“Sons and Daughters” is an uneven, melodramatic and schmaltzy affair. It’s an episode that certainly has its heart in the right places, looking for personal dramas and character explorations within the backdrop of war. To that end, it’s approach is commendable. But it’s in the details — the writing, acting and pacing — that the episode ultimately stumbles. Of course, the episode also commits what has become a cardinal sin for Deep Space Nine using a TNG character in a guest role. The results, more often than not, have been disappointing. Such is the case here.

This is the story of how a now-older Alexander rejoins his father, Worf, on board Worf’s Klingon Bird of Prey, under the command of General Martok. Alexander stories on TNG were always tenuous affairs, rarely elevating the episode or the characters. I guess it’s not surprising that we get the same this time around. Indeed, what’s most disappointing is that this story is little more than a rehash of every other Worf-Alexander conflict we’ve seen before. Worf isn’t a great parent, Alexander feels misunderstood and alone, the two argue then come to some contrived understanding by the end of the episode. Within the confines of TNG, whose conflicts were almost always completely resolved by the end of the episode, the formula was acceptable, if not successful. Here, though, the structure is exceedingly underwhelming.

It doesn’t help that Alexander is such a wuss. After professing over and over in TNG that he would not ever be a warrior, he suddenly decides to join the Klingons as a warrior. Of course, we’re never given a solid reason why he’s had this change of heart. What’s more, deciding to become warrior and actually *being* a warrior are two very different things. And Alexander is a very poor warrior. But it’s not just in terms of technical skill that he is deficient. No, he also is a bumbling fool and altogether overly timid. Even Jake Sisko shows more spine than Alexander. And so the audience is forced to endure scene after scene of Alexander screwing up, being mocked, beat up, insulted, embarrassed and on and on and on. It becomes repetitive and, ultimately, boring.

Worse still is the effect Alexander has on Worf. Once again, Alexander’s sissy attitude rubs off on Worf, making the Son of Mogh into a hesitant, uncertain and altogether uninteresting person. Heck, even Martok comments on how he’s suddenly lost his First Officer. It’s not that the sudden appearance of Alexander wouldn’t have an explicit effect on Worf’s behavior. It’s just that the changes that happen to Worf when Alexander is around are just so bloody annoying. Besides, it’s obvious right from the start that, by the end of the episode, Alexander and Worf will find some sort of common ground — in this case, Alexander joining Worf in the House of Martok.

Which, of course, begs the question: Why would Martok accept Alexander into his house? Why would Worf suddenly soften with Alexander? It’s not as if Alexander demonstrated any real valor. All he did was lock himself in a storage locker. He’s still completely inept as a warrior and as a person — more likely to pout and sulk than project an aura of confidence or strength. It all ends in an overblown Klingon ceremony in which Worf says that he’ll teach Alexander how to be a warrior if Alexander will teach him how to be a good father. Really, what the hell is going on here? Is there any point, really, other than simply saying, “Hey look, we didn’t forget that Worf has a kid”?

The episode’s subplot is a bit more interesting. Gul Dukat convinces his daughter, Ziyal to return to the station from Bajor. It makes sense, given that Ziyal would grow tired of the whispers and strange looks from Bajorans, and might actually want to reconnect with her father. But Dukat has motives beyond ending his estrangement with his daughter — Dukat uses the opportunity to, once again, try to ingratiate himself with Kira. In a particularly creepy scene (to the benefit of the episode) Dukat and Kira positive glow over Ziyal’s artistic awakening. Her drawings are a source of pride for both Dukat and Kira and, with the framing of the scene, they look almost like a family unit. That is, of course, the intent. Dukat is hoping Kira’s connection with Ziyal will bring him closer to Kira.

For Kira, she once again has to come to a self-realization about what is happening to her. She realizes that Dukat is once again manipulating her into acceptance. Part of why he’s initially successful is that he seems so bloody sincere in his attempts — at least outwardly. But this time, Kira catches on a bit more quickly. And the scene in which she confronts Ziyal is very well-written. Kira wouldn’t dream of asking Ziyal to choose between her and her father. But it’s clear that Kira cares for Ziyal’s well-being. It’s another example of how war often separates people who would, otherwise, be very close.

Also worthy of not: Jake wants to join the resistance. He wants to use his connections as a reporter to help provide information to Kira and her group. It’s an interesting development for his character. He’s come a long way from the scared kid who ran from explosions in “Nor the Battle to the Strong.”

“Sons and Daughters” is an example of an episode that has the right approach, but misses the mark in terms of concept and execution. Bringing Alexander back was definitely not a success. His return did nothing to inform either his character or Worf’s, or their relationship. The subplot was a little better, but the pacing and nuisance of the main plot keep it from having as much effect as it might otherwise have had.

Filed under: Deep Space Nine