“Walz” is one of those memorable episodes of Deep Space Nine that, whether or not an audience actually enjoys the story, they’ll nonetheless be provoked into thought. And, perhaps, that is ultimate the intent here: To get people thinking about the shades of grey between good and evil and if there really is anything such as “truly evil.” What makes the series so compelling is how effectively it utilizes its characters as a means to convey this kind of commentary and exploration. Such is the case here.

Sisko and Dukat are on their way to a Starbase for Dukat’s arraignment as a war criminal when their transport is attacked and destroyed. The pair find sanctuary on a remote planet and the bulk of the episode focuses on the very tense and often turbulent interactions between the two men. It’s a close, intimate character study, particularly for Dukat — whose mental stability has crumbled in the aftermath of losing his empire and daughter. And through this study, we are shown a riveting — and quite disturbing — look into Dukat’s (now broken) psyche.

The power of the episode is conveyed through the writing and, especially, the performances. This is a grand theatrical-style drama that tilts heavily toward melodrama, but within the context of the circumstances works very, very well (it helps that Deep Space Nine doesn’t resort to this approach in each and every episode). Dukat tells Sisko that they are stranded, but the emergency beacon is working (it’s not, though) — it’ll be just a matter of time before they are rescued, either by the Dominion or the Federation, whichever gets there first. In the meanwhile, Dukat has mended Sisko’s wounds and … just wants to talk.

It’s clear from very early on that the episode is setting itself up to be something of a battle of wits between Dukat and Sisko. And considering Dukat’s unstable mentality and Sisko’s weakened condition, the sense of danger is immensely palpable. At any moment Dukat might snap — a point effectively reinforced by apparitions which appear to Dukat in the form of Weyoun and Damar, urging Dukat to kill Sisko. And what would Sisko do then? In his weakened condition, he’s no match, physically, for Dukat. So he must partake in Dukat’s “dance” and find some way to outwit his nemesis. And on this level, the back-and-forth between Dukat and Sisko is very powerful stuff.

What Dukat seems to want from Sisko is some kind of validation for his efforts as a Cardassian overlord during the Bajoran occupation. Dukat believes that his actions were entirely benevolent in nature and ought to be commended, rather than vilified. Somehow, he thinks that if Sisko were to see things from his perspective, all will be right with the world. Sisko has to balance his answers with attempts to get the emergency beacon working.

The details here are important. The conversations between Dukat and Sisko are crisp, sharp-edged, and performed with remarkable craft by both actors. And after Dukat finally loses control and beats Sisko (after discovering Sisko’s work on the transmitter) their conversation finally centers squarely on Dukat’s motivations. It’s this slowly pealing away of layers — the shades of grey that Dukat wore like a cloak — to get at the *real* heart of the man which makes the episode so riveting.

Dukat has excuses and rationalizations for everything. He admits to his belief in the fundamental superiority of Cardassian “military, technology and culture” and argues that such superiority gave Cardassia the right to impose its will on the lesser people of Bajor. What’s remarkable is how the revelation not only informs Dukat’s racism, but also provides an insightful commentary on centuries of human imperialism in our own history. And through Dukat’s madness, we see the slippery slope from superiority to occupation to violence to outright genocide.

What’s scary is that Dukat is thoroughly sincere in his beliefs.

And it’s meant to be scary. Sometimes in this world there really are incarnations of people who are, almost entirely, good or evil — for them, shades of grey do not apply. Dukat demonstrates this reality. And it’s a bold statement for a series so invested in nuance and layers to confront such an absolute possibility. Of course, some fans may decry the change of direction for Dukat’s character. But the seeds of his madness and embrace of evil were firmly planted all along.

Unlike, say, the descent of Anakin Skywalker, Dukat’s journey to becoming truly evil was incremental and plausible. And if we are saddened by the development, perhaps that, too, is the point: we’re meant to feel loss when a person becomes so consumed by their inner demons that they set a course of outright destruction. And by the episode allowing Dukat to escape, the series sets itself up to have a true villain around for its final seasons.

There is one item of note from the subplot involving the search by the Defiant for Sisko. When Worf has to consider whether or not to disobey orders, it’s Dr. Bashir, of all people, who speaks in favor of disobedience. Fascinating to see the rebelliousness within Bashir, as well as Worf’s very calm dismissal, “You may leave the bridge, doctor.” It’s a small, almost insignificant moment in the episode, but it nonetheless shows a strong attention to detail.

“Walz” is a fantastic character study. Its revelations are well orchestrated and performed.

Filed under: Deep Space Nine