“Crossover” is surprisingly effective for an episode based on such an obscure premise – namely that of placing two of our heroes in an alternate universe. It helps that this episode takes place long after characters are established in the series and, even more importantly, it helps that the story takes some chances. The result is an episode which is a bona fide classic because, more than anything else, it helps reveal the true underlying strengths of the main characters, regardless of what their circumstances might be.

The episode begins with Kira and Bashir returning to DS9 through the wormhole. Unfortunately for them, there’s a malfunction which manages to propel them into an alternate reality – one in which the Klingons and Cardassians have formed an Alliance which has subjugated Earth, reducing Ter-rans into little more than slave labor. The episode explains, all of this is a result of the events in the Original Series episode, “Mirror, Mirror” in which Kirk “crosses over” to the same alternate reality and convinces Spock to give up the ruthless ways of the then Terran Empire. Spock succeeds in reforming the Terran Empire, which leaves it vulnerable to the Alliance. As a concept, it’s almost too complex to be of any real value – and yet, it unfolds onscreen almost effortlessly.

Kira and Bashir are quickly captured by a Klingon cruiser and whisked off to DS9, now in orbit around Bajor (which happens to enjoy a privileged status in the Alliance). On board, Kira confronts her duplicate-self, who runs the station with a deadly ruthlessness (and yet, somehow, manages to convey a distaste for violence), with Garak as her First Officer. Predictably, the circumstances on board the station are hellish and deadly, with Odo acting as an overseer, O’Brien reduced to merely a slave “tinkerer,” and Quark to a nearly-broke bartender. Sisko makes an appearance as an arrogant, bully of a pirate who is barely more free than the slaves in the mines. And again, all of the “coincidental” reunions and relationships with known characters could have proven to be too much for the episode (and may prove too much for some viewers), but the story makes excellent use of its material.

At its heart, this episode is about characters – about the real kernels of morality, ethics and personality we have, but which are often shaped by the events around us. The mirror-characters are entirely plausible with their different selves. Odo has always had an overly authoritarian streak. Kira could easily become too narcissistic. Sisko has always had a bit of an edge to him. And so forth. And yet when the situation is at its worst, Quark helps humans try to escape the station, O’Brien tries helping Bashir, and Sisko uses his pirate crew to finally help Kira and Bashir return home. It’s the inner strength demonstrated by these characters which really helps define this episode as something important – and not just a silly chance to see our heroes “acting out of character.”

The performances, too, manage to convey the importance and immediacy of what’s at stake for the characters. Kira’s turn (as both personalities) is easily the best of the episode. Her turn as the evil Intendent of the station is chilling and captivating. Sisko’s mad ravings and lunatic laughing are enjoyable. Bashir is solid as a doggedly determined captive trying to find a way to break free. But it is O’Brien’s quiet turn which really drives home the point of the episode. Defeated, disheartened, and dehumanized, O’Brien is, as Bashir says, “already dead.” His ultimate decision to help Bashir, and then speak truth to the powerful Intendent Kira, not only illustrates his own inner strength, but also highlights how desperately important it is to fight on, no matter how demoralizing the circumstances may be. It is O’Brien’s speech, afterall, which finally convinces Sisko to act.

As for the story, it’s rather straightforward: Kira and Bashir must escape. But along the way, the episode manages to kill off both Quark and Odo – which is a risk, but one which has a payoff for the episode, demonstrating the very real nightmare that the reality represents.

Ordinarily, I don’t like episodes which have characters taking on different personas. They can be fun, but they usually prove to be little more than mindless diversions, which quickly lose their value. “Crossover” is different, however. It’s an episode which informs about character and conveys a meaningful theme.

Filed under: Deep Space Nine