“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.

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“Storyteller” is a relatively lighthearted episode which has some amusing and charming moments tucked into an otherwise clumsy and awkward story. The truth is, though, that the episode doesn’t try to be much more than mid-level comic romp and so by planting its tongue firmly within its cheek, it manages to traverse its most detrimental moments. The end result is an installment which can prove to be an enjoyable distraction, but certainly won’t prove inspiring, thought-provoking or particularly memorable.

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“Battle Lines” is a multi-layered morality tale about how individuals and whole societies become immersed and even addicted to war. Throw in a few “miraculous” events like artificial resurrection and you’ve got the makings of an engaging, if rather simplistic, take on the need to find peace through the never-ending cycle of prejudice, hatred and violence. Unfortunately, the episode is just a bit too rough around the edges to be truly masterful. Indeed, at times this feels much more like an Original Series episode with its juxtaposition of deeply profound ideas and almost cartoonish characters and events. In the end, though, the fact that the episode successfully conveys its message trumps its less-than-praiseworthy elements.

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“Vortex” is a surprisingly enjoyable and effective episode, despite its rather predictable plotting and overly sappy ending. What works best for the episode is the process itself – managing to keep the audience interested and engaged, regardless of what is unfolding on screen. On its surface, this is curious take on the murder-mystery story while, at its heart, this is a character piece focusing on such themes as truth, sacrifice, longing and, ultimately, belonging. The acting and dialogue are very strong, and if the events do unfold a bit too predictably, the rest of the episode more than compensates for any shortfalls.

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Deep Space Nine’s first season continues to struggle with “The Nagus” – an episode which is meant to provide some backstory and depth to the Ferengi (and, more specifically, Quark). But the Ferengi plot is annoying at best and, at worst, cringeworthy. What value there is to the episode comes from the interpersonal relationships explored by Sisko’s disapproval of his son’s friendship with Quark’s nephew, Nog. But even here, the narrative is presented haltingly, with an uneven pace and uneven performances.

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“Move Along Home” is, simply, horrid. The plot is preposterous. The writing is atrocious. The design is ridiculous. The acting is embarrassing. And the whole thing is almost entirely pointless. In fact, I might have had more respect for the episode if it *had* been pointless. That this was all to teach Quark a lesson about cheating? C’mon.

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“The Passenger” is a middling episode at best and a clumsily awkward, and incredibly putrid mystery at worst. In truth, there’s very little to this episode beyond its surface-level narrative. And the narrative itself is barely worth acknowledging. This is, in fact, an episode which is immediately forgettable and downright embarrassing – for the series and the actor charged with carrying the episode through its “climactic” paces. Indeed, this is an example of the worst of Trek: technobabble nonsense encompassing a story without any purpose or direction.

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“Dax” is an interesting episode primarily because of the backstory we get from Dax – both in terms of her character and the singularly unique nature of her symbiont species. But even though the story exists primarily as a vehicle for these explorations, it’s unfortunate that its premise and execution are so completely pedestrian. It’s not that there are any critical issues, but rather the whole production is unremarkable – which has the effect of undermining the episode just enough to keep it from becoming truly exceptional.

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“Q-Less” is an episode to feature one of the more memorable and enjoyable characters of the Star Trek franchise: none other than Q himself. And yet, while Q remains thoroughly entertaining, the stories around him do little to come to the help of the episode. Indeed, rehashing yet another TNG character feels like a gratuitous and vulgar attempt to latch DS9’s successes onto the momentum from TNG. Crossover between the two series isn’t a bad thing – provided it it’s done with a purpose. That really isn’t the case here.

And besides, Vash was never all that interesting begin with. Why bother excavating her character yet again?

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