Jammer's Review

Star Trek: Deep Space Nine

"Seventh Season Recap"

For episodes airing from 9/28/1998 to 5/31/1999
Series created by Rick Berman & Michael Piller
Executive producers: Rick Berman & Ira Steven Behr

Review by Jamahl Epsicokhan

Nutshell: A season with flaws? Certainly. Nevertheless, I'm willing to call it one of DS9's—and Trek's—best overall seasons. I didn't get everything I wanted, but I certainly got a lot.

Well, this is it folks—my last posting for Star Trek: Deep Space Nine. As has been the case in past years, this summary takes the usual format: There are the capsule reviews in part one, followed by the season commentary in part two, and, this year, some closing thoughts in part three. What was accomplished this year? What was overlooked? I'll offer my take on the matter in this final installment of the "Jammer Review" for DS9. Feel free to agree, disagree, or punch your computer screen. Let's begin.

Part 1: Capsule Reviews

To see the rankings and 10-scale ratings for this season's episodes, click here.

Image in the SandAir date: 9/28/1998. Written by Ira Steven Behr & Hans Beimler. Directed by Les Landau.

And so we set the stage with the first of the last. "Image in the Sand" plays like several of the "Final Chapter" installments: It's hard to judge on its own because its story destination is unclear and rides so much on what comes afterward. As DS9 goes, this episode was nicely presented, most notably through the pacing and continuity, but nothing groundbreaking. Dax's death had lingering effects for Worf; Sisko's self-imposed exile came to the beginning of its end through some interesting Prophet plotting and imagery; and Kira had her hands full with a Romulan political snafu that drew parallels to the previous season's "A Time to Stand." There's a lot here to digest, but it all remains interesting. It's a necessary piece of the larger DS9 puzzle.

Rating: ***

Shadows and SymbolsAir date: 10/5/1998. Written by Ira Steven Behr & Hans Beimler. Directed by Allan Kroeker.

The key word for "Shadows and Symbols" is "suspense." Much like, again, many of the "Final Chapter" installments. Allan Kroeker turns the heat up, particularly as the Kira/Romulan subplot becomes a countdown to disaster. Meanwhile, three generations of Sisko venture into a desert while Worf ensures a place for Jadzia in Stovokor, with the help of O'Brien, Bashir, and Quark. (Quark?) The self-discoveries for Sisko are far-reaching, revealing his birth was arranged by the Prophets. The execution of the hour was nearly flawless, and I particularly liked the way the writers moved the nature of Sisko's relationship with the Prophets into new Trekkian envelope-pushing territory, which sets the stage for what we would later learn is part of Sisko's destiny and existence. Some very neat stuff—sort of Star Wars-esque.

Rating: ***1/2

AfterimageAir date: 10/12/1998. Written by Rene Echevarria. Directed by Les Landau.

"Afterimage" didn't do all that much to rivet me to the screen, and still doesn't. It was certainly a necessary show to acquaint us with Ezri. There was certainly nothing wrong with the hour as it unfolded. And the reactions of the other characters to the presence of this "new Dax" seemed reasonable. I suppose those reactions were just a little too reasonable and somehow lacking in punch. The Worf/Ezri dilemma made sense, I suppose, but it was still frustrating to watch, simply because it wouldn't be until the "Final Chapter" when Worf and Ezri would finally start confronting their problem instead of silently wallowing in it. I also had the sense that Ezri was a little too "goofily" confused (motormouthing away was cute but not very dramatic) when she should've been a little more darkly disturbed—but that's probably just my own opinion on botched Trill joinings. Overall, "Afterimage" is pleasant—a perfectly okay show that doesn't vie for the status of powerhouse.

Rating: **1/2

Take Me Out to the HolosuiteAir date: 10/19/1998. Written by Ronald D. Moore. Directed by Chip Chalmers.

Timing can be everything, and possibly no better time could've been picked to release a baseball episode than the year when baseball fully returned from a stint of national scorn and disinterest. Other than timing, what was good about this show? Well, the fact that we have a cast that is fun to watch and a premise that is as simple as a captain wanting to beat a rival captain. Yes, it's corny, contrived, obvious, and overplayed at times. But so what? It's fun. Watching Sisko blow up, then lighten up and put the Amazingly Incompetent Rom in the game is itself worth the view. And Odo as an ump? Me likes. All I ask from a Trek comedy is good spirits and an ability for the hour to leave me with a goofy grin on my face. This episode, while not an inspired comedy on par with, say, "In the Cards," gets the job done nicely.

Rating: ***

Chrysalis Air date: 10/26/1998. Written by Rene Echevarria. Directed by Jonathan West.

A surprisingly forgettable show, and four surprisingly tame role reprisals for Bashir's Lovable Crazies. This show was not unpleasant, was not badly performed, was not the least bit ill-conceived. But it wasn't much of anything else, either. The key word here is "pedestrian." The by-the-numbers romance between Bashir and Sarina honestly didn't strike me as anything more than a quota fulfillment, and the idea of essentially rehashing the bulk of "Flowers for Algernon" suffers from the fact that we're seeing the story through Bashir's eyes rather than Sarina's. We learn little, if anything, about Bashir we didn't already know, and the emotional impact ultimately isn't nearly enough to sustain the interest.

Rating: **

Treachery, Faith, and the Great RiverAir date: 11/2/1998. Teleplay by David Weddle & Bradley Thompson. Story by Philip Kim. Directed by Steve Posey.

Now we're getting somewhere. "Treachery" is the best of several worlds, supplying a meaty return to the central story arc, a stellar analysis of the relationship between the Founders and the Vorta, and containing a wonderful set of performances from Jeffrey Combs as two very different yet still very alike Weyoun clones. (Whatever projects Combs has been involved with since DS9 wrapped, the creators are lucky to have him.) The episode plants plenty of interesting seeds that would pay off down the road (the disease in the Link, Damar's growing malcontent). In the meantime we have a very nice self-contained story involving Odo and the defecting Weyoun clone. The action makes sense and the dialog remembers the themes of selfless Dominion servitude a la "Rocks and Shoals." This is an interesting plot development episode but, more than that, an empathetic analysis of two tragic characters (Weyoun-6 and Odo).

Rating: ***1/2

Once More Unto the BreachAir date: 11/9/1998. Written by Ronald D. Moore. Directed by Allan Kroeker.

The best word for this episode is "classy." Somehow, you get the feeling this was written by a fan of the franchise as much as by one of its employees (which it was—one Ronald D. Moore). John Colicos' Kor is certainly worth an hour of screen time; I personally don't see how anybody could dislike this guy. The message behind the hour is one of painful obsolescence. The notion of a politically ostracized warrior now cast aside as a useless burden is powerfully drawn through Kor's humiliations and the things he has in common with the ship's yeoman, Darok. In one key scene, Kor responds to Martok's insults with a wonderful speech that makes Martok angry at himself for his own insolent mockery. Unfortunately, something about the ending and its off-screen battle just doesn't sit right, and the show sort of fizzles out. Too bad, because this would've been a classic had it provided a stronger finale. It's a very nice Klingon outing.

Rating: ***

The Siege of AR-558Air date: 11/16/1998. Written by Ira Steven Behr & Hans Beimler. Directed by Winrich Kolbe.

Like "Nor the Battle to the Strong," "AR-558" is one of DS9's great visceral experiences. So much of it is conveyed through atmosphere and photography (in a virtuoso Kolbe direction); a review will only get you so far. Powerful yet simple details of human jitters set the stage for a combat encounter that looms in the all-too-immediate future, until the entire setting takes on a sort of surreal quality. Meanwhile, Quark, Nog, and Sisko form the central core of some war polemics, as Quark's observations of the war-torn Starfleet battalion point out a human capacity for violence that lurks beneath the surface. Nog is the eager soldier whose world will come apart when he is injured. Sisko is the mission commander who must not hesitate in sending his soldiers to die. The story reveals a wartime pragmatism that is necessary but hardly uplifting. And the story puts a face on the millions of Federation soldiers whose sacrifices are typically reduced to throwaway dialog. "AR-558" is probably the best Trek war movie we'll likely get.

Rating: ****

CovenantAir date: 11/23/1998. Written by Rene Echevarria. Directed by John Kretchmer.

There's plenty of interest in "Covenant," but there's also plenty that's suspect. Part of my job for an episode like this is to embrace contradiction and resist presumption, because we're talking about a group of cultists who are following blind faith rather than logic. But still, they're going to follow Dukat, one of the most hated men in Bajoran history? And they intend to follow him even if it's right over a cliff? With Kira's headstrong defiance during this mess, and then a Cardassian child—obviously Dukat's—being born to a Bajoran woman, one would think there'd be room for some sort of dissent within this cult. Alas, there isn't. And the cultists' 180-degree revolt at the end, as well as Kira's "Dukat is still dangerous" speech, prove far too simplistic. On the plus side, the Kira/Dukat interaction was good, and I'm of the opinion that Dukat's worship of the Paghwraiths put at least some grey back into his character (even if the finale wouldn't see it through). Intriguing but shaky.

Rating: **1/2

It's Only a Paper MoonAir date: 12/28/1998. Teleplay by Ronald D. Moore. Story by David Mack & John J. Ordover. Directed by Anson Williams.

In the year's sleeper hit, Nog is the central character in a well-played follow-up to "The Siege of AR-558." A quietly absorbing, pleasant, and believable hour, "Paper Moon" is the perfect example of how character consequences can be portrayed without requiring heavy serialization but by still acknowledging past episodes and sending a character in a specific direction (Voyager writers take note). The episode has lots of reasonable moments of post-traumatic stress featuring the ring of truth; one of Vic Fontaine's best employments; some rare-for-season-seven Jake/Nog interaction; Ezri getting some moments of clever psychology; Rom and Leeta portrayed as people rather than caricatures; and a general respect and affection for all of its characters. Pretty invigorating. If Jake had been given this sort of attention this season we'd be in great shape.

Rating: ***1/2

Prodigal DaughterAir date: 1/4/1999. Written by Bradley Thompson & David Weddle. Directed by Victor Lobl.

Among the quietest episodes in recent memory, "Prodigal Daughter" documents Ezri's homecoming, as she visits the family with which she has become somewhat estranged. On the positive side, this episode is one of the more low-key and competent tales of troubled family life that Trek has done. On the negative side, we have a plot involving O'Brien, Bilby's dead widow, the Orion Syndicate, and Ezri's family in a way that features one (or three) too many coincidences and as a result feels forced together. (A quiet family drama saddled with a follow-up to "Honor Among Thieves" strikes me as a bit of a muddle by definition.) The family dynamics of the Tigan household ring true for the most part, but the episode is hard to take as something more than lightweight filler with an occasional note of melodrama. Not bad, but not particularly memorable, mostly because it feels so disconnected from the series.

Rating: **1/2

The Emperor's New CloakAir date: 2/1/1999. Written by Ira Steven Behr & Hans Beimler. Directed by LeVar Burton.

Thud went "Emperor's New Cloak," which ranks as the year's most obvious clunker. But what's most a shame here is the wasted potential of the mirror universe. It's been an unfolding mini-arc visited almost once per season since second season's "Crossover," yet here the creators don't think to tie up loose ends, especially involving the usually entertaining power struggle among Regent Worf, Intendant Kira, and Garak. Instead we get a hopelessly lame-brained plot filled with extremely unfunny Ferengi hijinks; offensively glib, wannabe-hip lesbianism; painfully stupid villains; and a lot of poorly conceived comic-book posturing that this time around fails to be even remotely fun. The result is a big, dumb bore—nothing one would've hoped or expected for DS9's final venture into the mirror universe.

Rating: *

Field of FireAir date: 2/8/1999. Written by Robert Hewitt Wolfe. Directed by Tony Dow.

It's a competent follow-up to "Rejoined," and a competent Trek murder mystery featuring an ingenious (if high on the opening-a-can-of-worms scale) tech murder weapon. And it's by far a better use of Ezri's dark side than the ineptitude of "The Emperor's New Cloak." Still, at this point it seems to be a bit of Ezri overload, and some of the show's obvious moral moments (Will Ezri give in to Joran and kill the defenseless Vulcan?) prove how much better a homicide works on a TV show that's about homicide every week. As an implementation of a police procedural with a sci-fi twist, "Field of Fire" fares okay but uncovers the murderer too swiftly. I initially defended Ezri uncovering the killer, but while I maintain that her deduction was possible, it is rather contrived. And Leigh J. McCloskey's turn as Joran was too theatrically stylized to be effective as believable psychological terror (though he conveys the smug sarcasm very well). I did like this as an Ezri-in-action installation, but it has a few too many rough spots, not enough lasting significance, and overlooks the fact that Ezri came face to face with violence just a few weeks before.

Rating: **1/2

ChimeraAir date: 2/15/1999. Written by Rene Echevarria. Directed by Steve Posey.

"Chimera," to me, is one of DS9's (and Trek's) all-time greatest moments. The Odo/Kira relationship has often been one of the series' most interesting, but after sixth season's "His Way" it became somewhat more routine by TV standards ... until this gem came along. As a romance, this episode is immensely moving, making every other Trek romance look pale in comparison. As a story about Odo's identity, this is a tour de force; Laas' presence brings with it all sorts of questions that exemplify the best of what Trek has to offer. Who are we, really, and why? How do others perceive us, and why? Echevarria's script is full of brilliant dialog touches and astute character speeches that say a great deal without sounding the least bit preachy. Laas (wonderfully played by J.G. Hertzler) is a sympathetic character whose prejudices and distrust are completely understandable, and when he kills a threatening Klingon we see all the interesting nuances of the Klingons' resulting search for "justice" (including Worf silently pondering the matter while in the background of one scene). It's an unfortunate situation that brings about some truly tough questions, bringing Odo back to wondering whether he belongs with "solids." Quark gets a thoughtful dialog scene, while Odo and Kira get to discuss their feelings in sincere ways that are, really, pretty groundbreaking. All the elements—the romance, the identity issues, the scrutiny of justice—come together to form a near-flawless hour that truly means something and inspires us to reflect upon that meaning. This is a masterpiece. (Did I mention that I liked it?)

Rating: ****

Badda-Bing, Badda-BangAir date: 2/22/1999. Written by Ira Steven Behr & Hans Beimler. Directed by Mike Vejar.

It was a reasonable lightweight outing, but it was also a victim of bad timing, straining the patience of those of us who at this point were anxious to get back into the series' core material. It's all about style and inconsequential fun. It's not about lasting impact or significance. On the downside: an unexpected racial argument that is brought up and then quickly dropped; scenes between Kira and Franky Eyes that are stale and cliched; and the usual holodeck contrivances. On the upside: a clever caper plan that of course goes awry; an amiable, fourth-wall-breaking Darren/Brooks duet; and an appropriate sense of whimsy. Overall it's pretty entertaining (though not as much fun as "Take Me Out to the Holosuite"). But if you take it away, what have we lost?

Rating: **1/2

Inter Arma Enim Silent LegesAir date: 3/1/1999. Written by Ronald D. Moore. Directed by David Livingston.

"Inter Arma..." embodies what I believe is a part of DS9's larger contribution to the Trek ideology: It challenges the core values of the Federation in ways that might be unthinkable on the other Trek series, thereby encouraging a growth of the franchise's scope. This is an episode with lots of great polemical dialog, wonderfully conveyed through the performances of William Sadler and Alexander Siddig. The plot, despite being more complex than is sometimes realistically believable (Sloan comes off as the greatest manipulator of all time), is an efficient, tightly-wound series of clever deceptions. What makes this so memorable, though, is its ability to argue the moral issues until we're not sure what is truly "best" for the Federation's survival—Sloan's ice-cold pragmatism or Bashir's unwavering idealism—when we consider the threats of our enemies. Admiral Ross' involvement in the plot only further demonstrates the tricky problem—we give in to our weaknesses during desperate times. The episode is as much a moral play as any classic TOS episode (showing the virtues of Bashir's moral code), but it goes beyond typical Trekkian bounds, and shows that the Federation is not perfect and that even ideal values can be subject to scrutiny.

Rating: ****

Deep Space Nine: The Final Chapter — Devoting 10 hours to the series' ending saga wasn't simply a good idea; it was practically a necessity. The producers' willingness to make the final stretch of the series into a huge, ambitious storyline (against the studio's general wishes) is something I'm grateful for. Not everything here was handled in the best possible way (spending so much time on Ezri/Worf and Ezri/Bashir probably wasn't completely necessary, and the ball was dropped with "Extreme Measures"), but it was nice to see DS9 go out with some thinking ahead, a great deal of sensibility regarding its characters, and a storyline that felt "epic" in scope.

PenumbraAir date: 4/5/1999. Written by Rene Echevarria. Directed by Steve Posey.

The series' final stretch begins with this story centering on two romantic plots: Sisko proposes to Kasidy; Dax rescues Worf. Noteworthy is the internalized, low-key performance by Avery Brooks; the Sisko/Kasidy relationship has quite an impact. More predictable is the Worf/Dax angle, as their runabout is destroyed and they find themselves stranded with nothing to do but talk, argue, and have yadda-yadda sex—but at least they weren't ignoring each other anymore. Meanwhile, the Big Plot fires up: The Dominion's search for the cure to the Founders' disease shows no useful progress; the Female Shapeshifter turns up the Freon for Cold Beeyatch Mode; Damar bottoms out in pathetic status; the Breen enter the picture and kidnap Worf and Ezri; Dukat shows up with a devious plan; the Sarah-Prophet warns Sisko that marrying Kasidy will bring nothing but sorrow. [Gasp for air.] It's a lot set (or resumed) into motion, which makes for an engaging but not standout segment of the story arc.

Rating: ***

'Til Death Do Us PartAir date: 4/12/1999. Written by David Weddle & Bradley Thompson. Directed by Winrich Kolbe.

Strangely, it remains just as difficult to render judgment on some of these individual episodes as it was before I knew how the arc would play out. "'Til Death" is still a good setup show that skillfully conducts its suspense elements like an orchestra. Damar's realization of his level of pathetic-ness is nicely staged with a standout scene of silence. The Worf/Ezri/Breen storyline still proves too redundant (though reaching their understanding of each other slowly, through great difficulty, was probably a good thing). Dukat's wandering is interesting. Sisko's marriage is nice, and the promised consequences fearsome (though the wording of him knowing nothing but sorrow seems misleading in retrospect). Nothing is the primary storyline here; they're all important, and, as such, more pieces to a puzzle. The verdict: Good entertainment, little payoff.

Rating: ***

Strange BedfellowsAir date: 4/19/1999. Written by Ronald D. Moore. Directed by Rene Auberjonois.

And "Strange Bedfellows" did it again. I find myself almost automatically wanting to discuss plot for an episode like this, because plot is where the show is most involving. This time it was primarily Dukat/Winn venturing into new territory, although Worf/Ezri finally finds some pleasant resolution, and Damar busting them out of their cell plays as a microcosm for Cardassia's imminent uprising against the Dominion (who probably see the Cardassians as useless given their new alliance with the Breen). The show's standout scene is probably the Kira/Winn discussion, which shows Winn as genuinely and understandably lost but still so power hungry that she can't help but follow the Paghwraiths. The show is hurt somewhat by some truly excessive Evil Dialog at the end. Nevertheless, the theme for "Strange Bedfellows": an episode that reveals to the audience which way characters are heading for their final chapters.

Rating: ***

The Changing Face of EvilAir date: 4/26/1999. Written by Ira Steven Behr & Hans Beimler. Directed by Mike Vejar.

Knockout punch number one. After three weeks of intense plotting sans payoff, "Changing Face" explodes, providing a roller-coaster ride of characters committing themselves to new paths. Starfleet mounts a large battle, but before we get into that, we get some well-played comedy that reminds us these people are human beings. We get Weyoun duped by Damar in one of the most deliciously played ironic scenes in recent memory. By the time the battle is over, we have witnessed the destruction of the Defiant in a painfully vivid sequence. And shortly thereafter, we have Damar asking the Cardassian people to turn against the Dominion (in a scene that still makes me want to cheer). And, oh yeah—two words: Mike Vejar. This is simply a wonderfully entertaining thrill ride, done DS9 style, and packed with little character touches that make all the difference in the world. Not for one moment are the characters lost in the mayhem.

Rating: ****

When it Rains...Air date: 5/3/1999. Teleplay by Rene Echevarria. Story by Rene Echevarria & Spike Steingasser. Directed by Michael Dorn.

There's plenty of good material, particularly surrounding the great irony of the Cardassians in almost the exact situation the Bajorans were in during the Occupation. Kira allies with the Cardassian resistance movement, which is a brilliant signpost of change and characters coming full circle. As with other installments in the arc, there's tons going on and this is a middle segment with almost no internal resolution. "When it Rains..." is less effective than some of the other parts because it's one of the least satisfying on its own and comes off as a bit wooden in execution. And it comes screeching to a halt in a way that's almost jarring. But it offers a lot of ideas that are very much worth the time.

Rating: ***

Tacking into the WindAir date: 5/10/1999. Written by Ronald D. Moore. Directed by Mike Vejar.

Knockout punch number two, which proves even better than knockout punch number one. The final arc's best episode, "Tacking" not only continues to move the plot along at breakneck speed, it's an episode that embodies much of the DS9 mythos. We see societies and movements facing internal problems that could bring down the whole war effort, and Ron Moore's script draws brilliantly conceived lines back through the histories of these individuals and societies. Kira's encounters with Rosot reveal an old-school Cardassian hard-liner whose attitudes are obsolete. Kira's encounters with Damar reveal a man with the courage to accept change; a quietly executed key Kira/Damar scene vividly exacerbates old wounds along with new. Meanwhile, Gowron's political foolishness leads Sisko to tell Worf to do "whatever it takes," in a scene that demonstrates just how much Starfleet has changed. And an Ezri/Worf conversation challenges the viability of the Klingon Empire given its willingness to tolerate its own kleptocracy. All of this is put in terms of the current conflict with the Dominion, making the stakes extremely high—but grounding the lasting significance in the terms of fictional societies that have solid, compelling histories, and futures we're inspired to imagine. (And, oh yeah—two words: Mike Vejar.) It's absolutely fascinating to watch play out, and provides one of the best representations of what DS9 is all about. Call it a tie with "Chimera" for best of the season.

Rating: ****

Extreme MeasuresAir date: 5/17/1999. Written by Bradley Thompson & David Weddle. Directed by Steve Posey.

Unfortunately, if there's an episode that most hurts the larger scheme of things, it's "Extreme Measures." Here's an episode that by definition should've been the writers' last word in answering many of the moral questions that the Dominion War and Section 31 have provided for this series. All the ingredients are here: Sloan, Bashir, and the titular "extreme measures" involving illegal Romulan mind probes. But many of the most important issues are never discussed. Instead, for reasons I can barely fathom, the writers turned this into a routine Virtual-Reality Adventure [TM] replete with all the VR cliches. And there's a lot of wasted time, like extended scenes of Bashir and O'Brien in a falling turbolift or lying wounded in a corridor. The banter is first-rate Bashir/O'Brien stuff (the "I like you a bit more" routine is classic), but it's simply inappropriate under these circumstances. And, unfortunately, the Section 31 moral dilemma feels like it never received the closing chapter it clearly deserved. Overall, not a complete loser, but clearly the season's biggest disappointment.

Rating: **

The Dogs of WarAir date: 5/24/1999. Teleplay by Ronald D. Moore & Rene Echevarria. Story by Peter Allan Fields. Directed by Avery Brooks.

Present here is more backdrop for the finale involving the destruction of the organized Cardassian resistance and Damar/Kira/Garak taking the struggle to the streets, which is necessary and intriguing. And there's talk of the war's upcoming final assault on Cardassia Prime. However, on its own, this episode might be more easily remembered as the closing of the book on Quark and the Ferengi. As such, it's surprisingly tolerable, underlining the fact that Ferenginar has changed while Quark—who will continue to cling to yesterday's values, today rendered obsolete—has not. It doesn't make up for years of lame Ferengi episodes and a Ferengi society whose drastic change in the past two years is scarcely believable ... but it does send Quark and the Ferengi out with some dignity, and for that I'm pleased.

Rating: ***

What You Leave BehindAir date: 5/31/1999. Written by Ira Steven Behr & Hans Beimler. Directed by Allan Kroeker.

It's possible that your opinion of this season was largely decided by how effective you found the final episode, simply because the final episode had to resolve so much of what was set up in the preceding eight shows (and before). It's certainly true there are plenty of things that I might've liked to see in this last episode that weren't present. But it's also true that a great deal of what needed to be said was said. As a final "event" episode to tie up the threads, this episode worked and worked well. All the characters got appropriate final moments and goodbyes, and Kroeker's direction over this huge project was incredibly well paced. The one true weakness—the unsatisfying conclusion to the Sisko/Dukat/Winn showdown—hurts, but certainly not enough to bring down the show. The bottom line: undeniably flawed ... but still a riveting, satisfying ride. We'll look at all the consequences below in the season analysis.

Rating: ***1/2

Part 2: Season Analysis

So, Deep Space Nine is over and done with. And there are still stories that could be told. Stories that, if I were expecting another season, I would say should be told. Of course, they won't be told. (If you're holding out for a DS9 movie, whether in theatrical release or on TV, my advice is not to hold your breath.) Did this season cover as much ground as it possibly could've? Probably not. Cover as much ground as it should've? I dunno—possibly not. There are a couple big things that at season's outset I would've said were "mandatory" to cover but now must accept as unfinished. And, of course, there were other moments this season that happened which I wouldn't have minded had they been omitted.

But in looking back at this season, I think DS9 was about as ambitious as it's ever been—and certainly as solid in terms of quality. Despite the missteps, despite the fact some things went undone, despite the fact some ideas weren't taken quite as far as they could've been, DS9's seventh season goes down as one of Trek's most engaging and well-thought-out seasons—in my book, anyway.

Is DS9 the same series it was when in premiered in 1993? I would say yes and no. (Is that the lame, easy way out of the question? Maybe, but I also happen to think it's true.) Some elements from those first two seasons were retained. Some evolved. Some were thrown out or forgotten. The focus of the show shifted from time to time, sometimes jarringly. (Season three's premiere, "The Search," and season four's premiere, "The Way of the Warrior," both attempted to reinvent the series with great suddenness.) But through all the plot changes, we still had the most important aspect of DS9—watchable, believable characters. These were people whom we could care about. Despite the fact we're talking about a sci-fi/fantasy genre cast, there's always been something about Sisko and his crew that had a ring of truth to them. It's sometimes hard to put my finger on what exactly that is. It's a feeling that I don't nearly as often get the with some other series, like Voyager, for instance.

Anyway, even the best characters need to populate good stories to be useful, and the question for season seven was what stories we would get. This is a series that specialized in setting up dozens of storylines and elements—sometimes too many—and those elements would at times go unresolved. Season seven was a season that covered a lot of ground, particularly in its final 11 hours.

Now, I'll talk about the oversights in a moment, but first I'd like to discuss the major themes for this season. Unlike the stand-alone attitudes of a Voyager season, most episodes of DS9 seem to be coming from somewhere and heading somewhere. Yes, ongoing stories grew out of multi-part episodes. But they also grew out of previous seasons and a general care for maintaining a bigger picture—one that was sometimes most rewarding to those of us in for the long haul.

To be specific, I point for starters to the two big winners of the season: "Chimera" and "Tacking into the Wind." Both of these stories took characters whose histories we knew so well and seamlessly melded those histories into the storyline. "Chimera" took advantage of a long-standing relationship (Odo/Kira) and a long-standing crisis of the self (Odo feeling the call to the Link). "Tacking" played with the societal histories of almost every power involved in the war, but the real standout were the characters of Kira and Damar and the acknowledged parallels of Cardassia's plight and the past-but-never-forgotten Bajoran Occupation. Both episodes are Trekkian masterpieces, albeit for different reasons. "Chimera" was inspired more by the classic Trek sense of storytelling, deeply exploring a few characters upon the appearance of a guest character who harbors a unique perspective. "Tacking," on the other hand, qualifies as quintessential DS9 following the themes laid out by DS9. I guess you could say it's more a DS9 episode than it is a Star Trek episode, showing how DS9 exists as a Trek product with its own identity and unique set of themes.

It's the ability for DS9 to have its own identity that I believe makes it so worthwhile in terms of the Star Trek franchise. I've mentioned this before in other articles and reviews, but over the past two years, particularly with the war storylines and the introduction of Section 31, DS9 has put its own spin on the idea of the Star Trek moral play. "In the Pale Moonlight" was the best example, but this year we had one nearly as good in terms of underlying, growing implications—"Inter Arma Enim Silent Leges"—which had lingering moral consequences that would echo through the season. I'd argue that the sense of storytelling involving Trekkian morality was even more well-thought-out this season than ever before. For the first time, I got the sense that the writers were taking some risks and heading into uncharted waters—which, given Voyager's problems, is exactly what this franchise needs. Do I think DS9 abandoned the revered Trekkian morality? Not at all. What DS9 did was ask whether those values could survive a war, and showed that the Federation is both flawed and fallible. Season seven is where a lot of such arguments were presented.

Of course, like in season six, with the war and more focus on Federation morality, there was less focus on Bajoran society. The Bajoran political situation, a reliable element from the series' roots, was again absent this season. On the other hand, the subject of a Cardassia left in ruins proved beyond any doubt that the writers still remembered where the series had originated. Seeing the series come full circle in at least this regard is among the best things about this season. "What You Leave Behind" may have been missing some important elements, but it certainly didn't forget where the series began.

Like most other seasons, DS9 did not spend all its time on its "core material." There were, of course, stand-alone episodes that didn't greatly affect the larger picture. One of the more pervasive arguments I've seen against the past two seasons has been that the war is too frequently missing from the storylines. Personally, I won't be jumping onto that critical bandwagon. I would certainly say there were moments this season that tried my patience. (Like with season six, there was that period of fluff and temporary aimlessness that characterized some patches after New Year's.) But I wouldn't at all say that a lack of war-based storylines or dialog was the problem. As much as the war was important to this season, I had few qualms with DS9 breaking away for a stand-alone non-war-based episode. Besides, I personally don't think anyone would be happy with a Trek series that featured constant warfare. I like that DS9 would tell a variety of stories without forgetting about what was important. No, I wasn't always happy with the weird momentum shifts, but the variety was fine, and generally wasn't to the detriment of the whole.

As most people have probably figured out by now (if not long ago), I consider DS9 to be the best of the Trek series. It has told the most stories that are in line with what I want to see on Trek, maintaining optimism but also factoring in sobering doses of skepticism and caution. Where does season seven rank in the DS9 scheme? I can't say I found any of the seasons to fall into the minus column overall (although third season's unevenness would probably be the closest). I'm not exactly sure how to quantify such things, but my favorite overall seasons are two, five, and seven (not necessarily in that order). Season two had a lot of very strong stories and a good emphasis on the Bajoran political aspects. Season five provided the development for what arguably would form DS9's longest-lasting elements. And season seven was a further exploration of the series' more challenging themes and convoluted plots.

DS9 featured many different characters and a wide variety of material, so perhaps the easiest way to look at the season's most important aspects would be in shorter snippets. Here's a listing of the most significant successes and shortcomings of this season.

Major aspects DS9 got right this year

1. Damar and the Cardassian rebellion — Few big plots could work this well, not only in being foreshadowed so far in advance (nearly two years, one could argue), but growing logically out of a character's trajectory and attitudes. Damar went from a relatively minor thug to an important piece of the series. (DS9's focus on all its guest characters is one of the things I really enjoyed.) I think Damar's death might not have been the best way to use him in the finale (he might've been more useful as a symbol for Cardassia's future), but the writers' use of Damar as a symbol of Cardassian change was brilliant. The Cardassian resistance was a plot element that I've been anticipating since the beginning of season six—and when something seems that inevitable, I think that's a clear indication the creators are doing something very right.

2. Kira goes to Cardassia — An extension of item #1, but from perhaps the most important perspective. By dropping a character into the action who had previously been in a similar situation—only at the hands of those whom she must now help—we could see the parallels and debates fast arising. (Go back and watch "Tacking into the Wind" and you'll know what I mean.) Kira is a character who has truly grown since "Emissary," from justifiably hating the Cardassians to fighting alongside them for a greater good. This plot displays her as a true heroine, in action and in attitude.

3. The Cardassian fall — Yet another extension of item #1 (which shows just how right the final Cardassian arc was), and a nice finish to a great idea. It seemed pretty clear that the Federation could not fall, but through the focus on the Cardassians' role in the turn of the war we also could see and feel the side of some major losses. Garak became the Cardassian patriot who, ironically, ended his exile by returning to a world now destroyed and unlikely to ever again be the Cardassia he knew and loved.

4. Wartime moral issues — I've already discussed these at length, so I won't do it again, but such issues are one of the main things for which DS9 will be remembered, and the seventh season featured them perhaps the most pervasively.

5. Kira/Odo — Whodathunkit? What prompted many a viewer's trepidation back in "His Way" turned out to be one of the most believable bonds imaginable, because (1) they were well written full with deep mutual understanding, and (2) Nana Visitor and Rene Auberjonois sell their material so well. I doubt I was the only one fighting back tears when Odo walked off into the Great Link—and, hell, I'm a guy! (Heh.)

6. Long-term thinking — It's the glue that held together the season, if not the series. There were lapses in credibility here and there, but the series was well served by the writers simply thinking about what they wanted to do, and planting seeds ahead of time so that major events—like Damar's defection—would make sense down the road. (To the creators of Voyager: This should be your pattern for telling some stories.)

7. Riskier stories — I must give credit to DS9 for trying things, even though such things didn't always work. For a late-in-series example, I liked the idea of the Prophets and Paghwraiths being brought into the core of the story. I didn't like that they were utilized as magical entities that would sometimes substitute for common sense, but like I said, the writers tried. Other risks, like the idea of Section 31 manufacturing genocide, were somewhat edgier by Trek standards.

8. Tasteful sendoffs — "What You Leave Behind" had shortcomings, but it sent the characters off in directions that basically made sense and closed the book in ways that were satisfying. Some characters stayed on the station while others did not, which strikes me as a realistic change in times. Strangely, the writers walked a dangerous line in some cases and got away with it working anyway: A huge example is Sisko's "change in existence." This is something that leaves me baffled as whether to accept the character as "killed off" or as suspended in limbo until the writers change their minds. The weird thing is finding that I'm again reminding myself that there are no minds to change, because what we've seen is all we get. It's over. It makes a nice dramatic end, yet I'm still half hoping there's more to it. It's frustrating yet satisfying and bittersweet all at once. Are we all being cleverly manipulated? If so, it's working.

Major aspects where DS9 fell short or featured a glaring omission

1. Bajor's entry into the Federation — Far and away, this was the thing that seemed to me as the most obvious long-term aspect of the series that did not get the resolution it deserved. Sisko's original mission in "Emissary" was to ensure the Bajorans were ready for Federation approval. While he was successful in that mission and Bajor was approved in fifth season's "Rapture," Bajor's actual entry was something I expected would be re-addressed this season—and it wasn't. Even if Bajor didn't join the Federation, it would've been nice to have some dialog devoted to the matter. Instead, what we have is Kira running the station, which is fine and good. But where is Bajor now that the music has stopped?

2. Internal Bajoran political situations — Similar to item #1. While we had plenty of stuff involving Winn, Dukat, and the Paghwraiths, all of this had zero impact (as far as we were shown, anyway) on Bajor as a world. Whereas we could see the people of Cardassia taking action in attacking their problem, we saw nothing of Bajor, and that feels like an oversimplistic cheat. Bajoran politics used to be important on this series, and it's a shame that we couldn't get something more than a single line about the next possible Kai in "What You Leave Behind." I have to agree with what I read in another review a few months back: It seemed like Bajor had about three people living on it, and that hasn't always been the case in the past. Just one or two supporting characters (like the vedek in "Rocks and Shoals") with something interesting to say could've made a big difference.

3. The final Sisko/Dukat/Winn collision — Of the things we did see on the screen, this was one of the important things that I thought was disappointing. This was something that could've answered a great many questions about Dukat and his relationship with Sisko and Bajor. Back in "Waltz" Dukat was a guy who wanted Bajoran acceptance so badly it hurt. Why couldn't we get more dialog arising from that, and tie it back in with the Paghwraiths? I genuinely think this was possible, and in a way that would've revealed many more interesting psychological aspects of Dukat's problems. This in turn might've given Sisko a more interesting ultimate role as the Emissary than his heroic dive into the fires of hell. And what about Kai Winn? She's killed and we don't get much payoff in terms of larger consequences (see item #2). Everything leading up to this payoff made sense, but having "What You Leave Behind" turn this into an archetypal struggle of good versus evil is not even close to the best way of exploiting the key strengths of these characters and their relationships. Also, the Paghwraiths themselves became a little too concrete, and their motives seemed on par with comic-book villains.

4. Jake Sisko — Quite simply, he wasn't given enough to do. Who is this guy anymore, aside from being Sisko's son? The issue of Jake being a writer was ignored even more than it was during season six. Part of the problem may be that Cirroc Lofton wasn't in a lot of the episodes, but a bigger part of the problem is that the writers didn't set any goals or directions for him. He simply reacted to situations (mostly relating to his father), and that seems like a waste of a character. (And no goodbye to his father? What a shame.) Even one good episode like "Nor the Battle to the Strong" or "In the Cards" would've made a big difference. Ideally, the writers should've given him a mini-arc like they gave Nog. The producers even admitted at one point that they had "dropped the ball" with Jake and had run out of time. At least they were aware of the problem, but that's still cold comfort. Jake most resembles your average Voyager character—a well-established personality not put to much use.

5. "Extreme Measures" — Read the capsule review above (or even my original review) for the full story. This is worth special mention because it was so high in potential for being classic DS9, but was instead an extreme letdown. I don't think it takes away from "Inter Arma" but it could've made the Section 31/Dominion War saga even more powerful.

6. The Breen — Just who are these guys, anyway? The series introduced them into the game so very late, and none of them could be called characters (all they did was stand around and expel electronic noises). The optimist in me realizes the Breen ultimately aren't that important—they were just a catalyst for the Cardassian insurgence—but in and by themselves they're plot pieces plain and simple, given no motivation by the writers for their alliance with the Dominion. They served their primary purpose, but it's still a bit shoddy.

7. The Wish List — Some minor stuff that probably wasn't crucial: It would've been really nice to see the follow-up to Kai Opaka's promise in "Battle Lines." It would've been nice to have Sisko go into the mirror universe one last time (rather than having that travesty called "Emperor's New Cloak"). O'Brien could've had a meatier show as the central character (Meaney was game as always, but O'Brien was a supporting character that had little new to do).

8. Miscellaneous plotting details — It would've also been nice to see the little things gained throughout the war actually pay off in more tangible ways from time to time. For example, holding off the Jem'Hadar and maintaining control of the communications array in "The Siege of AR-558" was supposedly a major victory. Why not actually show that in some way down the road, or at least again mention this all-important communications array in dialog? There are other similar details along these lines that could've been fleshed out a little better, but the writers generally chose to press on and not look back. I guess that while some puzzle pieces are huge and important, others were simply intended to be forgotten afterward.

All in all, I have my complaints, but I don't have serious problems with this season, which offered plenty to be a satisfying final ride for a generally very solid series. Looking at the numbers, I find that this season had only one out-and-out loser ("Emperor's New Cloak"), one major disappointment ("Extreme Measures"), and one forgettable mediocre show ("Chrysalis"). Everything else was okay at worst ("Badda-Bing, Badda-Bang" would be the next-lowest, but is still probably worth a view), or classic at best. There were five that I rank in the four-star, absolutely-must-see position ("Tacking, "Chimera," "Changing Face," "Inter Arma," and "AR-558"), the first two of which harbor some of the series' greatest moments. The week-to-week quality was consistently high.

The bottom line is that I enjoyed this season plenty. And in looking at what it had to accomplish in a limited amount of time in ways that would satisfy the most viewers, I think the creators pulled off quite a job. I didn't expect perfection and I certainly wouldn't say we got it. But a stellar season and a good end to DS9—yes, without a doubt.

Part 3: Closing Comments

So, I guess it's about time for the Inevitably Gratuitous Personal Farewell Look-Back Statement [TM]. Of course I can't resist.

I've been at this awhile. Certainly not as long as some people online, but a good while spanning some important years in my life. When I started writing these things I hadn't quite graduated from high school, and now as I finish up this last DS9 posting, I'm a college grad working a full-time job (though still undecided where I intend to go in life). The first DS9 review I wrote was in the spring of 1994. I had been the movie reviewer for my high school paper, and for more practice I wanted to take a shot at something that wouldn't cost me $6 a view. I'd seen some TV reviews of TNG and other shows in some sci-fi magazines, and with DS9 nearing the end of its second season, I decided to give it a try myself. I launched the word processor and typed away, writing reviews that were shorter (and much, much rougher) than my typical capsules are today. At the time, I hadn't logged onto the Internet even once, and wouldn't for several months. For completion's sake, those second-season reviews would later be completely rethought and rewritten in 1997; if I have my way, the originals will never, ever again see the light of day.

Since I started posting these reviews, I've found a sort of interesting niche on the Internet. When I first logged on in the fall of 1994, I found the Trek newsgroups had opinions of the various shows spanning all the series, with comments ranging from "it's the greatest ever" to "it absolutely sucks." Never had I seen so many virtual voices on such an interesting medium discussing such a specific topic. Naturally, I wanted in. Now there's no way out. Not that I want out—not yet. This is probably the best hobby I've ever had—and the first hobby I had that at times felt like a job.

In early 1995, I put what few reviews I had on the Web. I had no idea how to build a decent Web site, but I certainly was going to try. Now when I get up to go to work in the morning, I go to work with Web sites all day. Funny how the dominoes are placed; you can't tell where they're leading until they've started to fall.

Sure, I enjoy the Web design and administration aspects of this endeavor, and I've learned quite a bit over the years. But the writing is why I do these reviews, no doubt about it. It's fun to take a position and argue it. With DS9 I felt the reviews were particularly worthwhile, because there were often issues to discuss that required me to think about the episode a little more thoroughly than I might've had I not been writing about it. It was nice to eventually find an audience interested in this sort of thing, but I must confess I never expected to get e-mail from overseas telling me the reviews were useful in making videotape purchase decisions. I never thought I'd see the reviews used proactively.

DS9 had a great run. It wasn't always great (what show is?), but for seven seasons its writers kept me constantly interested in the where the stories and characters would travel and, finally, end up. DS9 strikes me as a show with a cast, crew, and writers who enjoyed what they were doing and were good at it. And it has been fun writing about the show for the past few years—even the really bad shows. My thanks go out to everyone involved in producing the show for bringing us an entertaining incarnation of Trek that tried to be different.

And thanks, everyone, for reading and offering feedback, comments, debate, and support. Through work and my education, I learned a lot about writing over the past five years. But, strange as it might sound, I'd say writing these reviews was possibly the most important part of the process. It was the one source of constant work that kept me on a quasi-deadline and was still fun to do.

But what am I blathering on about? I'm not going anywhere. After all, Voyager starts up again in a little over a week. I hope to see you then. Maybe you aren't a Voyager viewer. I understand. After all, Voyager is certainly no DS9. The point is, for me, a lot of things started with this series. Now it's over and goodbye. Yeah, it's just a TV show. But I've invested countless hours writing about it, and I've gotten more out of it than I ever had imagined when I started. So maybe for me it's more than just a TV show after all.

If you won't be joining me on the Voyager side, take care. It's been fun having your ear, and even more fun trying to be an earful.

Over and out. May our paghs meet again.

Previous: Season 6

Season Index

40 comments on this review

Rich Bohler - Wed, Mar 26, 2008 - 2:10am (USA Central)
Chimera as an episode was watchable but in the whole scheme of DS9 it was a mistake , if the founders could use the powers as well as Laas did i.e.
turning into a starship and who knows what else they would have been unstoppable without help from the Organians
Blue - Sat, Apr 4, 2009 - 1:55am (USA Central)
Just wanted to say: Great reviews, Jammer. I read them as I watched the series, and you really enriched the experience by offering a few perspectives I hadn't considered. Kudos.

Rich: Perhaps the changeling from "Chimera" was their species' equivalent of a genius or super-athlete? If humanity consisted solely of Albert Einsteins, I bet we could conquer the universe pretty quickly, too.
Jason Keon - Fri, Nov 20, 2009 - 2:19pm (USA Central)
Avery Brooks is a weak actor. Sisko is a poor captain. The cast has no chemistry. Save for a few episodes, it's utter rubbish. Voyager and TNG runs rings around this series. It's the most overlooked trek for a reason.
OatsofMeat - Mon, Apr 5, 2010 - 5:38pm (USA Central)
Have Sisko go into the mirror universe one more time? Oh,please. sisko is never welcome. The Ferengi gave us a more entertaining perspective. Although the ending of Emperor's New Cloak was kinda stupid, Hah. Oh well.
gion - Tue, Apr 6, 2010 - 2:49pm (USA Central)
I didn't like the style of the final run of episodes. The intention was to dazzle the audience with major fireworks, and it succeed (the first time at least), but at the expense of spontaneity and thoughtfulness.
And in the end what was the point of bringing in the Breen? The Cardassian had ample reason to turn against the Dominion regardless and nobody was going to be fooled on what the outcome of the war ultimately would be. All it did was to add yet another thread to an already cramped story, leaving less time to develop the rest more deeply.
I have to think of the series Band of Brothers here, in which the major action had already finished a few episodes before the end and the last 2-3 episodes contained a lot of reflection and contemplation. Perhaps it would have been better if the Breen would have been left out of it so that the invasion of Cardassia and convincing the Founder could have been played out over several episodes. Maybe less exciting, but again, nobody was going to get fooled on how it was going to end.

The Dukat/Winn substory surely also could have been handled more subtly.
Matt - Wed, May 26, 2010 - 11:25am (USA Central)
I think the reason DS9 didn't enter the zeigeist the way TOS & TNG did (and no doubt there will be some who disagree with this) was because of how its head man, the irascible Ira Behr, basically spent the show's entire run telling people "TNG sucks, watch our show instead" (read any interview he gave during DS9's run & you'll see what I mean). No wonder non-Trekkers barely know of its existence if he's going to knock the series which made his show possible. He comes across at bitchy as Kevin Sorbo does now when he talks about Xena.
Matthew - Mon, Aug 30, 2010 - 6:01pm (USA Central)
I think your love of DS9 blinded you to just how truly awful this season was. It was horrible. It was so bad, I was surprised I was even watching DS9 and not Voyager. Here are gaping holes you FAILED to notice:
1) Sisko goes back to earth at the end of Season 6 for NO reason. Dax dies at the end of Season6 BECAUSE THE PLOT DEMANDS IT. The death was contrived and unnecessary.
2) The whole thing with the Prophets and Pah-Wraiths was STUPID. There is no such thing as an opposite religion. Satanism is not a real religion, it's an urban legend. And just because the Wormhole was closed doesn't mean the Prophets are GONE unless the Bajorans are ICONOCLASTS. There is no reason to turn to the Pah-Wraiths since the Prophets AREN'T GONE! Dukat's plot MAKES NO SENSE EITHER. HOW DOES IT MAKE THINGS BETTER FOR THE DOMINION?
3) Like it or not, "Far Beyond the Stars" is a terrible episode and Benny Russell is one of the worst characters ever created. Why would you reuse him in "Shadows and Symbols" FOR NO REASON?
4) Ezri Dax was TERRIBLE. Granted, Jadzia was a terrible character anyway, but Ezri was even worse. She was just annoying. She went around saying she was confused all the time. WHY WON'T SHE SHUT UP!?
5) WHAT WAS THAT THING WITH WORF AND EZRI? Who CARES about Worf. The romance between him and Jadzia didn't work anyway, but this was just ASANINE!
6) The Kai Winn subplot MAKES NO SENSE EITHER! It made no sense with Kai Winn's character, she wouldn't turn to the Pah-Wraiths. It is contrived and STUPID. She wouldn't turn to the Pah-Wraiths! GOD!
7) The Section 31 subplot was BORING.
8) Don't even get me started on Vic Fontaine.
9) The Breen joining the Dominion was POINTLESS. We don't know anything about them. Joining the Dominion is UNNECESSARY. And not being able to understand what they say is SILLY.
10) They added MAGIC. WHY?
11) The Vorta cloning facilities are all in the ALPHA QUADRANT? People who come from the GAMMA QUADRANT RELY ON THE ALPHA QUADRANT FOR THEIR RESURRECTION?
12) WHY WOULD the female shapeshifter surrender AFTER ODO made her well again? It doesn't CHANGE ANYTHING! They could easily have carried on the attack!
13) What is the Pah-Wraith's plan? Why are they going to burn the universe for all eternity? WHY?
14) You criticized "The Reckoning" because it had a stupid magic fight in it. What? You mean like the one in the FINAL EPISODE. THIS IS WHAT WE GET? A LAME MAGIC FIGHT? Why don't the Prophets give him power to defenf himself when Dukat freezes him?
15) Sisko just disappears. Great. What a great ending.
16) Who the hell was that Monk in "Image in the Sand"? WHO WAS HE? WE NEED TO KNOW!
All in all, this was a terrible season and it had the third wort finale. How can you have praised this season as much as you did? Oh well, that's just the way the wind blows.
Jerry - Wed, Sep 15, 2010 - 4:20pm (USA Central)
Here....

www.youtube.com/watch?v=xqWyr7cDcks&feature=related
Eric Dugdale - Mon, Feb 21, 2011 - 6:13pm (USA Central)
Matthew, you raise some good points - some of which Jammer actually addressed and with which he agrees, if you bothered to actually read his reviews of the season. A few of your points are simply misunderstandings (for example, all the available Vorta cloning facilities have been in the AQ because the Prophets are still blocking wormhole passage).

Most of your "points", however, are just expressions of your personal feelings. While your personal feelings are valid within the scope of your own mind, they do not pertain to the quality of the show. While these points are worded in such a way as to seem like statements about the show, they're really just statements about you - more specifically, about your feelings.
Nic - Thu, Feb 24, 2011 - 9:27pm (USA Central)
Thanks for all of these wonderful reviews. I've probably read every single one by now and as a result have come to appreciate the series in a different way.

Despite the awful comic-book-ness of the Dukat/Pah-wraith arc, this season as a whole was probably as good as it could have been. For now, I would say it is my favorite season, but that may be premature as I just finished watching it yesterday. A part of me can't accept that it's all over... I could never have expected how attached I would have become to all of these characters. To paraphrase Brahms, "if I had known it was possible to write something this good, I would have done it myself!"
Paul - Thu, Jun 9, 2011 - 12:36pm (USA Central)
DS9's seventh season was kinda disappointing. I think the series peaked at the end of Season 5.

The problem with DS9 generally was that it was too epic and too small. Every time I watched a scene in the Dominion's headquarters on Cardassia Prime, I cringed. There was a great looking set for a similar room in 'Defiant' a few years earlier. But, for some reason, they had Weyoun, the Founder et. al in a coat closet.

Why do I bring this up? DS9, as it got bigger in scope, still tried to focus on too few characters. A good example was the episode where Kira, Damar, Odo, Garak and that other Cardassian tried to capture a Jem Hadar ship. There is just no way that the (recognizable) head of the rebellion and so many other high-profile people would ALL go on such a mission together. Instances like this happened throughout the sixth and seventh seasons. This kind of casting worked when DS9 was on the frontier in the first few seasons.

All that said, DS9 is my favorite Star Trek series because it took more chances than the others. TNG was good from seasons 3-6, terrible for seasons 1-2 and 7. Voyager was an abomination and Enterprise just never had any steam (though I liked the end of Season 3).

Last point: While I thought the acting on DS9 generally was better than the other series -- especially when you count the guest stars -- there are two actors who really were inconsistent. Avery Brooks and Terry Farrell.

Brooks had his moments, but his Benny Russell breakdown was just awful. Farrell was OK in lighter moments, but lines like "Who says there's never a Klingon around when you need one?" were terrible. Her line to Sisko about line officers in season 6 was awful, too.



Stubb - Mon, Aug 8, 2011 - 11:24am (USA Central)
As I've commented on other threads, DS9 suffered from TNG disease -- it took a season and a half to find its sea legs. Unlike TOS, which seemed to hit the ground running, DS9's plots and characters were largely misdirected and confused for the first two seasons (with a few exceptions). Season 4 improved, and season 5 was very good.

What elevated DS9 in seasons 5-7 was one thing: the Dominion War. Neither TOS or TNG possessed anything like the epic, sweeping scope of this fascinating plot arc. Yes, DS9 strayed from it a few times. But overall, it added a depth lacking in the other shows.

Tell you what I mean. When I was a little kid watching TOS, I quickly figured out that none of the main characters could ever die. Unlike a 2-hour film, this puts a serious damper on drama. I used to call it Scooby Doo Syndrome. Where's the dramatic impact if I know no major characters can die? If I know they'll always escape at the end? It takes inspired storytelling to bridge that gap and convince me to care what happens on a weekly show. The Dominion War, as a long-term story arc, achieved this objective. Instead of 26 four-act plays told in an hour apiece, we had 26-hour stories with a continuous plot arc (plus diversions). Form me, THAT is what made DS9 rise above the other series.

WYLB was a satisfying and moving finale for DS9. I miss it still.
V - Sat, Dec 31, 2011 - 5:09am (USA Central)
I admit I was one of the people who just didn't understand what DS9 was all about specially being such a fan of TNG. I barely watched it when it was being broadcasted originally. However, seeing it now that I'm older and supposedly wiser ;) I realized where DS9 actually fit in the Trekkian universe. It made sense and I thoughroughly enjoyed watching it season after season. And just like TNG, I will miss it and hunger for more.

I do have some unanswered questions similar to others here. But that won't stop me from recommending this show :). Thank goodness for Netflix and DVDs. I'm moving on to Voyager now and eagerly awaiting the blu-ray version of TNG.
darwinawards - Wed, Jan 11, 2012 - 4:42pm (USA Central)
I absolutely loved DS9, especially once the Dominion War story arc got going.

The writing was excellent and very imaginative. I really enjoyed the characters as well, especially the recurring characters such as Dukat and Garak.

I really hated a couple of things about the series, however.

First is the dreaded Ferengi episodes. I don't think I need to go into detail.

The second is the concept of the Prophets (and pah wraiths), which was absolutely not necessary to the show. DS9 would have worked fine as a show about a space station next to a wormhole in the middle of an intergalactic war. I didn't need to hear the endless babbling from the Bajorans about the Prophets...it grated on me so much that at times I found myself hoping that the Cardassians would re-invade Bajor just to shut them the hell up. The Prophets were absolutely unnecessary. The wormhole itself, which connected distant parts of the galaxy, was interesting enough by itself.

But the writers truly went off the deep end by introducing the pah wraith concept. Why is it necessary to have some unexplained "evil" to serve as an antagonist when you already have an enemy (the Dominion) that has been developed over 3 seasons?

The writers plunged into insanity, however, with Gul Dukat. Dukat was perhaps the most brilliant villain (or tragic hero, depending on how you see him) in the entire Trek franchise. He commanded the occupation of Bajor, could be a real bastard at times, and yet he was a loving father, and a helpful ally to the Federation. He really established a relationship with Sisko and even got Kira to thaw out a little. I actually liked him and saw him as one of the "good guys," although perhaps misguided at times.

And then, the writers turned him into a one-dimensional fanatic, and finally into a supernatural comic book villain with red eyes. Gone was the complexity. Gone was the painstaking character development. He was just the bad guy now. The scene with him fighting Sisko in the fire pit was so dumb that I was laughing at the screen.

Then, they make Sisko one of the Prophets? That's really nice. Just abandon your job AND YOUR SON!!!
I don't want to point fingers, but I think that writer-producer Ira Behr is the one responsible for all of this religious crap. He said in an interview that he wanted to make Sisko into a god. Gene Roddenberry is rolling over in his grave.

JonChang - Mon, Jan 30, 2012 - 9:13am (USA Central)
DS9 is my all-time favorite TV show, period. DS9 had it all: the intense drama, character conflict, ongoing plots, acting/amazing cast, characterization, writing, great stories, battle scenes. The show had writers that believed in the material, the actors and the characters.

DS9 really challenged not just the ideals of the utopian Federation, but also of Star Trek. It examined the human condition in more diverse ways than just boldly going. DS9 deepened what Star Trek is and can do, not only in its world-building and political intrigue - but in its vast array of creative storytelling.

It was also a show that took risks - just like challenging TV is supposed to do. All the other Trek shows either side of DS9 were just safe and bland.

Like you, I wished there was more Bajoran stuff in Season 7. I also wished the Dominion war had finished slightly earlier, so we could’ve seen more of the aftermath, on personal and political fronts.

However, I remember reading somewhere, years ago, that studio interference is what reduced the Bajoran-focused stories. Apparently the studio didn’t like those stories, because the ratings were never high on them. Hence the awkward shifts to Season 3. Sad, but true.
Nick - Thu, Apr 26, 2012 - 5:58pm (USA Central)
DS9 was my favorite star trek series until season 7. The last season unfortunatelly didn't live up my expectations. All the pah'wraith/prophets crap, sisko being half prophet (wtf), dukat and winn adami, dukat turning from a 3d character to a comic book bad guy, the magical elements in the end, Ezri - the Scrappy Dax -, holosuite episodes in the middle of a war, all the loose ends and so on.
Trekkie for life - Sun, Apr 29, 2012 - 8:48am (USA Central)
My main problem with season 7 is Ezri Dax. I wish she didn't exist, the actress couldn't act if her life depended on that and the character was pretty useless (her only use was to create some drama with Worf and to have someone hook up with Bashir in the end). They should reasign Jadzia in another place or live the Dax symbiont alone. The development of Ezri took so much time from the development of the other characters and many plots left unfinished. There are some other things that bother me in the season such as the Pah-Wraith vs Prophets storyline and more importantly the fact that we never learn more about the prophets and their true motives behind their actions, their origins, why they care about Bajor etc but that I can stomach, Ezri not.
kara - Sat, May 5, 2012 - 2:49pm (USA Central)
season seven is disappointing overall.
hulk - Fri, May 18, 2012 - 12:22pm (USA Central)
Ezri Dax ruined the season for me. I was so excited for season 7 when it first aired (curious about how all the plots from the previous seasons would tied together and how the war would end) and then we got episodes about Ezri's insecurities, Ezri's disfuctional family, Ezri's whineys, Ezri's period, who Ezri loves, seriously who cares? She should never step her foot on DS9. The final arc unfortunatelly came too late and felt short. And I had already stopped carring.
perry - Sat, Jun 16, 2012 - 1:23pm (USA Central)
Ezri was a redundant character and she only took time from the real storyline
Chloe - Sun, Jun 17, 2012 - 9:49am (USA Central)
After the fantastic seasons 4, 5 and 6 this season feels disconected. I didn't like the resolution to some of the storylines, I didn't like the pa' wraith stuff, or Dukat's reduce to a one dimensional villan, I didn't like Ezri's inclusion to the crew, the Breen involvement to the war should have been handled better and not in the last minute, they should show us more about the Romulans, they should be more pivotal in the final season. Sisko did all he did in the pale moonlight to bring them to the war only to have them in the background? I didn't need episodes like The Emperor's new cloack, Take me out to holosuite, Prodical daughter, Badda Bing, Badda bang. The season also had some great storyline with Damar being in the highlight but oveall I can say that I'm dissapointed by the final od DS9.
Andrew - Fri, Jun 22, 2012 - 4:01pm (USA Central)
Ezri almost killed the show. If it wasn't for Damar I would have quit watching.
A Trekker - Sat, Jun 23, 2012 - 8:18pm (USA Central)
I hated all the space jesus/ religious stuff in this season, also Dukat's character was destroyed. What a disappointment!
Captain Data - Wed, Jul 25, 2012 - 11:36am (USA Central)
The last season of DS9 was very disappointing. A big part of the season was dedicated to an unworthy and uninteresting character (Ezri Dax)and the rest of the storylines were rushed and unexplored and in many storylines the writers chose the easy way out with magical solutions.
Pete - Mon, Apr 22, 2013 - 12:12am (USA Central)
It wasn't a bad season IMO. Overall, I thought it was pretty good actually - with a few stellar installments (I.A.E.S.L. - T.I.T.W. come to mind among others).

I must say, however, that I think this entire series on the whole is overrated. I have always wondered about the viewer demographics of DS9. I say that because I always hear people say how "in-depth" this show is compared to the other Star Treks. I do not see this at all, and I strongly disagree. Long story arcs are not necessarily synonymous with "depth." Even though TNG was "episodic" in nature, it's concepts were far more "in-depth" than DS9 - especially in the areas of cosmological possibilities and far-reaching philosophical paradigms. If "mirroring" everyday human issues like wars, civil rights, etc. qualifies as being "in-depth" to someone, who am I to say otherwise? But that is ho-hum sci-fi "small talk" to me. However, an anomaly that has "anti-time" properties - and contemplating the ramifications and possibilities of such a concept? Now that is what I call "in-depth" and what "SCIENCE" fiction SHOULD be all about..... IMO. I like a little "science" with my Science Fiction. I get enough of the "issues" on the News.

Out of the five series installments - for me DS9 sits precisely in the middle - with TNG and Voyager being above - and TOS and Enterprise below. The acting in TOS is just ridiculous and almost unwatchable half of the time. And as far as Enterprise? I don't know if I'm watching Sci-Fi or Days of Our Lives. Soaps just don't do it for me. Voyager isn't as good as TNG, but it's still pure Sci-Fi, and gives us some very thought provoking scientific concepts frequently (i.e. 'Blink Of An Eye' - 'Distant Origin' - 'Living Witness' etc.). DS9 is good - but doesn't quite knock it out of the park. Still very enjoyable and highly recommended.
Josh - Mon, Apr 22, 2013 - 12:14pm (USA Central)
DS9 is "in-depth" because of consistently strong writing, character work, plot continuity, and (after season one) the elimination of plots involving spatial anomalies, Hard-headed Aliens of the Week, or cliches along the lines of Voyager's infamous numerous shuttle crashes. I suppose ultimately I'm just not very interested in "science" fiction concepts that aren't actually very philosophical or deeply developed, stuff that plagued later TNG and lots of VOY. What exactly are the implications of anti-time anyhow? Not to take anything away from TNG's marvellous finale, but to paraphrase Q, it was still just another spatial anomaly, just another day at the office.

You note some excellent VOY episodes, but "Distant Origin" came in the same season as "Favourite Son", "Rise", and "The Disease". That's not to say that DS9 was lacking for more purely "scifi" episodes, e.g. "The Visitor", "Hard Time", "Children of Time", but the difference lies in the character work. We didn't watch "Relics" for the Dyson Sphere; we watched it for Scotty.

Anyway, Star Trek was about social allegory long before TNG pioneered the anomaly-of-the-week premise. It could even be argued that science fiction dating back to HG Wells was always much more about the present than the future, even in the year 802,701.

(As an aside, Henry Woronicz played both Gegen in "Distant Origin" and Quarren in "Living Witness". Voyager had a LOT of really terrible guest stars (see "Ex Post Facto", "Rise", "Virtuoso"), but he was a happy exception. It is worth noting also that "Distant Origin" more or less rips off the Quintaglio Ascension series by Robert J. Sawyer.)
Pete - Mon, Apr 22, 2013 - 12:50pm (USA Central)
@Josh - Agreed, but during the times TOS was airing the social and cultural paradigm was being turned on its head in the extreme, and the episodes were groundbreaking in that respect - and even pushed the boundaries in many ways. And again, I'm not sure where you get "deeply developed" and philosophical from DS9 - unless your definition is entirely different from mine. Granted, the story arcs are certainly developed lengthwise - as well as the characters. But that is also true with General Hospital and One Life To Live. And let's face it - the cast and "acting" in DS9 is the weakest of the lot - or at least compared to TNG and Voyager - by a long shot. When the "lesser" characters from TNG become some of the major characters in DS9 - that is telling in and of itself. Don't get me wrong, I still love DS9 - but being a Sci-Fi fanatic for almost half a century (and an astrophysicist to boot), I guess my tastes are just different.
Paul M. - Wed, May 1, 2013 - 6:50pm (USA Central)
@Pete: "And let's face it - the cast and "acting" in DS9 is the weakest of the lot - or at least compared to TNG and Voyager - by a long shot."

Sorry, I completely disagree. The richness and nuance of DS9 characters is unmatched in any Trek series, especially Voyager, which had 7 years of completely static and unchanging people having no lives at all, save some honourable exceptions.

As for DS9, just compare Season 1 Bashir to Season 7 Bashir. Same applies to Kira, Odo and others. Not to mention the fantastic supporting cast of recurring characters, basically the only Trek series that even had those in any significant number.
Josh - Wed, May 1, 2013 - 9:43pm (USA Central)
I have a hard time buying that the Voyager cast in particular is superior, especially compared to the likes of Rene Auberjonois, Armin Shimerman, Colm Meaney, Nana Visitor, Andrew Robinson, Marc Alaimo, Alexander Siddig, and, yes, even Avery Brooks (he does have a weird way of speaking sometimes, but that's not "bad acting"). Terry Farrell was something of the weak link, but Voyager had multiple such weaknesses (Beltran, Wang, Lien...) and TNG had McFadden, Sirtis, and occasionally Frakes being less than convincing.

It's true that Voyager did have Picardo...
Elliott - Thu, May 2, 2013 - 10:25am (USA Central)
Beltram is actually a very good actor, he just had very little to do much of the time.

The only poor actor on the cast in my view was Wang, and even he was better than the 2 Daxes or Cirroc Lofton. Middle-range acting came from Lien and MacNiel--I would put Shimerman and Phillips on a par acting-wise.

All of VOY's strong actors--Mulgrew, Picardo, Dawson, Ryan--sit far above any of DS9's main cast except Auberjonios, who was their strongest. Meaney and Siddig were quite decent.

Two of DS9's biggest main rôles were occupied by some of its lamest actors, Brooks and Visitor, who weren't always "bad" but never transcended being adequate at their parts.

Now, I will happily grant you DS9's guest cast (Alaimo, Robinson and Coombs especially).

For TNG's part, Stewart is such a head above any of the other series' actors that he takes up a lot of the slack for the rest of its cast. Spiner is also excellent, Frakes was quite good, and there were those notable guest appearances by John de Lancie. Middling around the "decent" range were McFadden, Burton and Wheaton with Sirtis and Crosby sagging at the bottom.

The anomaly is Michael Dorn (in both series) who was exceptional at being a Klingon but very flat at most everything else.

I believe Pete's original post referred to the "main cast", in which case, there is no contest that DS9's was the weakest (well, unless you count Enterprise).
Dom - Wed, May 29, 2013 - 12:04am (USA Central)
@ Pete,

"When the "lesser" characters from TNG become some of the major characters in DS9"

Sorry, that's just wrong. The producers shifted Colm Meany to DS9 because he was GOOD. They admitted he was too good for the transporter room and wanted to give him more to do. Same with Worf/Michael Dorn. The producers wanted to give DS9 a boost and chose one of the more popular characters. There were also plans to make Michelle Forbes' Ensign Ro a major DS9 character, again because Michelle Forbes was one of the better guest actresses.

This discussion is interesting only because I never thought I'd ever hear anybody say Voyager was better than DS9. That's like saying hamburger is better than filet mignon! DS9 had an in-depth story about war and ethics set in a sci-fi setting. It had some spatial anomalies and those things as well, but the show went beyond just random sci-fi event of the week to actually develop characters.

I could imagine somebody saying TNG is better than DS9, but just don't see the case for Voyager...
Patrick - Tue, Jul 2, 2013 - 12:47am (USA Central)
Longer does not equal smarter. "Darker" (read Angstier) does not equal more intellectual. Long extended plot developments does not equal great character development.

It seems like fans of DS9 just don't know what any of the terms they claim their show is mean. TNG had far more intellectual and intricate concepts in its best episodes. It explored the complexities of war and conflict, of interfering with other civilizations, of religion, or paranoia, etc, and it did it with a lot more depth to boot. Sure, it didn't have as many action scenes, but again, ACTION does not equal Intellectualism.

And these characters are so damn flat and BORING! Sisko is a horrible actor, and anyone who says he is the best clearly doesn't understand character or acting, and only likes him because he's a "badass" mfer who punches people.

Does that really make the show "smart" and "in depth"??? Or is DS9 merely a soap opera catered to adolescent boys who want to FEEL smart?
Paul - Tue, Jul 2, 2013 - 8:54am (USA Central)
@Patrick: Here's why you're wrong (and a little bit why you're right).

If you look at the Star Trek series in order, TOS, TNG and DS9 make a logically progression. TOS was the origin, TNG was the sequel and DS9 was the new concept sequel. DS9 HAD to be something different than TNG, so it focused on life on a space station, the surrounding region and ongoing story threads.

As a result, it was the best Star Trek series at acknowledging the consequences of past episodes. It was about building -- about a saga. It wasn't always perfect (frankly, the fact that the creators felt two Ferengi episodes a year made sense is baffling). But it's the best SERIES.

"Force of Nature" is a prime example of why TNG never lived up to its potential as a series, even if it was better episodically. Other than a few throwaway lines in the final season, the warp-is-bad stuff never really had an impact on Star Trek, and yet, the TNG creators greenlit the release of the episode. An episode like that of DS9 would have been felt for years.

TNG is much better for casual viewing. DS9 was best for long story arcs. It's interesting that the next two series struggled so much to find a balance between DS9 and TNG.

DS9 was not perfect. There were a few too many episodes where the senior staff played baseball against a bunch of Vulcans or tried to save Vic Fontaine or built ancient Bajoran ships. Avery Brooks was inconsistent as an actor and Terry Farrell was not good. Oh, and the Ferengi stuff was awful almost every time.

But it's just ridiculous to argue that DS9 didn't have depth. TNG might have addressed some high-concept themes, but DS9 addressed them in a less episodic nature. It didn't parachute in one week and make Picard live 70 years as a different man only to have him be seemingly unaffected and fighting time-traveling aliens a week later. It didn't introduce Riker's clone as a love interest for Troi only to have her hook up with Worf (Worf!) a few months later.

I grew up on TNG and DS9. If DS9 had been better cast and free of Ferengi, it would have been an amazing series. If TNG hadn't had two weak seasons to start with and an AWFUL final season -- and if Marina Sirtis hadn't been the worst actor in Star Trek history -- it would have been an amazing series. For the sake of reference, I'd say something like "The Wire" or "Breaking Bad" are amazing.

TNG and DS9 had flaws but they are very good series.
Josh - Tue, Jul 2, 2013 - 8:20pm (USA Central)
Paul:

"There were a few too many episodes where the senior staff played baseball against a bunch of Vulcans or tried to save Vic Fontaine or built ancient Bajoran ships."

No, DS9 was not perfect, but building your argument around exactly three episodes is pretty unconvincing. I'm not exactly sure why any of those episodes should be singled out either. I like each of them.
Paul - Wed, Jul 3, 2013 - 2:21pm (USA Central)
@Josh: I was just throwing out examples. There are several other instances -- even in the middle of the war. Sometimes, the episodes were good on their own "Honor Among Thieves", is a fitting example.

Anyway, my whole argument wasn't close to being built around those three episodes.
ProgHead777 - Fri, Jul 5, 2013 - 6:01am (USA Central)
@Patrick Someone has a chip on their shoulder. I don't believe for a second that you gave DS9 an open-minded fair shot. You decided before you watched one second that you didn't like it and it probably had something to do with things that loudmouth DS9 fans said to you regarding your PREFERRED Star Trek series. Oh well. It's your loss.

Personally, I think there's something worthwhile in every Trek series. As a result, my Star Trek universe is bigger than yours. So nyah nyah. ;)
Seth - Sun, Aug 11, 2013 - 3:37pm (USA Central)
I came across a blog which had an entry on DS9.
greatlittle-knownmovies.blogspot.com/2013/08/star-trek-deep-space-nine-1993 -1999.html
MP - Thu, Aug 22, 2013 - 1:47am (USA Central)
Isn't it amazing that a series that ended, what is it, 14 years ago still invokes such debate?

@ Above Debaters:

I think that Paul hit the issue on the head, ignoring the extra bias. Someone way up there said comparing these shows was like comparing meat to fillet mignon.

I think it would be better to say comparing one Star Trek series to another is like comparing pork bacon to turkey bacon. They're both bacon; the underlying concept is the same; but each is unique and distinct from the other.

I personally enjoy all series, more or less. I believe all have flaws.

TOS: Too much bravado; too idealistic; too episodic.

TNG: Some shaky direction; inconsistent writing; anomalies of the week.

DS9: Sometimes dull and boring; overburdened convoluted plot; seemingly anti-Roddenberry Trek.

VOY: Anomaly of the week; reset button; inconsistent writing leading to bi-polar Janeway.

ENT: Re-writing of established Trek history; building up technology to TNG era and bypassing TOS as a series; overacting; too many sex-appeal attempts.

But they all have good aspects as well. Each is it's own unique kind of bacon. My favourite kind is turkey bacon, and for me that means DS9. I prefer it's semi-serialized, story-arc driven manner. Is it superior to other shows? In some ways yes, in some no, and many others are subjective.

So really, you just need to answer for yourself. Which one is your turkey bacon?
Nebula Nox - Mon, Aug 26, 2013 - 1:48pm (USA Central)
Wow, is there ever some Ezri hate above! I suspect from the misspellings that it is actually the same person, not content with venting once, coming back with different names. She was not my favorite character but I thought she was interesting - I liked how she seemed to move on, her friendship with Sisko waning a bit - and her speech to Worf about the Klingon empire was fantastic. I could have done without Prodigal Daughter or Field of Fire.

I liked Chrysalis, but that's because I love music, and the do re mi scene was simply incredible.

It is true that Dukat and Sisko ended up being less dimensional in their characters. This is because they made choices to be that way. In the end, if you decide to be evil, you are evil. In the end you have to know how to defeat evil.

I loved Odo-Kira.

As for Covenant, I find it all too plausible. I see many people following false prophets, people who are obviously lying to them - such as the poor suckers who signed up for Trump University.

As for the religious aspects, at least in DS9 those being worshipped as deities are real. The Prophets exist. The shapeshifters exist. And so in a sense I think DS9 side-stepped the religious issue, because many question whether or not gods adored by others actually exist. You may question whether they are worthy of devotion or not, but you don't need the existential faith.
kkt - Tue, Oct 15, 2013 - 4:30am (USA Central)
Wow, I am amazed at the anti-Ezri posts above. I thought Ezri was far more convincing and interesting in her part than Jadzia. Maybe it's partly the writing and partly the acting, but I didn't find Jadzia convincing at science, or at commanding the Defiant, or at being a friend and confidant to Sisko. The only thing I really believed her doing was playing Tongo and going to parties... not really enough for an interesting character, in my opinion. Okay, actually I liked her a bit better in the first season, when she was still playing aloof and cool and almost Vulcan-like.

Ezri was far more interesting, in spite of the questionable relationship with Bashir. She was very convincing, in my opinion, in the visit to her family, and with Worf. I felt like we knew her better after one season than we did in six seasons with Jadzia.

In case there's anybody reading these comments who's confused, I posted on a couple of other reviews with the name Patrick, but I'm not the same as the Patrick who's posted on here before today.

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