All reviews for Star Trek: Deep Space Nine Season 6 have been completed. Click on the episode titles to read the full review.
“A Time To Stand” is a powerhouse of an episode, kicking off the sixth season of Deep Space Nine in riveting fashion. There’s not a whole lot of thematic or character depth to the story, but what it lacks on those fronts it more than compensates for in the form a purely visceral experience. In a word, the episode is epic. And it sets in motion a new reality for the series, one that is dark, grim, and balanced on a knife’s edge.
Gritty and nuanced, “Rocks and Shoals” is an episode that breaks down epic conflict into personal terms. And it’s through the moral and ethical dilemmas that the characters face that the episode weaves its story. The episode isn’t about conflict so much as it is about choice — about how we conduct ourselves within the confines of an open conflict — and how our choices illuminate who we are. To that end, the episode is near pitch-perfect. A truly outstanding installment.
“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.
“Behind The Lines” is a disquieting episode. As it is intended to be. Once again, this is a story about loyalty, duty and, ultimately, choice. The explicit decision by Deep Space Nine to explore these concepts is praiseworthy. And it’s good that they are taking a multifaceted approach. But sooner or later, there’s going to have to be a change in direction — otherwise we’ll simply be following the plot and rehashing the same old conflicts over and over again. That’s not to say that this episode is poorly conceived or made, rather that there is a growing fatigue in perpetuating some of these conflicts.
“Favor The Bold” is an episode about setting the stage. Big events are on the horizon, but before they can happen (with any measure of meaning or depth) we have to understand the motivations and choices of the characters that are swept up in those events. That is the mission of this installment and it succeeds quite well — even if it never truly escapes the feeling that it is, after all, a preamble to something much more momentous. The result is a mitigated success.
“Sacrifice of Angels” is the thrilling, nail-biting conclusion to what has been an expansive, epic and ambitious arc. In typical Deep Space Nine fashion, it keeps the focus squarely on the characters, even while presenting some truly breathtaking visuals on screen. And, likewise, while many events draw to a close, many more are open-ended and uncertain. It’s not a perfect installment — there are just too many predictable moments — but it is a visceral one, evoking plenty of emotions.
After the grim, intense episodes of the war arc, Deep Space Nine certainly needed to lighten the mood and show that, even in wartime, lives do go on. “You Are Cordially Invited” certainly fits the bill with not only its premise, but also its approach — mixing whimsical and humorous moments within some interpersonal conflicts. But the problem is that the episode feels a bit too much like overindulgence. The humor is a bit cringe worthy and the conflicts are thoroughly melodramatic. And when the excess of “ritual” is factored in, you have an episode that, while well-intended, just doesn’t quite hit its mark.
“Resurrection” is an appallingly bad episode. From premise to script to production nothing works at all. “Mirror universe” stories are usually fun or insightful. This one commits the worst sin of all: it is downright boring. Oh sure, it’s got plenty of built-in action or drama or suspense. Problem is, the action is pedestrian, the drama is hollow and the suspense is predictable. It’s the worst sort of collection of elements all rolled into one really dreadful episode.
“Statistical Probabilities” is an uneven episode. It starts off haltingly and with a great deal of nonsensical moments. There are a fair few truly solid scenes which convey deeply meaningful commentary. But there’s an over-the-top finale which undermines the seriousness of the episode. It’s as if the episode wanted to walk a fine line between comedy and serious commentary and never really found the right balance. The result is an episode which has value — both in terms of entertainment and thoughtful discourse — but is otherwise an average overall production.
“The Magnificent Ferengi” isn’t as much of a nuisance as most Ferengi episodes are on Deep Space Nine. That’s not saying much though, is it? To give the episode some credit, it weaves a story that is amusing enough, and the characters aren’t so over-the-top comical as is typical of a Ferengi episode. But even with a more serious subtext, the episode isn’t all that good. It never finds the right balance between seriousness and comedy. And the production itself is flawed, with implausible writing and poor performances.
“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.
“Who Mourns For Mourn?” is lightweight affair that ends up being an entertaining and engrossing episode, despite the fact that it’s not all that good or well-written. What this installment has going for it is a consistent approach which, no matter the circumstances, keeps events moving along at a pace which is brisk enough to keep the story from getting entirely bogged down in minutiae. It’s a comedy and, to that end, it plays on one of the more subtle (and consistent) comedic elements in the entire Deep Space Nine series: the character of Mourn.
Engrossing, profound, and visceral, “Far Beyond The Stars” is an example of what Trek — heck what science fiction — can become when writers dare to take chances — when they dare to dream remarkable dreams. It’s an episode that is both painfully obviously and brilliantly subtle. And if you can allow yourself to be lost within the narrative, which is very easy to do thanks to the design and direction of the episode, then this is an installment which transcends not just Deep Space Nine but the science fiction genre itself.
Oh, the cliché catchphrases one could throw at “One Little Ship.” Everything from “Size matters not” to “Honey, I shrunk the runabout!” would work, and then some. This episode is based on a thoroughly preposterous idea that, somehow, inexplicably, actually works. It’s a “boatload” of fun. And that’s “the big and the small” of it.
So yeah … on to the review …
“Honor Among Thieves” is a strangely affecting episode. For the most part, it’s an exercise in pseudo-film-noir, playing on spies, double agents, criminal underground organizations and plenty of conspiracy theories. But it’s the human touch that allows this episode to rise above its subject matter. In that sense, its two main characters are perfectly cast, written and performed. In the end, it’s not so much about cops-and-robbers as it is about trust and fellowship … and duty.
“Change of Heart” is a quiet, intimate and personal story, despite being set against the backdrop of the Dominion war and an intelligence mission of the utmost importance. It’s a story about who far we go for those we love. The episode itself isn’t exactly well-written or executed. There are significant issues with pacing and plotting. Much of it seems to be superfluous. But it’s the final moments of the story which carry the most weight and which will have a lasting impact far beyond the episode itself.
“Wrongs Darker than Death or Night” is a powerfully emotional tale — one that is almost never comfortable to experience. But that is the point. It’s a story that forces the audience to look inside the mind of a “collaborator” and decide whether or not the ends justify the means. It’s very rare for a tale to eloquently make a case such as this one. But the truth is, this is an episode which is exceptional in its nuance and complexity, even if its setup and conclusion feel a bit too contrived.
Now that’s a good episode. Not great. But very, very good. “Inquisition” is an installment that starts off slowly and becomes very suspenseful. It begins as one story and ends as something altogether different. It is, by definition, an evolution. And the end result is an episode that is easily a classic, providing some solid character work and some very insightful commentary.
“In The Pale Moonlight” is often hailed as one of the finest episodes of Star Trek ever produced. And in many ways, it’s easy to see why. It’s a gripping, plausible personal character deconstruction amidst the backdrop of war. The story is filled with intrigue and deep moral conflicts. The performances are noteworthy. The final scenes of confession — of admitting then ignoring — the events of the story are revealing and, in many ways, shocking. This is an episode which changes the entire course of Deep Space Nine. And the grim story challenges the very preconceptions fans have about the Trek franchise.
How much more could a viewer want from a single episode?
I dunno. “His Way” is probably a bad episode. It’s certainly soapy and mushy and runs for far too long. But I like it. It’s probably the Sinatra-style lounge music and setting and dialogue. Maybe it’s the story of being true to yourself. Whatever it is, the episode can be a thoroughly fun, distracting hour.
Deep Space Nine does The Ghostbusters. Badly. For the first half of “The Reckoning,” we get a solid episode about faith and prophecy — about how far one will go when belief alone isn’t enough to provide answers to complex, and potentially dangerous, questions. But then the episode switches gears into an overtly paranormal story which is utterly ridiculous in both concept and execution. The end result is a very, very poor installment.
“Valiant” is an installment that has some interesting goals but is, otherwise, a very poorly realized episode. The problem starts with the fact that its premise is simply too implausible. But the this is compounded with some poor writing, directing and acting. Ultimately, this is an episode that is entirely forgettable.
What on Ferenginar were they thinking? “Profit And Lace” is easily one of the worst episodes of television … ever. From start to finish it’s not only bad, it’s mind-numbingly annoying and insulting. There are, perhaps, a few moments where, morbidly, one might chuckle. But the rest of the time is like swallowing rusted metal shards.
“Time’s Orphan” can, at times, be a thoroughly visceral experience. Unfortunately, though, that’s all it really has going for it. The premise is a bit suspect, coming across more as a contrivance than a legitimate source of drama. Worse still, the episode presents a kind of “false choice” for its characters, forcing them into situations that seem disingenuous.
“The Sound of Her Voice” is an affecting episode not because of how it tells its story, but for the implications of its story. Much of the episode feels uneven or aimless. And the central “revelation” is contrived and silly. But in the grand scheme of things, these criticisms almost do not matter. It’s the lessons the characters take away from the episode, and it’s what is said in the final scene, that make this episode a truly moving and emotional (if somewhat flawed) installment.
“Tears of the Prophets” is one of those moments in a series that has repercussions far beyond the final moments of the episode. The story — and more importantly the implications of the story — reverberate long afterward. That is the case here. But the issue for this episode isn’t whether or not it’s important to the overall arc of the series — indeed, it’s a critical story — but the means by which the story is told. With that in mind, this is a classic, but hardly and exceptional installment.
Topics: Sci-Fi, TV Reviews
Filed under: Star Trek | No Comments »
Loading ...
