Deep Space Nine Season 2

2.01 – The Homecoming: A

“The Homecoming” launches Deep Space Nine’s second season by thrusting the audience deep into the midst of the political and social turmoil of Bajor – with a former war hero as the central focal point. The story is one of risk and sacrifice, with the repercussions of ideological struggle affecting everyone on DS9 – right down to Sisko’s son, Jake. More than that, this episode has a well-constructed story-arc, moving both the plot and the characters seamlessly along a treacherous path toward instability and conflict. This is an episode which features strong writing and acting and, as a result, this is a very successful installment.

2.02 – The Circle: B+

“The Circle” is an intense, dramatic and even epic continuation of the storyline that was begun in the season-opening episode, “The Homecoming.” Indeed, this episode draws upon narrative elements as far back as the “The Hands of the Prophets” and if there was any question about the jeopardy facing not only the crew of DS9, but also the planet of Bajor, this episode quickly dispels those doubts with a rapid chain of events that leaves both DS9 and Bajor on the brink of war. The narrative is both engaging and riveting and though there are is an uneven pacing at times, the episode is very, very good.

2.03 – The Siege: B+

“The Siege” is the predominantly action-filled finale to the opening three-episode story arc to Deep Space Nine’s second season. As one might expect, quite a bit gets resolved here, but it certainly isn’t a neat and tidy conclusion – with respect to either the story or the episode itself. As far as the story is concerned, the unresolved threads are important, underscoring the fact that even when a crisis has passed, the issues of that crisis still linger. For the episode, there is a sense of urgency in bringing the story to a fitting end, but the heavy emphasis on action – while certainly entertaining – tends to come at the expense of the more critical issues beneath the surface of these events. True, the first two episodes of the story arc spent a lot of time on more meaningful explorations, but here the result is a thrilling episode which just doesn’t have enough to it to be considered truly exceptional.

2.04 – Invasive Procedures: C-

Ahhh yes. I suppose it was round about time for one of these “alien takeover” episodes. Odd though, that “Invasive Procedures” comes on the heels of the whole “Bajoran takeover” arc. Apparently a handful of motley aliens – including a hopelessly insecure leader – can accomplish what an entire Bajoran boarding party could not. It’s inconsistencies and sloppy plausibility that really sabotage’s the episode’s attempt to explore the nature of the Trill in general – and Sisko’s deep friendship with Dax in particular.

2.05 – Cardassians: B+

“Cardassians” proves to be a successful episode thanks to an effective layering of its story, adding little textures to the overall fabric by way of strong writing and performances, particularly from the supporting cast. The story itself is a familiar one for TNG aficionados – that of the orphan child being raised by aliens – but the premise here is much more competently explored, especially in terms of how such circumstances affect everyone involved. If there is a criticism, however, it’s in the fact that the orphan in question gets much less attention than the sometimes-spy tailor. True, Garak is a worthy subject, but in a story about being torn between two worlds, the orphan ends up being, well, orphaned by the narrative.

2.06 – Melora: C-

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.

2.07 – Rules of Acquisition: C-

“Rules of Acquisition” is the second episode to feature the Ferengi and their Grand Nagus. And like the first one, this installment is a mixed bag. The results here are slightly better, thanks to the episode’s rather obvious message against Ferengi misogyny – as well as the introduction of the mysterious Gamma Quadrant entity known as The Dominion. But the pacing, characters, and primary story are either too weak or too silly for the episode to be taken seriously. As a result, it doesn’t quite work either as a comedy or as a serious commentary.

2.08 – Necessary Evil: C+

“Necessary Evil” features a surprisingly successful ending to an episode that begins with a great deal of difficulty. The episode itself is loosely modeled after film-noir, with its murder-mystery, voiceover work from Odo, and austere lighting from flashbacks to the time when the Cardassians ran Deep Space Nine. But the setup is a bit too cliché and a bit too slow and a bit too awkward to convincingly pull the audience in to the story. The result is that by the time the episode really gets into its more worthy segments, too much time has passed to really capitalize on them.

2.09 – Second Sight: D+

“Second Sight” is a significant letdown. Rarely does an episode start so promisingly and end so miserably. Sadly, that’s the case here. You can certainly see what the episode was trying to accomplish –between the ideas of romance and dreams, between sacrifice and duty. But everything is undone by a plot that is so hopelessly obscure that it sabotages and undermines the emotional heart of the story.

2.10 – Sanctuary: B

“Sanctuary” is solid episode, weaving a subplot about Bajoran culture with a bigger plot about a civilization of refugees who suddenly appear through the wormhole. The overall writing of the episode successfully comments on themes of prejudice, tolerance, hope and despair. And while the pacing may occasionally stumble, and while the final climactic scene is a bit too hokey to be taken completely seriously, the end result is a classic installment of Deep Space Nine.

2.11 – Rivals: C+

Frivolous, silly, semi-humorous. “Rivals” is an episode that approaches the ideas of fate, chance, and luck. But it’s such a lightweight story that it never really delves all that deeply into these concepts. The stories themselves are relatively inconsequential. And yet … the episode maintains enough charm and wit to make it entertaining – even if, at the end of the day, it doesn’t amount to a whole heckuva lot.

2.12 – The Alternate: C+

As an exploration of Odo’s past, “The Alternate” is an interesting story. But as a character piece and as an overall mystery, the episode is both too obscure and too annoying to generate any real value. The problem stems from the writing which creates a mystery which isn’t strong enough to maintain any momentum and a guest character who just isn’t sympathetic enough to carry the story through its final paces. The result is an episode which has some value, but is otherwise difficult to watch.

2.13 – Armageddon Game: C+

“Armageddon Game” is a slightly above average episode thanks to some enjoyable character interactions between O’Brien and Bashir, and an interesting twist to the idea of two warring factions struggling to create a tenuous peace. There’s also a not-so-subtle commentary on biological warfare. But there are a few issues in terms of predictability which tends to dampen most of the high-end tension.

2.14 – Whispers: C-

“Whispers” is an episode that has the right sensibilities – building on audience expectations then providing a significant twist – but instead manages to fall flat on its face due to an obvious conceit. This is one of those episodes that works very well in concept – and for die-hard fans – but not for anyone objectively viewing the show. Instead, the circumstances are all-too-obvious and the final result, while a twist in the narrative sense, isn’t all that successful because it was at least as likely as any other possible outcome.

2.15 – Paradise: B-

“Paradise” is an inconsistent episode which, while often profoundly compelling, is just as often irritating or inexplicably obtuse. There’s some fantastic commentary here about the role technology plays in the dehumanization of humanity, as well as minor pieces such as speaking truth to power, zealotry, and coercion. It’s an episode which is sure to generate an emotional reaction of some kind from the audience. But whether that reaction is admiration, introspection, or downright annoyance is unclear. Ultimately, despite some missteps in terms of writing, “Paradise” benefits from its very weighty and deep story.

2.16 – Shadowplay: C+

“Shadowplay” is a surprisingly satisfying episode, despite some obvious issues with pacing and plausibility – not to mention its fairly esoteric central plot. The fact is, the stories in this installment all find enough room to peacefully coexist and, for once, DS9 manages to go for the categorically “happy ending” which it often seems to eschew in favor of more nuanced resolutions. But in this case, the cliché actually works to the benefit of the episode creating a light, breezy episode which, assuming viewers manage to stay awake, provides for a nice payoff in all three plot threads.

2.17 – Playing God: C

“Playing God” is an amusing, if uneven episode. There’s a good deal of character work being done for Dax. And there’s the obligatory sci-fi mystery of the week plot, which provides some moral commentary. Toss in some lighthearted humor and you’ve got the ingredients for an enjoyable installment. And yet, the episode never really finds a rhythm or balance between its story elements. The result is an installment that is, simply, average.

2.18 – Profit and Loss: C-

“Profit And Loss” is, ultimately, an episode about love. But much of its portrayals about love are so ham-handed and cliché that it’s difficult to take the story, much less its final musings on the matter of love, seriously. There’s also a rather convoluted plot about Cardassian political refugees that ends up being horribly executed from a narrative standpoint. The episode is most successful when touching on character elements, but in the end, it’s an overwrought affair that skews toward melodrama and pulp – with the kind of cringeworthy results one might expect from such a concoction.

2.19 – Blood Oath: B+

“Blood Oath” is a solid example of DS9’s ability to weave complex morality tales that not only raise big questions and entertain, but also provide solid character development as well. There are a couple of pacing issues, through the middle of the episode – the result of a bit of redundancy in the character conflicts. But when you add in a wonderfully conceived bit of continuity back to the Original Series, a healthy dose of action, and some wonderfully vibrant characters, and the result is an episode worthy of praise.

2.20 – The Maquis, Part I: A-

“The Maquis, Part I” is an example of just how powerful DS9 can be. It takes some very complex issues like occupation, terrorism, freedom fighters, and peace keepers and examines them from a variety of different angles, making excellent use of the canvas of characters that populate the series. The episode itself, after an explosive prelude, starts off slowly, but manages to build nicely to a solid, if somewhat inevitable and predictable plot twist. But this is one of those cases where the story is simply a vehicle to the more important exploration of concepts and conflicts. And in the final balance, any issues as far as the plot is concerned are easily offset by the strong characterizations – and what those characterizations reveal about issues that are vitally important to confront.

2.21 – The Maquis, Part II: A

“The Maquis, Part II” continues the exploration of difficult and complex issues at the heart of why people go to war. Both sides feel justified. And some even become addicted to the idea of it. But what makes this story so unique is its focus on those who fight beyond the scope of governments – the personal, and still deadly, conflicts of ideological and territorial struggles. What’s truly remarkable is how well the episode conveys the different aspects of such struggles, allowing it to serve allegorically for what the writers knew of in the 1990s, as well as current 21st century conflicts. For this particular installment, there’s still plenty of that deeper resonance to the story. But the pacing is quicker, there’s a bit more suspense. And the climactic space battle is remarkably well choreographed and executed to be both personal and exciting.

2.22 – The Wire: A-

“The Wire” is a strongly executed character drama that has many opportunities to overplay its hand, but, thankfully, does not. A lot of what happens in the episode is procedural, however, the story is one of redemption – or, at least, the quest for redemption. From that perspective, the revelations of Garak’s past are tantalizing and evocative. More importantly, his emotional outbursts, while out of character, demonstrate the complexity of his personality. In the end, it’s Bashir’s tenacious loyalty and work ethic which prevail … though, as we shall see, truth does not.

2.23 – Crossover: A

“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.

2.24 – The Collaborator: B-

“The Collaborator” is an interesting and immersive mystery that never quite gains enough traction to make the episode something truly exceptional. The story makes effective use out of many of the developments of the series thus far, and even provides for some significant development for minor characters. But the pacing is simply too plodding and the overall conflict is too obscure to translate into a truly compelling narrative.

2.25 – Tribunal: D-

Really? Are we expected to take the entire episode of “Tribunal” – from premise to resolution – seriously? The whole story is an exercise in poorly contrived conflict. Even the final climactic moment is wholly inexcusable. The episode might have been forgiven its silly outcome had the journey itself been worthwhile. Unfortunately, that is not the case. At best we get a caricature of oppression, but because it is an entirely untenable institution, it proves to be almost worthless as a story element.

2.26 – The Jem’Hadar: A-

Well-done.

“The Jem’Hadar” is a solid hour of television, beginning with quiet character moments and inexorably escalating to a deadly battle and the brink of war. It’s not a perfect installment of DS9, but it effectively establishes a mortal threat to the DS9 station for the coming seasons. The dialogue is crisp, the plot is serviceable, and the implications of the episode’s final moments are ominous. All-in-all … well-done.