Deep Space Nine 3x22 "Explorers"

rating: ****

the story: While the Siskos experience some one-on-one bonding time, Bashir reluctantly reunites with an old classmate.

what it's all about: When it comes to episodes featuring the unique bond between Benjamin and Jake Sisko, most fans will be able to tell you all about the classic episode from early the next season, "The Visitor," but few will remember "Explorers," which really only comes a few episodes earlier, and in some ways, in its breezy simplicity, is better.

Next Generation could sometimes drive itself nuts trying to create a slice-of-life episode that hit all the right marks, but never came close to something like this.  Not only are the Siskos in the spotlight, but Bashir in what is by far his most appealing story of the season, and perhaps the all-time great B-story of the whole franchise featuring the all-time greatest drunken duet of the whole franchise....It's really, really hard for me to undersell this episode, which has always been one of the key reasons for why I love this season so much, and how it helped me fall in love with the series itself.

Jake Sisko will always be the youthful character of the franchise that somehow managed to avoid the curse of becoming a grating, obnoxious recurring presence, who was listed as a regular throughout the series but somehow ended up being featured and feeling like a recurring character, and by far the most subtle one.  In some respects he existed to ground his father in a reality most Star Trek characters never really get to experience, as the kind of Wesley Crusher we always wish we had, merely the reminder of a tragedy that must inevitably happen in Starfleet families, the loss of a parent and the need to soldier on.  And yet by this point Jake had made the decision to forego Starfleet and committed himself to the life of a writer (in fact, a lot of this episode is dedicated to his formative development in that regard, and as such always had natural appeal to someone who was just beginning to realize that's what he wanted, too, for his future).  He'd seen his best friend, who seemed to have far worse prospects, make exactly the opposite decision and convince everyone it wasn't just a mad pipedream.  And with a father who had become more involved in his own life than he had been in years, Jake now wonders if it's time he move on, accept a scholarship that will take him away from the station (in some ways, the course of Jake's whole arc in the series mirrored the one that brought everyone to the station to begin with, because in fact he never leaves).

The Ben Sisko who appears in "Explorers" is by far the most appealing he ever was, a warmed-in version of the one who showed up in the season premiere, "The Search," with the same kind of fervor for a new project early seasons only hinted at.  He decides to throw himself into recreating an ancient Bajoran solar ship, and once that's completed actually taking it into space with his son.  By that time the episode really settles in, and becomes ten times more appealing, a lark that never really feels the urge to become more complicated than it needs to be, allowing father and son plenty of time to bond.  When an emergency does break out, it feels organic, and when Dukat shows up to congratulate them on showing how ancient Bajorans really could have been as impressive as the ship itself suggests, it's the best moment of the season for showing how politically hypocritical the Cardassians can be (same as politicians ever are), but in a good way.

And anyway, Bashir's angst about where his career has landed has been a subplot all season, whether the award he thinks he's too young to win or the sudden awareness that he's actually getting older...But being confronted with an actual specter of his past, the embodiment of the one decision he regrets, having charged with the fullness of youthful abandon at the prospect of the "frontier" instead of taking the most prestigious posting available upon graduation from medical school...This is the guy's lowest moment.  He gets drunk, sings with O'Brien (what's with O'Brien getting all the best singing moments in Star Trek, anyway?), and then...discovers how wrong he's been.  Well, of course.

This right here is the depth of the series, the simple moments somehow writ large, because for Deep Space Nine it really wasn't about the big moments (even though the Dominion War was about as big as you can get in Star Trek), but the small ones, the ones that are all about, and only about, its characters, and why they matter, for the fact that they exist and nothing else.  And yet it would be a huge mistake to say this is soap opera material, because soap opera wishes it could be this endearing.  Soap opera lives for shock value.  There's nothing shocking about a father telling his son his writing has a long way to go.  But there's plenty of profundity in it.

Surely the most unlikely classic in a franchise better known for its sci-fi twists...

criteria analysis:

• franchise - Unlike anything else you'll see in Star Trek.
• series - Or this series, really.
• character - But it's all about what's always important about this series.
• essential - The characters.

notable guest-stars:
Marc Alaimo (Dukat)
Chase Masterson (Leeta)

Deep Space Nine 3x21 "The Die Is Cast"

rating: ****

the story: A joint Romulan/Cardassian war party enters the Gamma Quadrant as Garak's betrayal continues to sink in.

what it's all about: Where "Sins of the Father" sowed the seeds of a continuing Klingon arc in Next Generation, famously, the exact moment Deep Space Nine transitioned from episodic to serialized storytelling, which eventually became its trademark, is far harder to determine.  One might argue the general introduction of Winn in the first season finale, "In the Hands of the Prophets," or the Dominion in the second season finale, "The Jem'Hadar," but the later Dominion War that became the hallmark of the series really owes its greatest debt to the two-part "Improbable Cause"/"The Die Is Cast," in which the Alpha Quadrant actually declares war on the Gamma Quadrant first.  This was an arc that had quite a few claims to a beginning (the most obvious ones would be "Defiant," where we first learn about a secret Cardassian fleet, or "The Wire," in which we learn a little of Garak's mysterious past in a Cardassian espionage ring called the Obsidian Order), but if you really want to pin the origin of the series as it became known, you'd probably want to settle on "The Die Is Cast."

Yes, it continues the story from "Improbable Cause," which concludes with Garak betraying his friends aboard the station and reuniting with his old mentor (and father) Enabran Tain.  Before this (and after) Garak was best known for his incredibly ambiguous presence in the series, in some ways the very heart of a series that came to be defined by its ambiguousness, never comfortable with the much more definite conclusions found in most other corners of Star Trek as a whole.  If Garak was never a main character, he stood at the forefront of a rich cast of supporting characters, who when he did appear always had something worthwhile to do, and never moreso than in "Die Is Cast," the one moment in the series he flirts with being unambiguous, a suitably villainous Cardassian at last.

This is ironic, because this was the season the Cardassians took a turn for the friendly, something that would sit just as uncomfortably as it seems even now, until the fifth season when they joined the Dominion and thereby officially ushered in the war that would encompass the rest of the series.  Only the unabashed heroic reversal of Damar would ever truly and permanently redeem them.

No, Garak was never a hero, but when the sequence that defines this episode finally begins, you begin to see just how unique he really is in Star Trek.  He tortures Odo.  It's horrible.  I mean, torture is always horrible, but until The Passion of the Christ I would never again see anything approaching what Garak does to Odo in this episode.  In some ways, though, it's directly responsible for crystalizing the third season's efforts to bring out the best of the series, and the incredible depths it would explore later.  When we discover the torturer has no taste for his art, that he desperately wants Odo to give him something, anything, so he can stop, because he genuinely does want to stop, we learn that the lie wasn't to his friends, the lie was to himself, and the cost was too great to further pursue.  In the end, like Next Generation's answer to why Picard means so much to Guinan ("Time's Arrow"), it's such an obvious conclusion it still seems impossible: Garak is a good person who was asked once too often to be something else, and it nearly broke him. 

We would see echoes of this conclusion later, but in no greater form than in this episode.  And why is the war the defining element of the series?  For the same reason.  Garak's torture forces Odo to admit, for the first time, that he yearns to return to his people, the Founders, who run the Dominion.  This is itself an act of betrayal, and that's why Odo fights so hard to suppress this desire, and yet it's a pure one despite how others might interpret it, and that's why Garak finds in him a kindred soul, something pure that exists in the midst of something awful, such an inexplicable existence and yet this is a series jam-packed with such individuals, broken lives struggling for redemption (the parallels with Lost are why I found that series so hugely rewarding, too).  People remember the war.  Well, this is where it begins, and everyone's implicated, even Starfleet: it was Starfleet's decision to partner with the Romulans in the acquisition of a cloaking device for the Defiant that emboldened the Romulans in the first place.  This is why the war happens, not because of anything else prior to "Die Is Cast," certainly not the what-if scenario of the season premiere, "The Search," which for everything it helped set up still exhibited safe storytelling, compared to the pipe bomb of this episode, but for the direct provocation everyone all but willed to happen.  For the first and only time in franchise history, war is declared inevitable, a crucible in which truth finally stands revealed. 

This is exactly where you look to see what the whole series was about.

criteria analysis:

• franchise - War! What is it good for?
• series - Well before the Dominion War itself begins, this is where it began.
• character - Where we finally find out the truth about Garak.
• essential - For the torture sequence alone, this is a classic.

notable guest-stars:
Andrew Robinson (Garak)
Paul Dooley (Tain)
Leland Orser
Ken Marshall (Eddington)

Deep Space Nine 3x20 "Improbable Cause"

rating: ****

the story: Garak's shop is destroyed in an explosion, and Odo attempts to learn how it happened.

what it's all about: "Improbable Cause," and its sequel "The Die is Cast," is essentially a continuation of the second season episode "The Wire," the one where the Cardassian tailor Garak finally stands exposed as anything but "plain and simple," as he'd tried to argue in his earlier appearances.  It's also the culmination of a whole series of hints and suggestions about whether or not the audience should really trust him, however jovial and innocuous he may appear, and as such represents the first time Deep Space Nine's serialized storytelling reaches a climax.

We'll confine our thoughts to "Cause" rather than discuss it in conjunction with "Cast," and so that means not just talking about Garak but Odo, who until this episode had begun to hurtle every more deliberately to a fairly narrowly-confined arc concerning his people, the Founders, and Kira, with whom he would eventually form a romantic relationship.  Yet he remains constable aboard the station, too, and as such is responsible for law (toward which he is ambivalent, unless it's his law) and order (which he holds as a kind of religion).  Usually that means butting heads with Quark, but "Cause" (and especially "Cast") finds Odo matching wits with perhaps his ultimate opponent Garak.  For all his love of order, Odo is actually once of the biggest proponents of ambiguity in a whole series of ambiguous characters and situations, none of which really match the mercurial Garak, who by the end of the series remains as decidedly invested in his own particular interests, whatever they may be, as he ever was.

So to see these two forces of nature finally collide is to witness one of the great events of the series take place, another decided feather in the cap of the ambitious third season overhaul that saw a dramatic leap into Deep Space Nine's full potential.

And it seems so simple, and because it seems so simple, of course it involves Garak, who along with all his other attributes is also his biggest enemy, a man of infinite self-loathing and -sabotage.  Fans typically associate "The Wire" as his greatest appearance, but really it's the one-two punch of "Cause" and "Cast."  Bashir was always far too trusting (if not to say gullible, as we'd learn definitively in his most ambiguous tales, featuring Section 31, later in the series, none of which, strangely, involving Garak) to provide the effect the one great Cardassian in the whole franchise worth rooting for needed so much to blossom.  So again, enter: Odo.

Odo's investigations tended to produce great material, besides, with the previous season's "Necessary Evil" providing the best standalone example.  The security chiefs in other Star Treks never really got to have this level of fun.  As such, that's another level of how well and how completely this particular series in the franchise worked.  Because there were so many such elements, it's far too easy to gloss over them.  And yet when another series hits one note relentlessly, however brilliantly, you can see the extent to which one-note storytelling resonates.  In that regard, you can probably see one of the many reasons Arthur Conan Doyle wanted so desperately to end the adventures of Sherlock Holmes.  I'm not saying Odo is Sherlock Holmes, or that "Cause" can be mistaken for a truly great mystery, but for its relentless focus on known characters, known characteristics, its resonance works on a different level entirely.

All of which makes the end of the episode more of a punch to the gut...But more on that later.

criteria analysis:

• franchise - One of the great mysteries of all Star Trek reaches a climax.
• series - A sequel to an earlier episode without really having to make it obvious.
• character - A portrait in full of Garak, and Odo.
• essential - A hugely underrated moment in the series.

notable guest-stars:
Andrew Robinson (Garak)
Paul Dooley (Tain)

Deep Space Nine 3x19 "Through the Looking Glass"

rating: ****

the story: Sisko is brought to the Mirror Universe to confront the most unlikely foe: his dead wife's doppelganger.

what it's all about: What's even more unlikely than Deep Space Nine producing one classic sequel to the original series classic "Mirror, Mirror" (last season's "Crossover")?  Producing a second.  (And, also, a third: next season's "Shattered Mirror," completing arguably the best trilogy of the whole franchise.)

You really only need to look at the story summary, a truly genius move that few other shows would even consider as a possibility.  What's most brilliant about it is that the actress whose minor appearance as the late Jennifer Sisko in "Emissary," the first episode of the series, returns, for a far more substantial role.  It's a gamble that absolutely pays off.  Even if you don't think the actress nails it, Avery Brooks does.  It's one of the key performances in a season full of them, a season that redefined Sisko as the true lynchpin of the series, after a few seasons in which that was never a certainty.  It happened with Picard, too, but Sisko's accomplishment is the greater for having so much demanded of him in one season and every time proving to be up to the challenge, as if all of Picard's best moments were in the third season.  (I mean, there's still "Pale Moonlight" and "Far Beyond the Stars" in the sixth season, but it's still incredibly hard to stack anything up against Sisko's appearances this season.)

"Looking Glass" at last tackles the elephant in the room, which two previous seasons had danced so badly around, Sisko's devastating loss, the central element of the very first episode, for him.  Seeing it finally revisited, and brilliantly, was a moment that really had to happen, but the way it happened is the genius of the episode, in another trip to the Mirror Universe, the signature alternate reality of the franchise (revisited several other times in the series besides, plus the two-part Enterprise entry "In a Mirror, Darkly").

The third season scored so well with Sisko because it constantly put him in discombobulating situations, and each time he proved worthy to the task.  The Mirror Sisko we met in "Crossover" was about as far from the Sisko we knew then, and later, as you could get, so to see that character reverse-engineered, not even to talk about the Jennifer element, is to see exactly how Sisko goes about making decisions.  That's probably the best way to view the episode if you don't particularly care for the greater implications, which is what you should be able to say about classics, whether they can work on multiple levels, and how much they challenge the viewer.  Anyone who thinks this might just be a Mirror Universe rehash will have to admit that it adds significant new wrinkles to the formula.

But the Jennifer element is definitely good enough to warrant classic status all on its own.  Everyone in the episode clearly enjoys the possibilities given them.  This one is really hard not to love.  If none of what I've already said sells it for you, just think of this: "Looking Glass" also sneaks in the craftiest interseries character appearance ever, with Voyager's Tim Russ appearing as Mirror Tuvok, with no one really drawing attention to it.

criteria analysis:

• franchise - Another fruitful trip to the Mirror Universe.
• series - Another in a fruitful series of Deep Space Nine trips there.
• character - Sisko comes face-to-face with the specter of his dead wife.
• essential - Too darn good to ignore.

notable guest-stars:
Felecia M. Bell (Mirror Jennifer Sisko)
Tim Russ (Mirror Tuvok)
Andrew Robinson (Garak)
Max Grodenchik (Rom)
Dennis Madalone

Deep Space Nine 3x18 "Distant Voices"

rating: *

the story: Bashir is attacked, and then finds himself aging rapidly.

what it's all about: One of the most famous Star Trek tropes is a character aging (or de-aging) rapidly, which began all the way in the original series episode "The Deadly Years," and can be found in every TV incarnation, sometimes with the variant of simply seeing a main character in an aged state.  Most of the time this involves atypically horrible prosthetics that are not the least convincing.  "Distant Voices," unfortunately, continues that trend, too.

What's worse is that it nearly undermines a character who had really started to come into his own, Bashir suddenly seeming a lot more mature than when we first met him.  This is a whole episode that deals with the same issues as a number of vital B-stories elsewhere in the season, but in a metaphorical sense, having a birthday and feeling the years creeping upward.  The worst thing about it is that it exposes the limits of an otherwise impeccable actor, Alexander Siddig, especially by the time Bashir is an enfeebled old man; Siddig doesn't seem to have figured out what to do other than stammer a lot more.  No one wants to tell an actor that it's not enough to convincingly portray the physical aspects of such a state but also to come up with a voice to match it.  In the classic episode "The Visitor," Tony Todd plays an equally aged character with considerably more grace.  That's just the next season, Sid.

But if that sort of thing doesn't bother you, the story does sort of preview a far better episode later in the season, "Facets," in which Dax's previous hosts are embodied by the main characters so Jadzia can meet them.  I don't mean to spoil "Distant Voices" for you, but everything ends up being inside of Bashir's head.  That's actually the best part of the episode.

This is one of those episodes that could just as easily have occurred in the first season, when random sci-fi plots happened all the time, rather than in the third, when the series had really come into its own.  You'll be happy to know it's also the last time this season such an episode occurs.  The rest of it matches or exceeds the average quality that would come to define Deep Space Nine as a whole.

criteria analysis:

• franchise - General Trek fans will probably get a kick out of it.
• series - But more specified ones probably won't.
• character - I'm convinced it's not a good Bashir episode.
• essential - I don't think anyone would argue that this is a great one by any means.

notable guest-stars:
Andrew Robinson

Star Trek Discovery: Doug Jones, Anthony Rapp

After the announcement of Michelle Yeoh joining the cast of the forthcoming Star Trek: Discovery TV series, I was wondering how famous the rest of the cast might turn out to be, whether they'd be recognizable (like Yeoh) or obscure.  Given how most Star Trek casts have been assembled, I expected additional names to be lean toward the obscure, but the next two have been named, and they're recognizable.  You can read a more complete write-up, including details about the characters they'll be playing, here.  But here's some quick info on where you might've seen Doug Jones and Anthony Rapp before:

Doug Jones

• Hellboy (2004) His breakout role was as the aquatic Abe Sapien, who was otherwise voiced by David Hyde Pierce.
• Pan's Labyrinth (2006) He worked with Guillermo del Toro as the standout Pale Man.
• Fantastic Four: Rise of the Silver Surfer (2007) He performed the role of the Silver Surfer, which was otherwise voiced by Laurence Fishburne.
• Hellboy II: The Golden Army (2008) Reprised his performance as Abe, plus appeared as a few other characters.
• John Dies at the End (2012) Oh, um, spoiler alert...
• The Neighbors (2012-2013) Sitcom about aliens.
• Falling Skies (2013-2015) TV show about an alien invasion.
• The Strain (2014-2016) TV show based on a concept by del Toro.

Anthony Rapp

• Rent (2005) With Rapp I'm going to summarize his career with his lead role in this breakthrough musical about the emerging new mainstream, which he originated in the Broadway debut and reprised in the later movie adaptation (starring opposite Rosario Dawson in that version; how awesome would it be to see her stop by Star Trek?).  He'll be making franchise history as the first openly gay character conceived as gay (remember the retrofitting of Sulu in this past summer's Star Trek Beyond), and he's got the history to prove he'll be taken seriously for it.

Star Trek Discovery: Michelle Yeoh

If you're anything like me, once an actor is cast in Star Trek the rest of their career becomes more interesting, so it becomes a fun little game catching up with what they've done previously.  Arguably Michelle Yeoh, recently the first-announced cast member of the forthcoming Star Trek Discovery TV series, is the most famous ongoing actor to appear in the franchise.  There have been plenty who had a certain profile prior to their casting, such as LeVar Burton's turn in the rating juggernaut Roots, but Yeoh has been appearing in blockbuster movies for years.  Here's a primer full of her highlights:

Tomorrow Never Dies (1997) Her breakout Hollywood role was in Pierce Brosnan's second James Bond flick.  Yeoh was cast as Bond's counterpart, not as a Bond Girl, making her unique in that franchise's history.

Crouching Tiger, Hidden Dragon (2000) Yeoh's next big role was in this callback to classic martial arts cinema.

Memoirs of a Geisha (2005) You can see at this point that she'd become a staple in Hollywood's efforts at bringing the Asian experience to a global audience.

Sunshine (2007) Yeoh's first taste of sci-fi was Danny Boyle's mindtrip, which finally took her out of the hole Hollywood had pegged for her.

The Mummy: Tomb of the Dragon Emperor (2008) Her next foray into franchises saw Yeoh both return to Hollywood's image of her as well as expand the Mummy's scope past Egypt for the first time.

Babylon A.D. (2008) This second sci-fi experience saw Yeoh in a more conventional experience than the last one and will probably be one of the more fun experiences her new Star Trek fans will have with her career.

Kung Fu Panda 2 (2011) Yeoh back in her typecast, but this time animated!  Also, technically her third franchise experience, making Star Trek Yeoh's fourth, if not for...

Crouching Tiger, Hidden Dragon: Sword of Destiny  (2016) Yeah, there was a sequel!

Mechanic: Resurrection (2016) And so yeah, Yeoh has done plenty of franchises. 

So far we know Yeoh will be a captain in Discovery, so she won't be the lead character, unless something has changed, because Number One is not a captain.  Even if she's not the lead, though, Yeoh will obviously be leading the cast.  It would be surprising if the series filled up on name actors, which would be even more atypical for the franchise.  But, can we hope for guest performances from her past famous co-stars?  Just imagine Vin Diesel in Star Trek!