First broadcast on Monday 10 February 1997
and Monday 17 February 1997
It’s a soap-opera extravaganza on Deep Space Nine this week, as Garak reconciles with his long-lost father, Dukat abandons his long-lost daughter, and Julian discovers a scheming lookalike that he never knew he had. Meanwhile, there is a shift in the balance of power in the Quadrant, as the show rewrites its own premise in the way that we have come to admire and enjoy.
Previously, on Star Trek: Deep Space Nine: Tired of being a supporting character in a thankless role, Michael Eddington leaves DS9 to star heroically in a TV show which we never see and which exists entirely in his own imagination. After most of the cast and crew are killed by Cardassians — which can happen — and he himself is imprisoned for treason, he is recruited by Sisko for one final mission — to stop a deadly attack on Cardassia that is also entirely imaginary. Hero, traitor, or just some asshole with bad hair and a penchant for lavish Broadway musicals? Let’s find out.
Star Trek goes outside this week, for a top-tier episode in which Sisko and Kira are both confronted by radical integrity and self-sacrifice in the face of overwhelming opposition. Solid and memorable.
This week, we discuss one of Star Trek’s most sacred texts — a forty-five minute Ben Sisko soliloquy, in which he saves the galaxy in a trolley problem of Garak’s devising, killing in the process a Romulan Senator, an obnoxious blue guy and at least one really hot Romulan bodyguard. Is this a great episode, a truly great episode, or something else altogether?
First broadcast on Wednesday 30 September 1998
and Wednesday 7 October 1998
It’s an epic start to Deep Space Nine’s final season. Miles, Julian and Quark join Worf on a mission to honour Jadzia by blowing up a cartoon shipyard. Ben and Jake meet a (completly adorable) new Dax, drag Brock Peters through the desert for some reason, and then dig up a box. And Kira sits in a tiny spaceship waiting steadfastly for something to come along and resolve her part of the plot. And all the time, Joe and Nathan are cheering from the sidelines, enjoying a solid 90 minutes of getting to know these people again, and watching them set things up for a glorious final year.
When passive-aggressive Vulcan racist Captain Solok arrives on Deep Space Nine and challenges Sisko to some kind of sportsball game, a series of hilarious training montages ensues, followed by a Very Important Lesson about how utterly adorable Rom is. Bless.
Some time in 2374, Ben Sisko, tired of helming Deep Space Nine in wartime, considers handing the job over to someone else. At the same time but in 1953, Benny Russell dreams of a version of himself living beyond the daily indignities of existing as a Black man in America. And meanwhile in 1998, people tuning in for this week’s episode of White People Living on the Moon find themselves watching something far better than they had a right to expect.
It’s all about faith this week on Deep Space Nine — Weyoun’s faith in Odo and the Founders, Nog’s faith that the genre rules of the comedy B-plot will lead inevitably to a happy ending, and the writers’ faith that wonderful, charming actors like Aron and René can make it all land from underneath a kilogram of latex.
This week, it’s time to ruin everyone’s fun, as Nathan declares that a Deep Space Nine fan favourite is an artistic failure, and compares it unfavourably to Take Me Out to the Holosuite. Is he crazy, or is it the whole damn system that’s crazy?
When the Lounge is taken over by violent mobsters, Vic Fontaine (James Darren) has no choice but to call in his fictional friends from the twenty-fourth century to help him out. A stylish and entertaining heist ensues, the good guys win, and we’re reminded (again) about how much we love these people.
