“Progress” is an episode that starts with a very typical, predictable story and manages to throw a few gut-wrenching twists into the telling. It’s not a flawless outing, but there are a number of moments which are both memorable and compelling. The subplot is intended to be a lighthearted counterpoint to the tension of the main story, but its rather juvenile approach doesn’t mesh with the rest of the episode and it becomes more of an anchor than providing true balance. Even so, the episode is still a worthwhile installment, filled with enough conflicting situations to stir the heart and the mind.

This is the story of how a new Bajoran power source on a remote moon threatens the livelihood of an elderly, acerbic man who just doesn’t want to leave. At first blush, the plot is likely to stir an inner *sigh* of something akin to “We’ve seen all this before” in countless other stories. But the real heart of the story comes from the inner conflict Kira has at being in the position to forcibly remove the man – all for the sake of progress.

Along the way, the lone holdout, whose name is Mullibok, manages to demonstrate that he himself is a man of deep passions and convictions. His personality, despite its gruff exterior, manages to be quite endearing – both for Kira and the audience. It’s important because we need to see what the stakes are for this man to leave a home that he literally built with his own hands. And his tales of defiance stir similar emotions in Kira who once fought against oppression, but now represents authority – an authority which wants to forcibly remove the man from his home.

Understandably, Kira’s own deep emotions cause her to second-guess her role and, for a time, she rejects her position as an officer. This leads to the episode’s strongest moment when Commander Sisko confronts Kira. Sisko’s reaction – to have Bashir bend the truth slightly to buy Kira some time to make the right choice – allows Sisko to beam down and speak directly to Kira. But instead of simply condemning his First Officer’s actions, Sisko actually demonstrates great empathy for Kira’s conflict, pointing out how uncomfortable it can be to hold a position of authority, particularly if one has spent one’s life resisting authority.

It’s this revelation that really allows the episode to find a worthwhile thematic and character exploration. Kira’s performance may not be truly exceptional, but the circumstances (and the reactions of those around her) really help convey how Kira has to, in a way, grow up.

In the end, Kira does her best to convince Mullibok to leave, but he resists to the very end – quite understandable given the nature of his character. It’s interesting to see the series not playing the final act of this episode for a happy and tidy ending. Instead, Mullibok’s intransigence finally forces Kira’s hand. If Mullibok stays, he will surely die. And despite his protestation that if he leaves, he will also die, Kira carries out her orders and takes him off of the moon. Her final act on the moon? To burn the house down as a symbolic act – so that both she and Mullibok can “move on” (or, in other words, progress) for what they were, so that they can adapt to the new world around them.

The episode’s subplot involves Jake and Nog on a humorous series of adventures as they try and sell some excess goods for a profit. In the end, they are successful and it’s meant to be all in good fun. And, indeed, there are some enjoyable moments too it. But it’s just too silly and offbeat to be a good fit to the high tension facing Mullibok and Kira.

“Progress” is a solid, compelling episode whose subplot, unfortunately, manages to diminish its overall value.

Filed under: Deep Space Nine