that Jadzia wasn't completely rendered out of commission after losing Dax. Farrell sells the sense of loss hauntingly well. I'm not sure having a note of sympathy for her violator is a good note to end on.

O'Brien is a little flustered to be picked on by Quark. Elects to be honest. Outraged at being harassed by a Klingons and rueful over being jumped. No gratitude for Mareel.

Quark plays on love for his brother to seem innocent. Very charming with his buyer until he gets taken hostage. Frankly, its very hard to be sympathetic to this idiot at times. A loveable rogue archetype requires a very fine line to be walked and this ridiculous plan has sent him plummeting. Usually, Shimerman's acting is able to keep him on the side of likeability, but Kira's right: this did cross a line. Hissing and snarling at the thugs doesn't redeem him in the slightest. Jumping T'Kar came close, though, and he's at least useful in freeing Odo.

Kira actually praises the Cardassians. Stews the most over the loss of Jadzia and is filled with justified bile for Quark. Knows that they've won as soon as Odo is freed.

Verad is a weedy, snotty, entitled little shit. Played to perfection with all those anxious, nervous pauses, though. With Dax, he immediately turns into a more confident soul, with just a trace of sinisterness, who easily sells the lifelong friendship with Sisko he's suddenly acquired. No good reason to all but dump Mareel. She's too good for him.

The rest of the thugs are a decent collection of villains. Mareel obviously being the highlight, even if she is a hooker with a heart of gold type.

The end of the cold open confirms that Quark is still the one who's purpose is to fuck things up for everyone else. The camera lingers on Dax's reactions for a fair while to foreshadowing that this ordeal concerns her. Removing Dax is appropriately nausea inducing. I feel Quark pissing about with the container goes on a tad too long. Odo's little trolley is probably his most obvious "disguise" yet.

So, I've already pointed out my grievances with Quark and how I don't think hes quite fully working as a character yet. (What little hazy memories from my childhood I still have suggest that he gets profoundly better eventually, so, you shouldn't worry too much. One or two bad showings aren't enough for me to be down on a character and i still like him overall).

So, let's discuss Dax and how this is sort of a focus episode for her and its one that basically turns her into a victim of what, while it obviously doesn't map perfectly onto real life, isn't too far from fantasy rape. I hardly think I need to elaborate more at this stage. Anyone still bothering with my ramblings knows full well that I have little patience for denigrating women, so, making both Jadzia and Dax (who's genderless, tending towards male, I guess, but sort of counts for these purposes) glorified macguffins for people to fight over doesn't exactly put me in a good mood. And while Mareel's actor manages to elevate the role to the point of being just above decent, the lovesick former prostitute who's initially ignorant of just being used doesn't exactly change my opinion.

I did like the point of Verad's mediocrity: both because its a true description of him and because it does sum up the personality of individuals who do feel entitled to women and/or their accomplishments. Equally, given how traumatic rape can be and how it can lead to a vacant stare and feelings of emptiness at times in some survivors, having Verad basically inflict that on himself is some beautiful justice. But I don't believe the episode fully agrees with me. Both Dax and Mareel, despite being used and discarded, show genuine sympathy for him and how apparently lonely he is and, while I can see Dax being mature and decent enough to demonstrate compassion even after all that's happened, something about how it's focused on seems iffy.

If Jadzia could be allowed to play an actual role in saving her own life, I might be more tolerant of this. Hell, it's certainly nowhere near as sexist as some of the worst offenders from previous shows, so, I may be overreacting slightly. But after Dax (the episode with that name, I mean) played with the idea of hiding its focus character only to pull the rug out from under us and show how powerful they've been all this time, this can't help but feel like a step back. And, frankly, is it too much to ask for an episode that ostensibly centres on a given character to actually substantially feature that character?

Competently made bottle episode, but between nearly breaking Quark's character and insulting Dax's it's probably going to end up a lowlight for me.

No doubt the Borg will make their DS9 debut in Cardassians.

splodeymissile posted...

Sisko leads the charge on being defiant

Heh. This will be funny later.

splodeymissile posted...

Seems to have a shred of decency, as she gives quite the betrayed look to Jaro at the end.

Winn is a heinous, power hungry bitch...but the Cardassians were worse.

I think Invasive Procedures is the episode that does the most work in decanonizing most of the TNG episode with the Trill.

Episode 5: Cardassians

Won't somebody think of the children?

Sisko's amused by complaints of Garak's work. Treats Dukat courteously. I'm all for taking accusations of child abuse seriously, but the way he presents the ultimatum to the father doesn't sit right. Very amused by Bashir's interruption, even as he has to pay lip service to chain of command. Getting fed up with Garak's cageyness. Let's Bashir run the hearing and responds with complete indifference to Dukat's complaints.

Odo gets quite annoyed by the unexpected prescence of another Cardassian.

Bashir is definitely more comfortable with Garak, even if he is coyly trying to get him to admit to being a spy. Enjoys watching the winning streak and acts friendly and reasonable to get some answers. Boldly confronts Dukat on how things don't quite add up. Love his forceful outburst at Garak in the shuttle. Confronting Dukat was a great scene, too.

Dax does her job.

O'Brien doesn't reckon much to Garak's work. Has to confront his bigotry again, but swallows it after only one nasty comment. Manages to convince himself a little whilst talking with Rugal. Treats Pa'Dar perfectly decently.

Quark has a fit of despair over the Dabo game. Sulks off.

Mad respect to Kira for treating the adoption of Cardassians as no big deal at all. Has a lot of pride in Bashir after the interruption.

Garak deflects any and all questions with an easy smile. Respecting Bashir's personal space a little more. Rugal, not so much. Sort of deserves that bite. Not happy about Dukat being involved and changes his entire demeanour to impress upon Bashir how important this all is. I love unapologetically camp he is, even as he proves to be among the most competent of the cast. The kids asking him about Cardassia actually manages to disarm him for a moment. Bashir blowing up at him actually stuns him for a moment, but he quickly takes control and guides the doctor towards educating himself.

Is it bad that I can almost actually see Dukat being the sort of man who'd genuinely be bothered about abandoned orphans? Sure, it's a political/revenge ploy, but i like to think some sincerity managed to sneak through and not just because the situation embarrassed him. Gets quite annoyed both by Bashir's questions and the memories they invoke. Barely resists the urge to throttle him during the hearing.

Keiko treats Rugal nicely and shuts down her husband's nonsense. She means well, but assuming the kid would naturally appreciate Cardassian food is almost as ignorant as what Miles was doing. Encourages Rugal to hear his bio dad out.

Pa'Dar may not be around for too long, but he leaves a heartbreaking impression and the genuine love for his boy is palpable.

Rugal's a nice enough kid and his situation is tragic, but he doesn't leave enough impression to amount to more than a living macguffin. Neither does Proka, really, though hes a clear toxic influence.

Garak was seemingly set up as a recurring character, so, its a little odd we've only just now got his first reappearance. A Bajoran raising a Cardassian is definitely a rare sight. We have a nice little spin around O'Brien at his work station whilst he internally debates talking to Rugal.

Two issues at play here. First, is the recognition that colonisation, war and political manoeuvring in general often leaves behind a lot of child victims in its wake. Rugal is a victim of the Cardassians twice over. The failed occupation caused enough carnage and confusion that displacing him from his original family was possible to begin with (along with creating a lot of other orphans, too) and then he gets reintroduced to them for no purpose other than a political spat. He's a victim of the Bajorans, as well, though. Proka definitely loves him, but it's clear that his and his people's hatred of the Cardassians runs deep and, despite almost certainly meaning well, they've proven to be a toxic influence on his boy, who's left with an especially unhealthy amount of self loathing. So, several children are left in a state of suffering because of the thoughtless actions of the government. This makes Dukat's "think of the children" moments especially hideous, since that same rhetoric is often used against their best interests.

The other issue concerns adoption and which of a choice of families a child should be raised by. All too often, shows considering this issue either pretend to have a discussion about it, without actually saying anything of substance or defer to the idea that being with the biological family is always superior to an adopted one. Usually, because of reasons of familiarity and stability, I would support the adoptive family, even when the show clearly doesn't want me to. The fact that Rugal is clearly unhappy due to the endless self loathing that's been raised into him actually has me siding with sending him to Cardassia. Displacing him from his home isn't exactly going to be the most enjoyable event, either, but there's a hope that some genuine healing could happen and that he might grow to actually be vaguely happy in his own skin. Regardless of how it pans out, though, no child should ever have to lose a family because of war or its aftermath.

Bashir and Garak's dynamic continues to be brilliant and it beats out most shows by actually discussing an issue rather than merely waffling about it. Good stuff.

Melora is presumably the name of a character.

It's the god of nature in the Forgotten Realms setting in DnD. The entire episode is Bashir DMing a game in the holosuite.

splodeymissile posted...

and shuts down her husband's nonsense.

by far my favorite Keiko moment, and one of my favorite trek moments full stop.

Episode 6: Melora

Buggering up my naming scheme, aren't they?

Sisko treats Melora respectfully. Amused by Bashir's new relationship.

Odo's slow smug head turn after Quark mentions the death threat made me giggle. What a fantastic actor.

Bashir takes the wheelchair for a brief spin, like a complete manchild. Has nothing but admiration for Melora. There's an unmistakable smugness to the way he defeats Melora's defensiveness, but it is some effortless banter and definitely one of the better flirting attempts we've seen so far. Nah, he's actually both respectful and bold, so, I've no complaints. Interesting that his study of medicine is partially motivated by guilt.

Dax seems to regard the wheelchair as a rather quaint piece of old kit. Means well with Melora, but almost veers into patronising. Bonds with her over Vulcan music and the difficulties of relationships. Impressed by Bashir's work.

O'Brien succeeded in his job and lightly grumbles about the difficulty. Stunned at the sight of Melora walking.

Quark was in such a happy mood, at first. Turns on the nervous charm and babbles about nothing in particular to Kot, not that it does much good. Elects to creep and show him a good time, but it's not much more effective. Begs Odo for help. Manages to buy his life.

Melora (i want to call her Panzler to remain consistent, but given the title, thatd be very weird) is polite, but terse and has an understandable cantankerousness to her. Greatly values independence and sees any attempt at help as a patronising slight. Self aware about her sensitive nature, but, again, its understandable. Its sweet seeing her open up a little to Bashir. That rant about unsuitable Klingon food is absolutely beautiful. Bashir doesn't know how lucky he is. She's absolutely right about needlessly hostile architecture. Getting a little insecure over whether a relationship could work. Utterly elated when Bashir solves that muscle therapy stuff. Chooses to be herself.

Kot is a no nonsense fellow.

The Klingon chef manages to be a one scene wonder.

Our first introduction to Melora being her seething in pain before collecting her dignity and walking to the airlock with determination is a fantastic first look. Sums her up in a highly efficient manner. It seems that, once again, Quark is somehow the cause of the aggro. Melora's disappearance and subsequent discovery by Dax is a nice subversion of usual go it alone maverick type. The low G romance scene is appropriately gorgeous. We get a repeat of the interior of the wormhole. Even if she never reappears, it's nice to see a relationship pretend to last past one episode.

They trip over themselves with technobabble and strange aliens to make it broadly fit in the Star Trek universe and there is some limited use of the legs, but Melora is basically a paraplegic. Presumably, having an actual real life disability feature would bring uncomfortable questions over why the Federation hasn't "cured" it yet. At any rate, what follows is a pretty brilliant look at the difficulties the differently abled face in spaces not designed to accommodate them. (Which is, tragically, nearly all spaces). Actually, given that a central theme is whether Melora would meaningfully still be Melora if she were adapted to more "conventional" gravity, which is similar to how many among the differently abled have a sense of pride and identity attached to their bodies as is, perhaps simply making it a quality of how her species is is better. It sort of shifts the vocabulary away from the differently abled (which, while it may be nicer than disabled, is still a bit of a loaded term) to just different. Suggesting that something is normal obviously goes a long way towards normalising it.

I really like that Melora actually has a personality and, perhaps more importantly, interests that aren't just related to her work in Starfleet. Helps her avoid becoming just another living macguffin. The brief mention of hostile architecture is appreciated. I'm not so sure about Quark's subplot. There's nothing particularly wrong about it (well, nothing unusually wrong, anyways. Still a Quark fuckup, though), but it's basically just transparent set up for Melora's big heroic moment. And it's well executed for what it is, but I'm a little dubious that it's worth existing at all. Having a resolution of "it's something that, because of her condition, only she can do" does sort of fall into patronising pandering. I probably don't have much right to complain too much, given that an actual wheelchair user wrote it, but I can't help but wonder if having a solution that theoretically any member of the cast could accomplish might've been better, as it'd demonstrate that her disability actually isn't a hindrance to doing her job.

Regardless, it's a very special episode that handles its subject matter with tact and grace and manages the rare task of making me want it's guest star to join the main cast.

Let's look at the Rules of Acquisition.

Episode 7: Rules of Acquisition

Of all the gin joints in all the stations in all the galaxy....

Sisko gets Zek to behave and is quite pleased with himself afterwards. Deadpans at Quark.

Odo interrupts a perfectly good nap. Decides to mock Rom for a bit and leaves a little wistful for a family he never knew.

Bashir treats a bump on the head.

Dax has no tolerance for Quark's perversion, even if she enjoys Ferengi company in general. Effortlessly beats the gathered Ferengi. Delighted by Quark and Pel's banter. Notices there's something up with her. I admire how much fun she has with everyone's shit attempts at flirting.

O'Brien gets ignored.

Quark may be a pest, but it's clear he's somewhat putting on a performance for his fellow Ferengi and is slightly (though, only slightly) more liberal than the rest of his race. Quickly clicks with Pel. Has a moment of ecstasy when chosen as negotiator. Sucks up to Zek. As before, a bit too high on his ego to see the obvious dangers. Brutally disregards his brother in favour of Pel. Shits himself in front of the Dosi, but handles the negotiations well. Senses Pel's affection and awkwardly sidesteps it. Walks off getting his bones jumped. Stands up for his girl. Makes light of it, but is clearly going to miss her.

Kira isnt shy about how much contempt she holds the Ferengi in. Still, gets intrigued by some of the goods on offer. Sums up their culture well and can't believe Dax's appreciation for them, especially as she continuously gets assaulted.

Rom's "you're fired" remark is actually quite witty for him. Has an intense hatred for Pel and continues to be utterly ineffective. Has a few pointed barbs, actually. I'm all for loyalty to family, but he's a complete weirdo about it. Miserable little fundamentalist.

Pel is a fine little devious suckup. Genuinely falls in love, which is sweet. Very forceful against Zek. Desperately wants to confess. Straight up jumps Quark's bones. You'd think revealing your true gender might be your first move.

Zek continues to be a disgusting delight. Revels in his hideousness and doesn't miss a beat in going from unwanted flirting to negotiating.

Moments like opening on Odo and panning over the Ferengi game are just another example of how confident this season is feeling. The camera does everything in its power to highlight how sickening Zek's habits are. Pel being female is a fine cliffhanger. The Dosi certainly make an entrance. Zyree walking in at an inopportune moment is hilarious. Rom silently explaining the plot in the background is also quite funny.

The Ferengi are basically the anti Klingons. I may have made that remark before, actually. But the Klingons were obviously a race of vaguely communist moustache twirlers when first introduced. Similarly, though they had a bit more of a concrete identity, the Ferengi were little more than capitalist moustache twirlers. Of course, TNG almost immediately elected to redeem Klingon culture by showing it to be just as valid and potentially good as Federation culture. DS9 seems to be doing something a little different. It definitely wants to showcase Ferengi culture as having legitimate depth, but it's doing so by still squarely keeping them or rather the systems they abide by as villainous. So, while the issues with Klingon society boiled down to individuals not being Klingon enough and compromising their honour, if they ever had it at all, the issues in Ferengi society stem from people being too Ferengi and being unwilling to compromise their values.

Sexism is an inherent facet of unregulated (or even poorly regulated) capitalism because, if everything is a potential source of profit, then sex must also be a source and the best way to sell it and anything related to it is to control it in some fashion, such as by restricting the rights of an entire gender. While in real life, this is usually done through softer methods, like manipulating media portrayals and specific forms of advertising (which makes potential solutions to the problem infuriatingly nebulous), Ferengi society, being the end goal of capitalism, has it literally written into their laws. And this dogmatic attitude is invariably self defeating. The episode is a legitimately funny comedy, but it's also a tragedy, as some of the Ferengi characters get what they want. Quark and Pel lose the chance at a genuinely loving relationship and both are also cut off from any profits from this venture. Rom's fundamentalism almost defeats him by nearly outing him and his brother as just as big a criminals as Pel and, at any rate, he loses the bar he's been coveting for so long. While Zek seems to win, since the gamma quadrant deals are still on the table, first of all, being incredibly watchable doesn't stop him from being a hideous excuse for life, so, its a little appropriate that the villain succeeds in a tragedy and, secondly, he's still got a needlessly embarrassing secret hanging over him for the rest of his life. The internalised misogyny has fucked over everyone, male and female.

Quark himself is pretty much the anti Worf. Worf is a paragon of Klingon values who's certainly intelligent enough to potentially engage with the political skullduggery his people indulge in, but is far too good a man to betray his most deeply held beliefs. Quark is sort of the opposite. Intelligent enough that he could easily be the model Ferengi: an absolutely ruthless businessman, but too good a man to fully internalise their values. He puts on a very convincing performance, but the cracks are there if you're looking, which is probably why Dax likes him. Have to say, I much prefer this version of Quark to the token evil (or I suppose nuisance) cast member he's been in the previous few episodes.

A genuinely funny tragicomedy that provides a much better use for Quark's character and which highlights without caricaturing the problems of Ferengi society.

The next episode would seem to be a Necessary Evil.

i love how casually Dax just assumes Pel is gay. way too wholesome for 1993.

also, i can never shake how much Zyree/Emilia Crow reminds me of Karen Gillan, even though she'd have been only ~5 years old when they made this episode.

Zyree just walking in on what she thinks is a gay sex scene and thinking nothing of it except to give them some privacy is great, too. Surprisingly progressive given the time period.

Wait, the klingons are communist?

ROBANN_88 posted...

Wait, the klingons are communist?

I would say fascist, since the Chancellor is the head of the government and the Council is just a rubber-stamp of yes-men (though would turn on the Chancellor given half a chance).

feudal, but also seemingly post-scarcity.

I meant that in TOS they were blatant stand ins for communist Russia/China and somewhat generically evil in most episodes because of this.

Come TNG their society was completely redone and the vague communist undertones are no longer there.

Episode 8: Necessary Evil

Raymond Chandler's happy.

Sisko rallies to the defence of Rom, as part of a good cop/bad cop routine.

Odo looks down his nose at record keeping and humans in general. Has quite a rant in his log. Accuses Rom with every word dripping with venom. Quite shocked upon realising Vaatrik is involved. In the past, he was even more sullen and despondent, barely able to keep his eyes off the floor. Clearly hates his life at this point. Still gets in a pointed barb at Dukat and the rest of the fascists. Begrudgingly becomes an investigator and accredits himself well in his first case, noticing the lack of emotion on Vaatrik's part. Goes full hard boiled detective when recording his second station log. Stresses himself to fuck trying to get anything useful out of Rom. In the past, he makes a few basic fumbles talking to Kira and attempts to remain neutral. Has a Columbo moment, which amused me. Near instant dislike when he first met Quark. Willing to compromise his own brand of justice for Kira.

Bashir aggressively demands information, as a good doctor should.

Dax worries about Quark.

Quark moves on quick, as he's skeeving about his Bajoran friend. In disbelief at Rom's surprising aptitude and enters a sort of aggressive panic mode. Takes a gun aimed at him somewhat better than I'd expect. Past Quark tries every trick, short of sincerity, to make Odo agreeable. Winds up pushing every one of his buttons, especially when he mentions the neck trick.

Kira figures out the relation to Vaatrik, too. In the past, she was understandably more grumpy and a little derisive of Odo, but she encourages him to develop some morality. Took me a second to recognise her. Incredibly nervous whilst admitting to sabotage. Obviously, values Odo's friendship, even as she's basically remorseless for what she did.

Rom apparently has some use after all. Demonstrates immense loyalty and affection for his brother (i guess were forgetting that he nearly chucked him out of an airlock). Potentially getting the bar eases his heartbreak a little, but he still loves his brother too much to do much more than snivel. Rather dopey during the interrogation. Absolutely no need for that god awful noise.

Vaatrik is a pretty standard femme fatale, but very fun to watch. Her past self was quite taken aback by Odo's observations and made sure to sob and sniff a little as they walked down.

Past Dukat puts on a friendly persona, even as he casually speaks of the typical horrors hes expected to do. Puts on a good act of pretending to believe in (quite myopic) justice even as its all just to manipulate Odo for it's own sake. Snaps when Odo points out the hypocrisy. Sort of admires the fearlessness. Finds Quark's offers to Odo amusing in a "Let's prod the zoo animal" way. No wonder Odo hates them both.

The ominous lighting storms and clear film noir influences had me convinced it was a holosuite fantasy. Smooth transition from the door to Odo's flashback. The muted colour palette is a great way of demonstrating the bleak misery of Cardassian occupation. Very dark lighting, even in the present, which keeps up with the noir vibes. Odo goes through a variety of detective archetypes for extra pastiche fun. Kira being the culprit is an appropriate twist for this sort of story.

I described the kind of justice that Dukat pretends to subscribe to as somewhat myopic. In truth, it's difficult to imagine a system of justice that isn't at least a little myopic. The adage "justice is blind" only really works for a hypothetically perfect system. Obviously, the Cardassians weren't running that. There will always be gaps, even in more decent regimes, so, its vital for agents of justice to be able to interpret things (though this brings with it its own problems). Odo has an incredibly strong drive for justice, but he also desires a sense of order and belonging (though still at a distinct remove) and he's thoroughly depressed besides. The fallacy he falls under, when he accepts Dukat's job, is assuming that he can mete out real justice by simply following the letter of the current law, thereby allowing him to belong on his own terms, adhere to order and, relating to his depression, not think too hard about things. His grossly simplistic either/or to Kira, where he'll hand her over to a bunch of monstrous fascists if she's guilty demonstrates a deliberately thoughtless and dogmatic view of the world, where he abides by the letter without regard for the wider systems. Kira, of course, makes it plainly clear that however much he tries to claim that he's neutral, operating under Cardassian law is implicit support for said law.

Kira, of course, recognises the occupation for the blatantly unjust affair it is and, when confronted with such an awful system, it goes beyond merely understandable or justifiable to act against it, but is instead outright imperative. So, the necessary evil in the title could obviously refer to her, though that is a bit trite and banal. Personally, I think Odo's dilemma, both in ignoring Kira's sabotage 5 years ago and in how he going to treat her after the end of the episode, is a more interesting example. Twice in this episode, Odo has faced the problems with being such a law dogmatist. He picked a side by conveniently omitting details to Dukat and, in doing so, put justice against the law, which, given how much it clearly rankles him, would be a necessary evil. Now, he's faced with a choice of either continuing to trust and maintain his friendship, but in doing so, admitting that his rigidity is not quite fit for purpose or he can continue his zealotry, at the expense of losing the one person on the station he loves the most (or likes at all, for that matter, since I'm fairly sure the rest of the cast exist in various stages of tolerance for him). Up to him which is the lesser of two evils, but he's necessarily picking one.

A beautiful run through various flavours of noir and detective fiction that continues to examine who I think is the most interesting character of the bunch (and that means a lot, since I think everyone in this cast is interesting).

Next, it's be my first view of Second Sight.

Episode 9: Second Sight

That's God. He was quoting God.

Sisko's going through a complex sort of grief, feeling guilty over possibly moving on. Listens intently to his son's dream. Wastes no time with Fenna. Starts the new day in a good mood and points out that O'Brien likes to be kept busy. Takes Kira's remarks in good humour. Acts happy and pleasent around Seyetik. Very distracted with Dax. Smooth as ice at flirting. Puts on an amorous tone of voice when describing Fenna to Odo. Protests a bit too much at Dax's observations, if that cackle is anything to go by. Handles the mistaken identity thing as well as possible. Very stressed by everything.

You can see Odo's patience drop more and more with every non answer.

Of course, Bashir would get along great with Seyetik.

Dax is under tremendous strain to stay happy around Seyetik's ego. After the uncertainty in the last season, its lovely seeing how deep hers and Sisko's friendship is. Definitely still one of the lads, as she wants all the details on Sisko's new flame. Spends her time trying to undercut Seyetik's pride and i love her for it.

Maybe the issue is me and that I had a more unusual upbringing than I thought, but Jake's attitude to his dream is something id expect from a kid a fair bit younger than him. Either way, he seems to be list and is mourning his mum.

O'Brien concedes that hes only happy when hes miserable. Begins to share Kira's distain for Seyetik.

Kira is bewildered by Sisko's mood and changing habits. Would rather be anywhere else and has to rely on sarcasm to keep her sanity.

Seyetik is a law unto himself and has a tremendous ego. Manages to win the room with a hearty laugh. Self aware about his immense pride. A bit of actual humanity leaks through when he admits to not knowing why Nidal loves him. Felt that his eulogy in the station log had a bit too much praise. Thoroughly unpleasant man, but very entertaining to watch.

Fenna enters quite mysterious. Has a manic pixie dream girl vibe to her. Clearly distressed when confronted with uncomfortable questions.

Nidal has a noticeable pause when she hears Fenna. As miserable as you'd expect given her husband.

It's nice seeing a ship docked at the station. The music makes Fenna's disappearance more magical than sinister. Flux chambers don't look safe at all. Unusual view of the station from up top. As soon as Seyetik mentions his wife, its obvious that she's related to Fenna. Props to them for not making the mistaken identity affair needlessly awkward. Seyetik gets a very dramatic camera angle when he barges in to insist Dax get a move on. Star ignition is beautiful.

In two minds on this one. The stuff directly concerning Sisko as a character: the guilt over almost moving on from Jennifer, the way he flirts with Fenna, how both Jake and Dax support him throughout, is all brilliant. It's the actual guest characters themselves that are a problem. While it's very clever for Fenna to be a bit of a dream girl for both Sisko and herself, her character doesn't get much further than that and her ignorance of what's happening puts her dangerously close to living macguffin territory. Nidal, meanwhile, gives us a glimpse of how miserable she is, but it's only a brief glimmer. These two characters are so vital to the plot they nearly sum up the high concept by themselves, yet they're almost on the level of background extras.

Which brings us to Seyetik, who's the rare example of a character who's eminently watchable to the point of being a highlight and absolutely played to perfection, yet simultaneously slightly ill conceived and greatly miscast. The concept is solid enough: a rampant egotist whose antics completely drown out the personality of his wife, leaving her a shell of a person dreaming of living her best life as her best self and where the inability to fulfil her dreams starts killing her. For this to work, though, Seyetik can't be the VIP all the way through. Either Fenna, Nidal or preferably both have to take control of the story at some point. And the actor is too likeable. Even when its revealed hes inadvertently killing her, the narcissism remains far too fun to watch. The actor's excellent, but i think the character, as played, is in the wrong story. And sure, O'Brien, Kira and especially Dax resist him to some degree, but when even his heroic sacrifice is more about closing out his career with a bang than it is about the woman he loves and where the majority of her closure is contained in a throwaway line, its clear the focus is skewed a bit.

A potentially great episode brought down to merely decent thanks to its obsession with the wrong guest star. Sisko's stuff is great, though.

Off to the Sanctuary.

Episode 10: Sanctuary

My heart really wasn't in this one. Really bloody tired, but I had nothing better to do and can't sleep yet. Definitely not my proudest write up.

Sisko may need that report, but he's still amused by Kira's many annoyances. Uses food to help first contact. Gets a little awkward at O'Brien's remark. Not even Brooks' excellent delivery can save that farce of a second to last scene.

Odo finds himself herding children and scoffing at the nonsense. Considers the practical realities of so many skrreeans. Dryly confronts Nog. Old fashioned disciplinarian. Tries to use the boy for info on Quark. Gives the loveliest smile at the prospect of Quark going out of business.

Bashir has a gentle, but firm manner.

Dax is a little intrigued by a matriarchy.

Jake's helping a Dabo girl somehow. Tries to encourage Nog to stand up for himself. Tries to make friends, too.

O'Brien seemed perplexed by Kira's mood at the start. Makes a joke at Sisko's expense. I don't envy him repairing all those ships. Meaney manages to sell the sadness after the ship explodes really well.

Quark is frustrated with his new hire. Proud of Nog for being a nuisance. Doesn't like the Skreeans and has understandable reasons for it from a Ferengi point of view, but something about the sheer venom doesn't seem right. Proper family man, defending his nephew. A little more intimidating than I'd expect.

Kira keeps finding new stresses to add to her day. Threatens Quark into keeping her friend around. Gently guides the Skreea through translation hurdles, even as she gets exasperated. Takes to Haneek quickly and buys her an unwanted gift. Proper looks out for her. Hearing Bajor sent her reeling. Heartbreaking, seeing her sadness at no longer being Haneek's friend.

Haneek is nice enough. Bit too humble for her own good. Kind of amuses me that she stopped an urgent mission to complain about a dress in a language no one understands. Well, right up until the planet debacle and especially after she cruelly ends her friendship with Kira. Immediately detested her for that.

Nog's proving to be as lecherous as all Ferengi. A prankster and a coward. Literally hides behind his uncle.

The slow pan of the patrons set to soft music is a nice shot. The translation taking its time is an interesting choice. The kids insisting on stealing is fairly funny. Goes on forever, that scene of the Skreeans milling about the promenade. The Skreean kids are a bit miserable to watch. Don't reckon much to the leader's acting and they're stock characters besides.

Doing a story about immigration, with a dash of Israel/Palestine, is a noble goal, sure, but they buggered it up tremendously. And the reason is that its an idiot plot. Haneek is right: there's plenty of space for them and good experience with farming is kind of vital during a famine. There's no sensible reason to not give them at least a trial. But the government refuses and offers no real reason for why except for a grossly patronising speech about them being a burden if it fails. But Haneek's not actually off the hook: insisting on Bajor because it might be their holy land does just about link it to Israel, but it's not a remotely decent justification for completely ignoring the fact that there's a perfectly good world out there with no contested ownership to make their own. Kind of breaks the metaphor they're going for. At any rate, the two main parties in this dispute are both complete fools and that no one's really in the right here.

Add this to the Ferengi's bigotry, Haneek acting like she's been grossly betrayed by Kira, Kira's refusal, despite her feisty personality, to utter a word in her friend's defence, the unnecessary conflict between the kids and that scene where they basically luxuriate in killing off Haneek's kids, to say nothing of the lack of real solution and i felt that this whole thing was heavily mean spirited. It would be one thing if it were just the guest stars who were bringing down the mood, but even the main characters dont feel like themselves. It may well be a quasi realistic look at immigration crises, but there's something that feels really off about this from the moment Quark starts complaining about them being poor customers. It's difficult to properly articulate but Its not merely tragic, it's kind of nasty.

It's a poor metaphor for its big issue and a miserable experience to watch.

Next is Rivals.

one of my least favorite DS9 eps (one of ~5 that i'll always skip in rewatch)

Episode 11: Rivals

Gambling reduced to its most banal essence.

Sisko doesn't care about Quark's problems. Owns up to blackmail. Savvy enough to realise that the usual nonsense is afoot.

Odo comes to the rescue like the world's greatest bouncer. Calls them like he sees them. Mightily irritated at having to let Martus go.

Bashir has far too much pride and far little tact. Has a little too much smarm to make any attempt at humility work. I don't even know how to describe that warm up exercise. Really wants to be liked, but winds up patronising people. Awkwardly stumbles out to spare O'Brien the embarrassment. Shares O'Brien's disdain at Quark's plan. Has quite the dark look when he first realises Quark is trying to drug him.

Dax absorbs some gossip. Even she isn't exempt from the problems.

O'Brien is both surprised and disappointed to see Bashir. Hasn't the faintest idea what hes looking at with Bashir's warm up. Annoyed that Bashir got the first point. Has some glorious rage at losing and resentfully rants about how much better Bashir is. Hates him for making it easy. Fuming as he rants to Quark. Pissed off at the grudge match, but also very pleased to put Bashir in his place. Recognises both that there are problems and that Bashir isn't throwing this one.

Even Quark has little love for Martus. Tries to slyly acquire the egg toy, but is only mostly enthralled. Loses his mind at the new club. Better at getting people to talk than expected, not that he cares. Sees the parallels between his and O'Brien's situations and Shimerman decides to go full theatrical for the rest of the episode. On the verge of mugging for the camera. Makes a great promoter. Has a lot of fun at the end.

Kira faces a common technological issue by trying to kill her terminal. Little embarrassed about her fall.

Martus is superficially charming and good at worming his way into people's confidence. Hates snoring, looks down on anyone not immediately useful and sees nothing wrong with robbing a corpse. Has a little conman war with Quark at the bar. Has some difficulty disguising his contempt for all his marks. Rom, especially, gets the brunt of it. The facade gradually crumbles as his lies get revealed, leaving a bumbling persona. Apparently, the creators thought he was miscast. I disagree, as I think he works better more smug than slick.

Keiko has only the barest amount of sympathy for her husband and secretly enjoys his suffering. Proper gets into it by the end.

Rom has more business sense than most give him credit for.

Odo's picked up a habit of loitering in and emerging from the background. Pretty cool directing. Very comedic, actually, with O'Brien's mock swings down the corridor, whatever the fuck Bashir's doing and the guy's hesitation with approaching the prisoner. That snoring is disgusting. Bashir's inability to get condiments is funny. Odo's sudden appearance to arrest Martus and the final scene of Quark lording it all over him close out the comedy.

At first glance, there isn't much to this. I mean, the "theme" of rivalry is obvious, but also so shallow that there isn't anything to mention beyond acknowledging it's existence. The development of Bashir and O'Brien's friendship is nice to see continue, as they're discovering mutual hobbies, even if there's still a fair amount of one sided animosity. Other than that, it's a comedy and a fairly broad one at that, though I got a few chuckles in. But what's quite interesting is why it's a comedy and how it justifies itself as one. Previous shows have done comedy before and they usually do so without fanfare or explanation. "This week we're going to be silly and you're just going to have to like it or lump it", sort of thing. With us firmly in the 90s now, and I saw this gradually emerging in the last few seasons of TNG too, there's a larger want than ever, especially for hard-core fans, for having franchises be mostly self consistent worlds that could theoretically exist elsewhere in reality, as opposed to more openly being just a vehicle for telling stories. Tone needs to be consistent, too, then, and I wouldn't be shocked if this were an unpopular episode precisely because it never pretends to be serious. The explanation they offer to try and make this seem just as much like DS9 as everything else is some technobabble so lazy I can't tell if it's a deliberate part of the joke or not. Either way, it's a mysterious children's toy from nowhere in particular that fucks with probability somehow and which no one cares in the slightest to try to explain. Except, the characters' personalities, O'Brien and especially Quark chief among them, are heavily exaggerated for comedic purposes in a way that doesn't seem to be caused by this, so, the in universe explanation is quite flawed. Thing is, a low stakes comedy feels more like Star Trek than a bleak and rather stupid tradegy does, which is the real reason why the last episode felt so nasty to me.

As such, despite it being silly, vacuous and possibly incompetent, it's still a delight and much appreciated after what I watched yesterday.

Alternatively, I could watch The Alternate.

It's funny that the two instances of El-Aurian aliens we have are Guinan and this dude.