The problem with “Melora” is that it is both too obvious and too uncertain. The episode does everything but smack you in the head with its intent and yet it cannot seem to find a consistent message from start to finish. As with most DS9 episodes to date, the take on the episode’s central conflict – in this case the question of what it means to be disabled – is handled with some unexpected developments. And there are, in fact, a number of enjoyable scenes. But the whole production fails to gain any traction thanks to its unfocused plot and characterization.

The episode is titled after Ensign Melora, an Elysian woman who, because of the low gravity of her home world, is confined to a wheelchair in the “normal” gravity of DS9. The setup is brutally transparent and while you have to give credit to the creators of DS9 to confront an important topic such as disabilities, you have to wonder about crafting an episode that is almost gratuitous in its approach.

It doesn’t help, either, that Melora’s character initially comes across as self-righteous, strident and outwardly insulting to anyone who even bothers to be friendly, much less offer help. The problem here is that the performance is just a bit too convincing. True, this is designed to help setup her subsequent change in attitude, thanks to Bashir (the scene where he confronts Melora is quite engaging), but instead of helping to develop any connection to Melora, the barbed exterior can easily turn viewers away from the character.

More to the point, Melora learns from Bashir that she can let people into her life and can rely on others – particularly in Starfleet where missions can be life-threatening. And yet, how could Ensign Melora have survived, let alone graduated, from Starfleet Academy with such a gruff exterior – with such a deep resentment of any collaboration with anyone? Wouldn’t a part of learning to be a Starfleet officer necessarily involve teamwork? Which, it would appear, is central to any Starfleet operation? And yet it’s left to Bashir to teach her such lessons. Of course, all of this is done to provide some dramatic heft to the episode, but again, the transparency leaves quite a bit to be desired.

Be that as it may, the two begin to share romantic feelings for one another (again, all too transparent) but this leads the episode’s second enjoyable scene: a conversation between Melora and Dax about love in Starfleet – with a wonderfully conceived musical piece in the background. But the episode simply isn’t content to stay with this plotline and shifts, yet again, to a technobabble procedure that Julian discovers will help Melora walk without her chair – for the price of not being able to go back to her homeworld again.

It’s this shifting of characterizations which really undermines Melora’s character. Instead of an evolving and growing character, we get one which is inconsistent. In the end, Melora moves on, convinced that it’s simply better to accept herself as she is – without needing to be “altered” to fit in. It’s a fine commentary, but it’s also the obvious one. And the roundabout way in which the episode arrives at what was so evident all along doesn’t help, either.

The subplot comes from Quark who is playing host to an old business partner. Unfortunately for Quark, the old business deal went sour and the partner has spent the past eight years in prison. Now that he’s back, he has one idea in mind: to kill Quark. Outside of Odo’s indulgent smile at the news, this plot is rather dull. Eventually Quark’s “friend” hijacks a shuttle, shoots Melora (who survives) and is captured by Melora (after she shuts off the shuttle’s gravity). It’s just a bit too perfunctory.

“Melora” is a slightly less-than-average episode thanks to its rather obvious and blatant plot, inconsistent characterizations and contrived ending. There are some enjoyable scenes and ideas, but they aren’t enough to overcome the episode’s detriments.

Filed under: Deep Space Nine