Rating: Deep Space Nine, Season 4

Season 4 of Star Trek: Deep Space Nine has some great episodes and some fairly bad misfires. The Klingons, having been quiet for years, are suddenly feeling aggressive again, and our favorite Klingon, Worf, joins the station crew to help them deal with the consequences. This story fuels a good part of the season, but there’s plenty more to see, too. Here’s our take:

  1. “The Way of the Warrior” – 7
  2. “The Visitor” – 9
  3. “Hippocratic Oath” – 5.5
  4. “Indiscretion” – 5.5
  5. “Rejoined” – 8
  6. “Starship Down” – 8
  7. “Little Green Men” – 8
  8. “The Sword of Kahless” – 1.5
  9. “Our Man Bashir” – 10
  10. “Homefront” – 3
  11. “Paradise Lost” – 5
  12. “Crossfire” – 2
  13. “Return to Grace” – 4
  14. “Sons of Mogh” – 1
  15. “Bar Association” – 7
  16. “Accession” – 2
  17. “Rules of Engagement” – 2
  18. “Hard Time” – 2
  19. “Shattered Mirror” – 3.5
  20. “The Muse” – 2
  21. “For the Cause” – 4
  22. “To the Death” – 6
  23. “The Quickening” – 4.5
  24. “Body Parts” – 6
  25. “Broken Link” – 4

The average rating this season is 4.9, the same as in season 3, but season 4 gets there a different way. Where season 3’s episodes were mostly in the weak-average to average-good range, season 4 sends its episodes to the far ends of the scale. Only a handful fall in the 4-6 okay-but-not-great range; most are either well above or well below.

The distribution of ratings shows a certain level of confidence by the writers this season. You can tell that they felt comfortable enough with the characters and the setting at this point that they were ready to try new ideas, even really weird ones. What if we spent an episode in the holosuite playing a James Bond pastiche? What if we met a suicidal Klingon? What if Quark, Rom, and Nog were the Roswell aliens? What if there were a conspiracy to stage a military coup on Earth?

Some of these ideas really flop, like “Sons of Mogh,” scoring only a 1, in which Worf has to deal with his brother Kurn, who is depressed about the loss of status their family has suffered in the empire. The story presents the kind of ethical dilemma Star Trek specializes in—suicide is an honorable end for a Klingon with no hope, but it is unacceptable for a Starfleet officer like Worf—but never goes anywhere interesting with it. The episode boils down to Kurn standing on one side of Worf shouting “Kill me!” and the rest of the station crew on the other shouting “Don’t!” There’s nowhere interesting for this story to go.

On the other hand, some of these ideas pay off brilliantly, like “Our Man Bashir,” a full 10, which finds Dr. Bashir and Garak playing a swinging-sixties spy game in the holosuite for much higher stakes than they expected. DS9 largely avoids the Next Generation shtick of having the holodeck go haywire so the crew can have an adventure in period garb, but this episode figures out a way to make the holosuite matter: after a transporter accident, the main station crew’s physical patterns are stored on the holosuite until they can be rescued, but if the game shuts down they could be lost forever. This set-up gives us several delightful results: Bashir, the doctor playing spy, and Garak, the spy playing tailor, take their witty repartee to new heights in this episode, while some of the other regular cast get to go full ham in their holosutie roles—Nana Visitor as a sultry Russian agent and Avery Brooks as an omnicidal mad scientist steal every scene they’re in.

The rest of this season largely follows suit. Some ideas, like sending Worf and Dax on a quest for a lost Klingon artifact in “The Sword of Kahless”, just sputter and die. Others yield fantastic episodes, like “Little Green Men,” a hilarious romp through pulp sci-fi tropes, or “The Visitor,” a touching meditation on the power of love and memory.

While the Klingon war story at times just feels like a holding action while waiting for the Dominion to make its move, it also gives the series some new avenues to explore. This season does a lot of interesting work by overturning the status quo and seeing what happens to familiar characters in unfamiliar situations. Worf, Quark, Odo, and Dukat all find themselves cut off from their people in different ways; Sisko faces the possibility of treason within Starfleet; Dax has to grapple with the legacy of her past lives in ways she has not faced before; and Rom and Nog start new lives outside the traditional bounds of Ferengi culture.

Season 4 has a lot going for it, even if not every idea works. There’s a lot here that’s well worth coming back to.

Image: Bashir and Garak all tuxed up from “Our Man Bashir” via IMDb

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Rating: Deep Space Nine, Season 3

We’re back with season 3 of Star Trek: Deep Space Nine, and things are starting to look up as the series moves further toward developing its characters and its longer-term plots. Here’s our episode ratings:

  1. “The Search, Part I” – 4
  2. “The Search, Part II” – 5.5
  3. “The House of Quark” – 8
  4. “Equilibrium” – 4.5
  5. “Second Skin” – 5.5
  6. “The Abandoned” – 2
  7. “Civil Defense” – 6.5
  8. “Meridian” – 3.5
  9. “Defiant” – 4.5
  10. “Fascination” – 4.5
  11. “Past Tense, Part I” – 3
  12. “Past Tense, Part II” – 3
  13. “Life Support” – 4
  14. “Heart of Stone” – 7
  15. “Destiny” – 6
  16. “Prophet Motive” – 6.5
  17. “Visionary” – 6
  18. “Distant Voices” – 3.5
  19. “Through the Looking Glass” – 4
  20. “Improbable Cause” – 6
  21. “The Die is Cast” – 5
  22. “Explorers” – 6
  23. “Family Business” – 5
  24. “Shakaar” – 4
  25. “Facets” – 5
  26. “The Adversary” – 4.5

The average rating for this season is 4.9, a good step up from last season’s 3.9. There are few particularly good episodes this season, but also few particularly bad ones. Most sit comfortably in the okay-but-not-great 4 to 6 range.

You can tell that both the writers and the actors are more at ease with the characters and ready to push them in interesting directions. This season Kira has to reckon with the consequences of her violent past as a freedom fighter, Jake takes his first faltering steps as an adult, while Sisko the elder gets a promotion to captain, a new ship, and a handsome bald head. Even minor characters such as Nog, Garak, and Kai Winn experience substantial changes. No one faces as much of a challenge this season, though, as Odo, who discovers his people only to learn the horrible truth about them.

Our lowest rating this season goes to “The Abandoned,” at 2, in which Odo tries to show a young Jem’Hadar an alternative to violence. Despite a strong performance by Rene Auberjonois, this episode falls flat. There is little development and no payoff in this story. Other episodes do a much better job of both exploring the Jem’Hadar and showing us how Odo deals with the atrocities committed by the Founders. It also hews uncomfortably close to the racist 90s discourse of “superpredators.”

At the other end, we have the delightful “House of Quark,” at 8, as our highest-rated episode. This episode is a violent but entertaining comedy of manners as the bloody, honor-bound world of Klingon dynastic politics collides with the cowardly but cunning financial chicanery of the Ferengi. Armin Shimerman and guest star Mary Kay Adams play marvelously off one another as the lovable Ferengi rogue Quark and the imperious Klingon grande dame Grilka, while Robert O’Reilly, who plays the normally intense and calculating Chancellor Gowron gets to do a bit of slapstick comedy. Also worth noting is “Heart of Stone,” at 7, in which Odo confesses his love to what he thinks is a dying Kira, and Nog seeks Sisko’s support for joining Starfleet Academy; both stories give us some excellent acting and interesting character development.

This season sees some significant shifts toward the long-term storytelling that would define DS9‘s later seasons. Although most episodes remain standalone (or self-contained two-parters), many of them bring important changes to characters or plotlines which are picked up by later episodes. The politics of both Bajor and Cardassia, as well as the relationship between them, see major upheavals this season, while the threat of the Dominion becomes more sharply defined and its relationship with the Alpha Quadrant more complicated.

Got any favorites of your own from season 3? Let us know!

Image: Grilka and Quark in a marriage of (in)convenience, from “House of Quark” via IMDb

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Rating: Deep Space Nine, Season 2

Star Trek: Deep Space Nine took some time finding its legs, and season 2 is still pretty wobbly. Here’s how we rated this season’s episodes:

  1. “The Homecoming” – 5
  2. “The Circle” – 4.5
  3. “The Siege” – 6
  4. “Invasive Procedures” – 4
  5. “Cardassians” – 2
  6. “Melora” – 2
  7. “Rules of Acquisition” – 3.5
  8. “Necessary Evil” – 5
  9. “Second Sight” – 2
  10. “Sanctuary” – 2.5
  11. “Rivals” – 2.5
  12. “The Alternate” – 1
  13. “Armageddon Game” – 4
  14. “Whispers” – 6
  15. “Paradise” – 1
  16. “Shadowplay” – 5
  17. “Playing God” – 4
  18. “Profit and Loss” – 2
  19. “Blood Oath” – 5
  20. “The Maquis, Part 1” – 4
  21. “The Maquis, Part 2” – 5
  22. “The Wire” – 6.5
  23. “Crossover” – 5
  24. “The Collaborator” – 6
  25. “Tribunal” – 2
  26. “The Jem’Hadar” – 6

In all, not a great second season. The average rating is a meager 3.9, and there are no standout episodes like season 1’s “Duet.” You can tell that the actors were still growing into their roles, and the writers were still figuring out how to balance the optimistic, episodic tradition of Star Trek with the morally complicated ongoing stories they wanted to develop.

We have two episodes at the bottom of the barrel: “The Alternate” and “Paradise,” both rating only a 1. “The Alternate” promises some interesting development for Odo’s backstory when the crew finds remains of a similar being in ancient ruins, but only delivers a bog-standard fathers-and-sons-with-a-bad-relationship story. “Paradise” similarly promises a critique of the Federation’s techno-uptopia when Sisko and O’Brien crash on a planet where their technology doesn’t work, but delivers only a manipulative extremist who loves to give interminable monologues. These may be the most disappointing examples, but a lot of other episodes this season have interesting ideas in them that they can’t manage to do anything good with.

The best episode of the season is “The Wire,” at 6.5. In this episode, we learn more (but less than it seems) about the mysterious Cardassian tailor, Garak. While this episode has its weaknesses, it blossoms in the nuances of Andrew Robinson’s performance as Garak the erstwhile spy, by turns ingratiating, crabby, frightened, playful, and remorseful as he dangles hints of his past life just out of reach of the doctor who is trying to help him cope with a hidden addiction.

But if this season doesn’t have much to offer in the way of great episodes, it does lay a lot of the groundwork for the seasons to come. Important elements of the ongoing narrative are established or developed, like the Maquis resistance movement in the Badlands, the post-occupation chaos of Bajoran politics, the return to Classic Trek‘s “Mirror, Mirror” alternate universe, and the slowly growing menace of the Dominion in the gamma quadrant. Just as importantly, it sets up some of the important character and relationship growth that would become the heart of the series. Doctor Bashir and Chief O’Brien’s friendship first stretches its legs this season, as does Dax’s history with Commander Sisko. Recurring characters like Garak and Rom begin to come into their own.

Season 2 is not the best that Deep Space Nine has to offer, but it lays the foundation for the greatness that is to come.

Image: The operations crew at work, from “Playing God” via IMDb

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Rating: Deep Space Nine, Season 1

With everything that’s going on this past year, we’ve been looking for comfort rewatching, and Star Trek: Deep Space Nine offers a special kind of comfort. While the show was “dark and gritty” by the standards of the 1990s when it came out, it has a Star-Trekian humanity and optimism that we need right now. 2020 makes us appreciate the message of: “We’re all a little messed up, but that doesn’t mean we can’t work together to make things better. The world’s a little messed up, too, and fixing it isn’t easy, but it is possible.”

Here’s how we rated season 1.

  1. “Emissary” – 8.5
  2. “Past Prologue” – 5
  3. “A Man Alone” – 4
  4. “Babel” – 6
  5. “Captive Pursuit” – 4
  6. “Q-Less” – 1.5
  7. “Dax” – 4.5
  8. “The Passengers” – 5
  9. “Move Along Home” – 2
  10. “The Nagus” – 5.5
  11. “Vortex” – 2
  12. “Battle Lines” – 3
  13. “The Storyteller” – 3
  14. “Progress” – 4
  15. “If Wishes Were Horses” – 3.5
  16. “The Forsaken” – 7
  17. “Dramatis Personae” – 4.5
  18. “Duet” – 9
  19. “In the Hands of the Prophets” – 8.5

It’s a rocky start to the series. Despite a strong opening, a strong closing, and some good episodes along the way, the average episode rating is only a pretty weak 4.8. Much of this season is spent establishing the main cast of characters and the unique place of Bajor and its history with the Cardassians in Star Trek‘s universe. Much of what we love about Deep Space Nine—the ongoing story, the relationships among the characters, the recurring cast of side characters—is still just being built here.

The worst episode of the season is “Q-Less” at 1.5, Next Generation‘s omnipotent pain-in-the-ass Q’s lone appearance in DS9. Clearly intended as a bridge to ease TNG fans into the new series, for established DS9 fans like us it just feels pointless and out of place. The shaggy dog story of “Move Along Home” and “Vortex,” an early attempt to develop Odo’s character that is hampered by a truly abysmal guest performance, both rate pretty low as well, at 2.

At the other end of the scale “Emissary,” the premiere, and the finale “In the Hands of the Prophets” are both standouts, at 8.5. “Emissary” does an excellent job introducing us to the main characters and to the world of the station and Bajor, graced with a powerful performance by Avery Brooks as Commander Sisko, still carrying the trauma of losing his wife Jennifer. “In the Hands of the Prophets” adds a new level of complexity to the Bajoran story and introduces some important new recurring characters. One of the great things in DS9 is its villains: the smug Cardassian Gul Dukat and the sanctimonious Bajoran Vedek (later Kai) Winn could have been flat one-note villains in lesser hands, but Marc Alaimo and Louise Fletcher give them a depth and nuance that holds up against the stellar performances by the main cast.

The quality of the acting shines in the season’s best episode as well: “Duet,” at 9. At its heart, it is a fairly simple story as Major Kira tries to prove that a mild-mannered Cardassian filing clerk is actually a wanted war criminal in disguise. Most of the episode is just two people in a room talking to each other, but every moment of that dialogue crackles with energy. In a modern tv landscape where writers think they have to kill off characters, concoct shocking twists, and splurge on special effects to keep viewers interested, “Duet” is a master class in how you write compelling drama.

Another delight of season 1 is seeing some of our favorite side characters in the early stages of their growth. Garak, the mysterious tailor, is intriguing from his first scene, long before his dark history as a secret agent unfolds. We also see Rom and Nog in the early stages of their transformation from bumbling idiot and conniving miscreant to bumbling sweetheart and upstanding Starfleet officer.

Got any favorite memories from DS9‘s first season? Share in the comments!

Image: Deep Space Nine season 1 cast via IMDb

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Star Trek: Picard Series Trailer from NYCC

Oooo—I can’t believe I didn’t yet blog about the second Star Trek: Picard series trailer that came our way. This was released at New York Comic Con.

Star Trek: Picard | NYCC Trailer | CBS All Access by CBS All Access on YouTube

Like the San Diego one, this trailer looks so awesome! The Borg presence doesn’t seem quite as heavy as the SDCC trailer gave reason to believe (but then again, you never know). It’s lovely to see glimpses of the old TNG cast, however, and the spiffy new tech and props look absolutely amazing. Mostly I’m thankful to see Sir Patrick Stewart in another genre production, for he is getting old and who knows how much longer he’ll have with us.

Picard is set to premier on January 23, 2020. Soon!

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Enormous Deep Space Nine Lego Model Is Enormous

Benjamin Stenlund at The Brothers Brick shared this enormous, HUGE Deep Space Nine station made from Legos. The builder, Adrian Drake, is by no means a novice, and his skill and dedication really show.

Flickr Adrian Drake DS9_00

Drake describes the project:

“The entire model is 8 feet in diameter, and has approximately 75,000 pieces. There is a steel and aluminum framework holding it together, and about 50 linear feet of strip LEDs lighting it up. All told it took me about 2 years to build.”

Wow. Wow, wow, wow, wow!

Image by Adrian Drake via Flickr. (Make sure to visit his account for more of his builds.)

In Making Stuff occasional feature, we share fun arts and crafts done by us and our fellow geeks and nerds.

Star Trek: Picard Series First Trailer from SDCC

The first trailer for the Star Trek spinoff Picard was released at San Diego Comic-Con this past weekend, and it’s looking mighty fine:

Star Trek: Picard | SDCC Trailer – Sir Patrick Stewart Returns by CBS All Access on YouTube

Like Discovery, it’s absolutely breathtaking visually! I do wish technology had been more advanced when TNG and DS9 were filmed.

Storywise, I’m not quite as excited, though, for the borg stories never interested me. I will probably want to see this, however, since Sir Patrick Stewart is incomparable. Also, it would be a joy to see some old faces like Jeri Ryan (Seven of Nine).

Any thoughts you had?

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Quotes: Trail Goes Down Between Two Hills

“[T]he Pima of Central Arizona have historically embedded in their landscape the stories, histories, and lessons of their way of life and culture. Thus, the Pima, when they wish to remind someone of their past, or of a lesson they would like that person to remember, make what seem to white people abstract references to locations on their territory, such as ‘Trail Goes Down between Two Hills.’ The target of their comments, however, will know what they mean.”

– Matthew Barlow, Griffintown: Memory and Identity in an Irish Diaspora Neighbourhood, 11

Historian Matthew Barlow here cites the work of anthropologist Keith Basso on how memory can be embedded in a landscape to explain how the Irish-Catholic population of Montreal imbued the working-class neighborhood of Griffintown with meanings important to their identity as Irish-Canadians, such that even after the neighborhood was redeveloped, Irish-Montrealers could invoke generations worth of memories by reference to churches, pubs, streets, and other landmarks.

It’s a fascinating way of thinking about how we relate the landscape we live in, but, of course, the first thing I thought of was:

Image: Still from Star Trek: The Next Generation episode “Darmok” via IMDb, text added by Erik Jensen

Serving exactly what it sounds like, the Quotes feature excerpts other people’s thoughts.

Representation Chart: Star Trek

We all know that the representation of people of different genders and races is imbalanced in popular media, but sometimes putting it into visual form can help make the imbalance clear. This is the first of a series breaking down, in basic terms, who’s represented and who isn’t.

Here’s Star Trek. I’ve included the credited main cast from all the live-action television series.

Notes

Characters included

  • Star Trek: Kirk, Spock, Scotty, McCoy, Checkov, Uhura, Sulu
  • Star Trek: The Next Generation: Picard, Riker, Data, Wesley, Troi, Yar, Crusher, Pulaski, Worf, La Forge
  • Star Trek: Deep Space Nine: O’Brien, Bashir, Odo, Quark, Kira, Dax, Sisko, Jake
  • Star Trek: Voyager: Paris, Doctor, Neelix, Janeway, Torres, Kes, Seven, Tuvok, Kim, Chakotay
  • Star Trek: Enterprise: Archer, Reed, Tucker, Phlox, T’Pol, Mayweather, Sato
  • Star Trek: Discovery: Saru, Tyler, Stamets, Lorca, Tilly, Burnham

Corrections and suggestions welcome.

Rules

In the interests of clarity, here’s the rules I’m following for who to include and where to place them:

  • I only count characters portrayed by an actor who appears in person on screen in more or less recognizable form (i.e. performances that are entirely CG, prosthetic, puppet, or voice do not count).
  • For human characters that can be reasonably clearly identified, I use the race and gender of the character.
  • For non-human characters or characters whose identity cannot be clearly determined, I use the race and gender of the actor.
  • I use four simplified categories for race and two for gender. Because human variety is much more complicated and diverse than this, there will inevitably be examples that don’t fit. I put such cases where they seem least inappropriate, or, if no existing option is adequate, give them their own separate categories.
  • “White” and “Black” are as conventionally defined in modern Western society. “Asian” means East or South Asian. “Indigenous” encompasses Native Americans, Polynesians, Indigenous Australians, and other indigenous peoples from around the world.
  • There are many ethnic and gender categories that are relevant to questions of representation that are not covered here. There are also other kinds of diversity, including sexuality, language, disability, etc. that are equally important for representation that are not covered here. A schematic view like this can never be perfect, but it is a place to start.

Messing with numbers is messy.

Musical Christmas Wishes by Chewbacca & Deep Space Nine

Although the Star Wars and Star Trek fandoms have not always gotten along entirely peacefully, I hope that the two fan videos below show that singing is a pasttime shared across the divide.

Take it away, Chewbacca and the crew of Deep Space Nine.

Silent Night by Chewbacca via How It Should Have Ended

“Merry Wookie Christmas from HISHE and James Covenant! (http://tinyurl.com/jkc9f7l)

The brilliant idea for “Chewbacca Sings Silent Night” was actually created in 1999 by Scott Andersen (story here: http://room34.com/chewbacca/) and since then his audio has been shared many times, often without crediting him. You can download the original at the link above, or better yet support his genius by hiring him for web design at http://room34.com

“With Scott’s “blessing” and in honor of Christmas and Star Wars season, James Covenant (creator of the awesome Star Trek “Make It So” video: https://youtu.be/oiSn2JuDQSc) was inspired to create this new video for our channel to wish you all a very Star Wars Christmas!”

Captain Sisko & the DS9 Ensemble sing “Wonderful Deep Space Nine” by John C. Worsley

“In the grand tradition of Star Trek captains singing holiday standards, for your consideration: ‘Wonderful Deep Space Nine’ sung by Captain Sisko, Major Kira, Constable Odo, Lieutenant Commander Worf, Chief O’Brien, Congenial Barkeep Quark, Plain Simple Garak, and the rest of the Star Trek: DS9 ensemble. Special appearances by Morn, Martok, Moogie, and Vorta Iggy Pop.

Apologies to Berman, Piller, Brooks, Visitor, Farrell, Auberjonois, Siddig, Shimerman, Meaney, Dorn, Robinson, Eisenberg, Lofton, Grodenchik, Alaimo, Biggs, Marshall, Jens, de Boer, Barrett, Sadler, and Combs.”

We’re vacationing for the rest of the year. Until 2018, Happy Merry!

This post has been edited to correct language.

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