Posted on April 1st, 2010 by Samuel Walters
“Tears of the Prophets” is one of those moments in a series that has repercussions far beyond the final moments of the episode. The story — and more importantly the implications of the story — reverberate long afterward. That is the case here. But the issue for this episode isn’t whether or not it’s important to the overall arc of the series — indeed, it’s a critical story — but the means by which the story is told. With that in mind, this is a classic, but hardly and exceptional installment.
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Posted on April 1st, 2010 by Samuel Walters
“The Sound of Her Voice” is an affecting episode not because of how it tells its story, but for the implications of its story. Much of the episode feels uneven or aimless. And the central “revelation” is contrived and silly. But in the grand scheme of things, these criticisms almost do not matter. It’s the lessons the characters take away from the episode, and it’s what is said in the final scene, that make this episode a truly moving and emotional (if somewhat flawed) installment.
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Posted on April 1st, 2010 by Samuel Walters
“Time’s Orphan” can, at times, be a thoroughly visceral experience. Unfortunately, though, that’s all it really has going for it. The premise is a bit suspect, coming across more as a contrivance than a legitimate source of drama. Worse still, the episode presents a kind of “false choice” for its characters, forcing them into situations that seem disingenuous.
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Posted on April 1st, 2010 by Samuel Walters
What on Ferenginar were they thinking? “Profit And Lace” is easily one of the worst episodes of television … ever. From start to finish it’s not only bad, it’s mind-numbingly annoying and insulting. There are, perhaps, a few moments where, morbidly, one might chuckle. But the rest of the time is like swallowing rusted metal shards.
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Posted on April 1st, 2010 by Samuel Walters
“Valiant” is an installment that has some interesting goals but is, otherwise, a very poorly realized episode. The problem starts with the fact that its premise is simply too implausible. But the this is compounded with some poor writing, directing and acting. Ultimately, this is an episode that is entirely forgettable.
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Posted on April 1st, 2010 by Samuel Walters
Deep Space Nine does The Ghostbusters. Badly. For the first half of “The Reckoning,” we get a solid episode about faith and prophecy — about how far one will go when belief alone isn’t enough to provide answers to complex, and potentially dangerous, questions. But then the episode switches gears into an overtly paranormal story which is utterly ridiculous in both concept and execution. The end result is a very, very poor installment.
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Posted on April 1st, 2010 by Samuel Walters
I dunno. “His Way” is probably a bad episode. It’s certainly soapy and mushy and runs for far too long. But I like it. It’s probably the Sinatra-style lounge music and setting and dialogue. Maybe it’s the story of being true to yourself. Whatever it is, the episode can be a thoroughly fun, distracting hour.
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Posted on April 1st, 2010 by Samuel Walters
“In The Pale Moonlight” is often hailed as one of the finest episodes of Star Trek ever produced. And in many ways, it’s easy to see why. It’s a gripping, plausible personal character deconstruction amidst the backdrop of war. The story is filled with intrigue and deep moral conflicts. The performances are noteworthy. The final scenes of confession — of admitting then ignoring — the events of the story are revealing and, in many ways, shocking. This is an episode which changes the entire course of Deep Space Nine. And the grim story challenges the very preconceptions fans have about the Trek franchise.
How much more could a viewer want from a single episode?
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Posted on April 1st, 2010 by Samuel Walters
Now that’s a good episode. Not great. But very, very good. “Inquisition” is an installment that starts off slowly and becomes very suspenseful. It begins as one story and ends as something altogether different. It is, by definition, an evolution. And the end result is an episode that is easily a classic, providing some solid character work and some very insightful commentary.
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Posted on April 1st, 2010 by Samuel Walters
“Wrongs Darker than Death or Night” is a powerfully emotional tale — one that is almost never comfortable to experience. But that is the point. It’s a story that forces the audience to look inside the mind of a “collaborator” and decide whether or not the ends justify the means. It’s very rare for a tale to eloquently make a case such as this one. But the truth is, this is an episode which is exceptional in its nuance and complexity, even if its setup and conclusion feel a bit too contrived.
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